TRACK REVIEW: Signal - Down (ft. Eclipse)

TRACK REVIEW:

 

Signal

 

Down (ft. Eclipse)

 

9.5/10

Down is available via:

https://www.youtube.com/watch?v=51qP6nTKWYI

GENRE:

Grime; Hip-Hop; Rap

ORIGIN:

Basingstoke, U.K.

RELEASE DATE:

2^nd October, 2016

PRODUCER:

Jay Picasso

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IF the last couple of months in music have taught us anything…

then it is the importance of street-level music and preserving the realness of the British manors. Skepta’s Mercury Prize win was the result of a rare and brilliant young artists whose music not only extols truth and reality but has a universality and depth to it. Before looking at music from young artists and changing tastes; I wanted to look at Grime, Hip-Hop and Rap again. These are genres that have always struggled for mainstream acknowledgement and have had to fight against more preferred styles like Pop and Rock. It is baffling, in 2016 no less, that there is segregation and compartmentalisation in music – a lack of integration that needs to change. I know genres like Jazz and Country are always going to have their own audiences and not readily appeal to everyone. It is a shame these genres get clichéd views and are often written off – ensuring there is not a greater understanding and appreciation. We all know what a variety of great music there is but so much of it is being lost and buried. I feel we need to open up channels and make certain styles and sounds more accessible and exposed. Whether it is a greater exposure from radio stations or bravery by consumers – something has to be done. I am a big fan of Jazz but really reserve my tastes to legends like Miles Davis and John Coltrane. I feel we all latch onto a genre or music style but tend to limit ourselves to certain acts. Even if you are a new discoverer of Grime and Hip-Hop it is certainly worth more investigation and inspection. Skepta’s Konnichiwa is an album that resonated with so many people and it is easy to see why. Many musicians are insular and talk about love: pushing some away and coming off to personal and not varied enough. It is hard bonding with musicians that do not push themselves and go beyond the predictable. Skepta ensured Konnichiwa was an immersive but worldwide album that was not just resigned to personal issues and themes of love. Not only were the rhymes slick, confident and commanding: the compositions cross genres and beautifully combined emotions and shades. Deep, stunning and intoxicating: few could resist the temptations and scintillating music within. It is not a rarity discovering someone like Skepta. His award-mate and contemporary Kano was up for the Mercury and was narrowly pipped. It is odd Grime and Hip-Hop is not given more credit and spotlight than they have at the moment. Let’s hope Skepta can bring about some resurgence and reappropriation: make sure more people embrace the wonderful artists and music coming out. It is not just the mainstream talent that is making Grime exciting places to be. One of the brightest names emerging in the underground right now is Dan Amps’ Signal. Not one to be overlooked and play it quiet: his latest track, Down, is another dazzling and stunning cut. It is probably high time I introduce him to you:

“Having been performing for ten years already: 2016 has been one of the most jam-packed for Basingstoke Hip-Hop Grime star, Signal. Appearances on B.B.C. Introducing – The South (a live session and interview) and B.B.C. Berkshire (interview, freestyle; Q&A session) are just the tip of things. An appearancein the Basingstoke Gazette- which promulgated the local hero’s exposure from B.B.C. and his single, All Night- was matched with a feature on 1Xtra via #TargetsNoticeBoard (with D.J. Target). A stunning run in Has Reading Got Talent? - making the final- and a session of Croydon Radio brought the music to a wider audience- cementing himself as one of the south’s most promising new musicians. Signal's Dan Amps studied at The Academy of Contemporary Music (gaining a Music Production degree) and quickly established himself as one of the most dedicated, talent musicians in the south. Produced by Jay Picasso: new single All Night shows what Signal is all about. Hungry beats and slick, fast-flowing raps are filled with confidence, humour, and swagger- lines that reverberate in the mind and demand closer investigation. One of the most intelligent, authoritative and assured newcomers in Hip-Hop: the future looks very bright. After the release of E.P. Make It Happen- Signal’s 5th release- the young star has grows more assured and astonishing with each new offering. Inspired by contemporaries Wretch 32, Kano and Dizzee Rascal- in addition to ‘90s acts like Eminem and Biggie Smalls- Signal offers something both fresh and familiar: music that will not only appeal to hard-core fans of Hip-Hop, Rap, and Grime- songs that transcend borders and tastes. Throw in support slots with the likes of Chipmunk, Sneakbo; Wretch 32, Kano and Krept & Konan- quite an impressive and accompliished C.V. At the heart of things is Dan Amps (the man behind signal) and his warm, down-to-Earth personality. Somebody committed to music-making and spreading his message: that drive, determination, and passion are starting to reap rewards. How long before Signal joins the likes of Kano and Wiley: two of the forerunners in the U.K. Grime scene? Signal has performed across the U.K. - from London to Oxford- and shows an immense hunger and zeal: nothing means more than making music and bringing it to the masses. It cannot be long before his talent is recognised and (Signal is) one of the mainstream artists of the future”.

There are some wonderful young artists emerging right now and it is only a matter of time before they get the credit they deserve. Signal splits his time between Basingstoke and London and has been enjoying some time at Starcity Studios under the tutelage of Jay Picasso. I have been following Signal for a while and watching him rise and grow. All Night was his last single and was as urgent and desirous as the title proves; a man with only one thing on his mind. With each Signal song, there is that utter confidence and charm that is hard to ignore. You get seduced by the conviction and panache of the delivery and the ingenuity of the lyrics. There is a great focus on Pop and Rock acts coming through and it seems certain artists have to struggle harder than others. I feel British Hip-Hop and Grime is among the most exciting and compelling music you can hear. Throw away the preconceptions of needless profanity and drug-referencing M.C.s – we all need to forget the stereotypes and let the music deliver. With Signal, there is that accessibility that some of his peers lack. He is not someone that rolls to the mic. with fire and aggression – without offering any sense of relatability and familiarity. There is no unnecessary and undeserved ego: instead, you get an accomplished and hungry performer who is laying his marker down and intends on sticking around for many years to come. It is wonderful finding so many consistent acts in music who have overcome the hurdles and are setting their sights on the future. You might think British Grime and Hip-Hop is quite understaffed and it is a minority genre. You only have to drive around some of the clubs and venues of London to see how naïve that assumption is. From Camden and Hackney through to Clapham and Brixton – all manner of prime and lean talent to get your teeth into. In terms of sound and sensations: Signal takes a little bit of Wretch 32 and Chipmunk but is very much his own man.

There is still that zeal to embrace musicians in the capital and narrow in too closely. It is an issue I mention in (nearly) every post but there is a logic to bringing it up. It seems Signal might make his way to London and has performed across the city many times in the past year. He seems very much at home and would be based at the centre of the Grime revolution. Around Basingstoke; he has a legacy and name that is being cemented; one feels there will be fewer opportunities in the coming months – a natural evolution will see him based in London and making his way around the capital. It is a little ignorant feeling all good music emanates from the cities (very little to be found outside) but cities like London are set up to accommodate all type of artists. More open and opportunity-laden than smaller towns: many eyes will be on Signal and where he heads the next year. It is important not to forget your roots and those who begin towns and villages – before moving on – should acknowledge where they come from and how important it is to their development and character. Amps has spent his formative years around Basingstoke and been lauded in the local press. Without the respect, backing and attention from newspapers and radio around the town; it is debatable whether he would be able to perform and get gigs around London. That is a theory for another day but one thing is crystal-clear: 2017 is going to be the year we see a lot more coming from Signal.

When one approaches Down and Signal’s fresh output – it is worth looking back and seeing where he arrived from. I feel Down marks an apex for the Basingstoke star who has been feeding off the recent waves of Hip-Hop/Grime stars like Skepta. A lot of modern-day contemporaries are being inspired by the kings of the scene: including Wiley, Kano and Giggs (with a touch of Stormzy). All Night was a slick and sexy cut that found Signal in commanding mode and full of confidence. The vocal was assured and seductive whilst the composition provided a suitably louche and sweaty basis. Down is a sharper and more adventurous song that beats harder and incorporates a wider palette of electronic moods. Deeper, darker and more neon-lit than its predecessor: it finds Signal fresh from the bedroom scenes of All Night and roaming the midnight streets; maybe thinking of a new conquest; energy renewed. Maybe it is the continued partnership with Jay Picasso and his input that has resulted in this change. With Signal growing stronger and bigger each time a song arrives: you can hear that Picasso-esque rich production and compositional touches but the abiding impression is of Signal and his clear and distinct direction. After gaining live experience and picking things up on the road: that all comes to the plate in his most instant and professional track to date. You imagine it will not be long until Signal assimilates to the mainstream and stands alongside his peers and heroes of the genre.

I, for one, am very excited about Down’s arrival as it announces another bold move by Dan Amps and his creative rise. The opening moments of Down are a symphony of drive-by moods and street-level beats. The percussion cracks and whips; it is hollow and tasty with a definite swagger and sense of cool detachment. Strutting slams marry alongside echoey, cooing electronics that dives, warp and swallow. The combination blends supremely and gets the listener imagining the opening scenes and settings. You see yourself (I did at least) at night, down on the street. You wander under late-night smoke and stalk the pavements: part of you escaping a feeling of anxiety and being watched; the one vibing from the atmosphere and lingering energy of the post-pub revelry. Composition-wise; Down begins with an evocative and layered sound that is not too crowded or hard but never too slight either. The video – featuring Signal, Jay Picasso and Jamie Jooste – sees the trio swing and dance to the introduction: sassy and vibrant; head-nodding and ready to go.

When Signal approaches the microphone; he seems to be directing to a heroine. Maybe a rendez-vous or easy hook-up: he wants her to get on the phone and bell a taxi. He might be at his place and wanting her to come around. In the vocals, you hear a young man with no limitations or shortage of bravado but someone who keeps things cool and clean in the first stages. Sweetleaf and dope-scented; beer-soaked and musky: a perfect combination of grimey, jumping beats and yearning vocals. If All Night has some innuendo and tease then that has been swiftly replaced: a man who has no intention of beating around the bush. Revived, renewed and energised by his libido: Down finds the hero playing Ken (to the girl’s Barbie) and wanting her to bend down. Keen to sneak a peek and get some side-boob action: raw, direct and full of confidence. Were the vocal and lyrics not supported by appropriate compositional flair then the song would suffer as a result. Picasso and Signal make sure the beats keep snapping away and back in viper-like. Those woo-wooing electronics hark back to the origins of Grime and remind me a bit of Dizzee Rascal during his Showtime period. Perhaps not as scuzzy and rampaging as Rascal: Signal provides his own take on sexual come-on.

If contemporaries like Rascal, Stormzy and Wiley document the theatre and unpredictability of the London streets – where they came from and the reality they faced – Signal represents the larger voice; drawing from his own experiences and the sort of night-to-night adventures he enjoyed (and possibly still does). There is never any sense of crassness or sexism throughout the song. The boy is smoking weed in the penthouse and lusting after the girl. Whether they have hooked up or he is speaking from experience; you know she is someone in-demand and knows what she’s doing. Never a shy or demure heroine: someone who is on a par with Signal and capable of throwing back the flirt. The listener’s body will be compelled to jut, dance and groove around; captivated and drugged by the simple (but highly catchy) backdrop. Signal is up-front and in no way one for reservations and hesitations. Eclipse (Jamie Jooste on joint-lead vocals and Jay Picasso on backing) acts as Signal’s sweetheart/backing and counterpart (Jay Picasso as the backing voice is particularly affecting). With her voice processed and given that stridulating, machine-like sound: it is almost like she is the hero’s imagination and subconscious. Whereas Signal’s voice is clear and natural; the counterbalance gives the song new light and layers. The duo plays off of one another well and, instead of being compartmentalised and not gelling; the vocal parts naturally flow and go together perfectly. Picasso adds the odd note and vocal snatch to back up Signal; giving it extra gravitas and defiance – if you see the video; the trio remains in the picture from start to finish – and you become more engrossed in the song. Whereas the first half of the song was pure Hip-Hop and Grime – straight-ahead and quite edgy – Jamie Jooste's introduction gives the song more Pop edges.

The vocal (from Jooste) has elements of mainstream stars like Rhianna and Sia but the heroine has her own flair and personality that separates her from the crowd. Mixing sunshine vibes and Reggae dance; salacious Hip-Hop tongue licks and a balance of sexuality and playfulness – the song opens up and is at its catchiest. Signal muscles into the scene and Down turns into a tussle between the two parties. At its most physical, flirtatious and desirous: the duo have progressed to the dance floor – if you are following the scenes – and tangling around the carnival beats and inevitable throw-down. The heroine can get him/herself up – whether added by something a bit recreational and strong or just natural spirit – but she can also get down. In that up/down dichotomy; one gets images of contrast and two people from different sides of the track. Signal is someone who has professed to some weed smoking and chilling. Despite his eagerness and charge: he is someone that is laid-back and calm. Eclipse (Jooste as the heroine; Picasso as the brotherly wing-man) seems a more fiery and accelerated element that has an air of a party girl but someone with sophistication and sassiness – the two have that chemistry on the microphone and there is that sense of tension and what-is-going-to-happen-next. The heroine provides the “D-da-d-da-down” snake dance in the chorus. An insatiable hip-swiveling delivery that is bolstered by some caning beats and a up-through-the-nose head-rush of electronics and slung-low-groove. Throughout, there is a conflict between cocaine confidence and mellow smoke: not necessarily as source material but in terms of the personalities of both. Few can accuse Signal of being more sedate and closed-off compared to Jooste's heroine. Picasso gives the song some vocal depth and adds his cool blends into the mix.

Signal is hectoring the girl to get round and has his in-the-mood-to-get-down rider that includes Mount Gay (wonder if he’ll get sent a case for the name-check?) and smoking Marley. The hero invites her friends around so you wonder whether he is just looking for a good-time party or his sexual ambitions are truly heroic. One assumes the former is true and there is that desire to get high and chill rather than necessarily get instant gratification. Signal’s voice gets harder and deeper as he drills down to the core. Netflix is mooted for the date night – whether a mutual decision or a suggestion from the girl – and there is a Pippa Middleton vibe about the girl – perhaps a bit haughty and high-priced but able to slum it, one feels. Once more – as we have seen with previous songs – there is subversion and humour to be found.

As you imagine Signal leading a girl – and perhaps her girlfriends – into the bedroom to play some games (that game is “Sega!”); it is announced with a wink and tongue firmly in cheek. Signal busts out the white Power Ranger – sure he has mentioned Power Rangers before but can’t put my finger on it – and she seems like a keeper. As they have reached the bedroom; one wonders how much innocence and game-play (of the electronic type) is happening and whether the hero is making a move. Holding slightly back but putting his heart out there: Signal is firmly in the spotlight and laying down a solid and authoritative vocal delivery. The humour book is whipped out as the clothing starts to come out. Whether looking at some underarm hair or a bit further along the course: she is a “Neymar”; a Brazilian that is in need of the razor. There is a bit of cockiness to the sentiment but cannot help but laugh at the imagery and wordplay. It is clear Signal is down and ready to get it away but has some guidelines and rules, it seems. Blending the chorus’s repeated mantra (the song title fragmented, repeated and chanted; perhaps by Picasso); and Eclipse’s reintroduction – it seems like she can wait and time is on their side. Maybe Signal is too keen for things to happen and rushing into it. She is more relaxed and someone who can “share my candy” and promises fire. Stepping aside from the processed vocals and chorus representation: Jooste shows her natural voice and unwraps a sick and slick declaration. Wanting the ladies to get their hands up: she is someone that can get up and get down. Like Signal and his mix of narcotics, sexuality and natural charisma: one wonders how much of a comparison chemistry set is in Jooste’s handbag. Perhaps not quite as buzzed as Signal and more spiritual and pure: the lip-licking, salacious delivery draws you in and hooks the listener.

One hopes Signal and Eclipse (Jooste on the vocals especially) work together again as their personalities mesh naturally and they bounce off of one another very well. Whilst Picasso busts some moves – in the video, he is decked in shades and playing the Bez figure it seems (with way cooler moves) – and is very much the unsung lead and inspiration behind the song. His sharp and assured production takes the song through the motions and gears and provides it so many different emotions and sides. Never resting purely in Hip-Hop territory; it manages to ably splice genres and vocal elements without losing focus and keeping the story on track. Lesser Grime/Hip-Hop artists might put too many words in and be too keen to get the story on the page. Picasso, one assumes, has insisted on some compositional punctuation and treated some of the vocals. It gives the song greater depth and resonance and ensures there is more seduction, nuance and variegation emerging from Down. In the closing exchanges; the sense of intoxication and festival is explosive. One starts listening to Signal reveals his intentions and make their assumptions – thinking he was just after sex and was the dominant one – but has found a natural equal in Jooste. Her vocal gives the song its swagger and cool; Signal provides the directness and grit – together, there is so much to love. The chorus is the finest Signal has created and the catchiest to date. You cannot help but dance and flail around the room (look at Picasso’s moves in the video to see how it should be done!). Another sign of Picasso’s direction is the last segment which finds the opening lines – Signal asking the girl to ring a taxi and get round to his place – fed through a machine and given a bit of a low-down husk. Almost like a captor making ransom demands over the phone – the sound of the vocal rather than anything creepy – it is another great left-turn and means the song ends as strongly as it started. Everything is slowed down at the end and the duo trade to the end. One wonders how things ended and just what happens.

Credit to Signal who has delivered his (perhaps) finest song to date. The equal of any Grime/Hip-Hop cut out at the moment; Down proves he is ready and mature enough to handle the demands of the mainstream. He could well stand up alongside Skepta in future years and already has a sense of command and confidence that is key to success. If he does release an E.P. or album: that will be interesting to see if the tone is overtly sexual or he gives us an insight into his daily life and other elements. Maybe not experiencing the same urban decay and gang battles of many Grime contemporaries: Signal offers a more accessible and relatable set of lyrics. Not just reserved for young men – it seems a lot of Hip-Hop and Grime aims for that demographic – Signal’s latest song – and the fact he combines with Eclipse – will cross the genre lines and manages to cross-pollinate genres; meaning he will have a wider market and get radio-play across a number of different stations. Kudos to Eclipse (Jooste on vocals) who is a new collaborator with Signal and manages to smash it. Her unique tones and endless confidence give the song something extra; let’s hope the two works together again very soon. Picasso adds plenty of rawness and candour with his vocals; his production values are typically excellent. With Picasso guiding production and adding creative elements throughout - the overall effect is sensational and slick. Down is the first statement from Signal that takes him from local hero and Basingstoke boy-done-good to an artist that has the guts and ammunition to make his mark on the wider scene. With some wise tutelage and a constant attention to P.R. and getting his music out there; that transition and realisation will come quicker than he imagines.

I recently interviewed Jay Picasso (who produced Down) and he extols the virtues of Signal. The working relationship between the two is solid and brother-like – Picasso ribbing Signal and applying cute nickname (which I shall not reveal). The duo has worked together before and one feels it is a partnership that benefits both parties. Picasso has the chance to take a young talent under his wing and experience new sounds and stories. It is helping craft and develop him as a producer and mentor. Signal, in turn, has been afforded the opportunity to work alongside a recognised and reputable studio boss that has seen many artists pass through his door. I know the two have been discussing the possibilities of an E.P. or album in the coming months. There is a lot of momentum and excitement in Signal’s camp and plenty of fresh ideas coming to the fore. Whether there is quite enough material for an album – he might go in with an E.P. – the coming months are crucial. The reception and acclaim Signal’s been receiving in the live setting has given him a definite boost.

The past year has seen radio interviews, live performances and some stealthy reviews. Coming from a humble basis and worked hard to where he is now: few can deny how deserved the attention and positive feedback is. All Night was championed by many people and sounded contemporary and fresh but with enough edge and unique spin to distinguish it from everything else. Down continues where that left off and is another dizzying assault from one of the finest young artists working right now. These are now the first moves from Signal: he has been performing for a long time and created an impressive back catalogue already. I feel the evolution and development he has undergone throughout 2016 will lead to some great things. I hope an E.P. does arrive in 2017 and we see many more tracks from Signal. Looking back at the earliest recordings and comparing them with today and you can just hear how much stronger he is. Whether that is down to work with Picasso or the experience picked up in the last few months. When Down seeps into playlists and gets picked up; one imagines Signal will have more London gigs and more chances to bring his music to the masses. One feels he could go even further and tour throughout the U.K.; perhaps some international dates might not be out of the question.

I opened up by talking about Grime and Skepta especially. There is an artist that is leading a charge and highlighting just how good Grime and Hip-Hop are. It is not acceptable to be tepid and tame with our musical tastes because so much great music is being overlooked. One of the best things about what I do is getting to hear such a wide range of music and some really fascinating people. I’d like to think – without the blog- I would be as adventurous. There are those of us who do take chances but not nearly enough. It is hard to say if anyone is to blame and what is to be done. I guess mainstream radio stations have their own tastes and cannot really break their format. There are not many websites that people use that aids the issue; many of us rely on word-of-mouth and a certain amount of luck. That might take time to change and it is going to be tough ensuring genres like Grime get a fair shout and feed fully into the mainstream. What the Mercury Prize did this year – like it has done recently – is to recognise music that falls outside of the mainstream and would not necessarily top festival bills. In the past (the award) has been given to popular bands that have been approved by critics and are a tad predictable. Over the last few years, the judges have taken chances on artists that fall outside of these spheres. That kind of shake-up is what music needs and let’s hope it continues. It relates to Signal who is not someone that is necessarily going to be sharing the stage with festival bands – his path and career will be a little different.

The public is starting to discover wonderful talent like Skepta and this trickle-down will see acts like Signal gain new audiences. Down is his latest revelation and emanates from a young man that has not even hit his peak. One feels, with every new song he brings out, the best days are ahead of him. Down has plenty of fire and roll; it swaggers and sticks in the mind but Signal will bring more sounds, strands and layers into future music. He will get heavier and perhaps collaborate with other like-minded artists. When all that comes together – whether it happens on a future E.P. – then you feel awards and huge gigs are likely to follow. It is always risky and difficult making these predictions when there are so many eager and talented musicians wanting the same thing. It is easy to discover those that go above and beyond expectation and elevate above their contemporaries. I hear plenty of artists on national radio that are weaker than Signal; let’s hope this injustice is rectified and (those like Signal) get their dues. It is worth wrapping up and recommending you follow Signal’s career and his upcoming moves. Down is yet another addictive and brilliant offering from a young man out of Basingstoke who has the potential to conquer new worlds and join the likes of Skepta under the microscope of the mainstream critics. Contrary to the title of his latest single: Signal is very much…

ON the way up.

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

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Follow Signal

 

Official:

http://signalofficial.com/

Facebook:

https://www.facebook.com/signalofficial

Twitter:

https://twitter.com/signalofficial

Instagram:

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

YouTube:

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

FEATURE: The Twenty Best Singles of This Year (So Far)

FEATURE:

 

The Twenty Best Singles of This Year (So Far)

______________________

IT has been such a busy and amazing year…

for new music and the mainstream. So many wonderful albums have come through; some incredible creations from some of the world’s finest artists. Last year, I bemoaned the lack of great albums and songs emerging: this year has surpassed expectations and really come up trumps. As the year start to close in; I have been thinking about the finest singles of this year to date (so far).

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Radiohead – Burn the Witch

There was a lot of trepidation with regards a new Radiohead album. 2011’s The King of Limbs was a great album but not up to the lofty heights of their previous oeuvre. A Moon Shaped Pool had such build-up and hype that it absolutely had to deliver the good. When lead single Burn the Witch arrived; all those anxieties and tensions dissipated. Nervy, politicised and string-laden: a golden Radiohead track that mixes the orchestral touches of Kid A and the dark undertones of Hail to the Thief. Complete with a Trumpington-inspired video and one of Thom Yorke’s finest vocals in years – the Oxford legends back to their very best.

[youtube https://www.youtube.com/watch?v=yI2oS2hoL0k&w=560&h=315]

M83 - Go!

French Electronic band M83 underwent some changes prior to the release of the April-released album, Junk. Morgan Kibby, their long-term keyboardist and vocalist, departed the group before recording began and forced M83 to change things slightly. Junk is a more collaborative album with performers like Beck, Jordan Lawlor and Mai Lan lending their vocals. Lan’s contributions go into the best moments from Junk: chief among them is the album’s third single, Go! One of the most infectious and bright choruses from any artists this year: an intoxicating rainbow-coloured celebration that is impossible not to sing along to. Junk split critics and contained its share of filler but tracks like Go! stood out and proved the French outfit had plenty of invention in their locker.

[youtube https://www.youtube.com/watch?v=U3YZTYXftzg&w=560&h=315]

The Stones Roses - Beautiful Thing

On May 12^th All for One was released and The Stone Roses provided a shock return to music. It was back in 1994 they released Second Coming: an album that was not up to the lofty and peerless standards of their eponymous debut. A lot has happened in the ensuing twenty-two years but it seems like the Manchester band are ready to release a third album. They are touring next year and Beautiful Thing is the second single from the band’s 2016’s output. Different in tone to All for One but hitting just as hard: another authoritative and joyous song from the Mancunian legends. Who knows what 2017 will hold for the band – an album or more singles – but it is great having them back – it has been far too long.

[youtube https://www.youtube.com/watch?v=lCk34IVVgcc&w=560&h=315]

Skepta – Man

There was little doubt Skepta deserved this year’s Mercury Prize. David Bowie was the bookies’ favourite, but in hindsight, it was a smart move awarding it to the Tottenham-born Grime artist. Konnichiwa was a song compelled by anger and, in the words of Skepta, getting revenge on critics – many branding him an idiot and doubting his credentials. Man peaked at number thirty-four in the U.K. charts and number seven in the U.K. R&B charts; the song’s main riff samples Queens of Stones Age’s lesser-known song Regular John. Man is Skepta fired-up and in control: throwing down the gauntlet and providing he is not only one of the leading lights on the Grime scene – one of the most exhiliratiing and accomplished artists in British music.

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

Beyoncé – Formation

Lemonade was released in April and shrouded in mystery and speculation. Many see (the album) as a rebuttable to Jay Z’s infidelity: others see it as a more general look at indiscretions and love. Not all the tracks across Lemonade addressed relationship issues – whether fictionalised or personal – and lead single Formation showed that. In a post-Ferguson, #BlackLivesMatter climate: Formation is a protest song that implores the black community to stand together; for people to join in unity. Although Beyoncé is one of six writers in the mix: her voice and commanding performances carries the song and ensured it was not easily forgotten.

[youtube https://www.youtube.com/watch?v=1ZDEX2ggvao&w=560&h=315]

Liv Dawson – Still

 

Liv Dawson is teenage talent that has a huge career ahead of her. Similar to artists like Billie Marten (see below) she has a very mature head (on young shoulders) and sounds like she has been performing for decades. Tapestry was a song that wetted critics’ mouths but that, in my opinion, was topped by Still. It is a gorgeous number that frames Dawson’s spellbinding voice and gravitas: an artist that can allure and seduce but has power and nuance in her voice. Lyrics are mature, world-wise and intelligent; the composition detailed but not too overcrowded. As 2017 comes into view, Dawson is a young artist that is going to gain more foothold and mark herself as a huge talent to watch.

[youtube https://www.youtube.com/watch?v=SUae53jt6Wc&w=560&h=315]

DJ Shadow (feat. Run the Jewels) - Nobody Speak

 

The Mountain Will Fall arrived after a five-year gap from DJ Shadow. While the album was not up to the lofty standards of Entroducing… it is not to say it was a failure. Although a few filler tracks remained: second single Nobody Speak is a genuine classic that could have been taken from DJ Shadow’s ‘90s period. Run the Jewels bring the swagger and defiance whilst DJ Shadow laces boisterous horns and slick beats to the party. Rap verses from El-P and Killer Mike give the song plenty of kick and bite whilst guitar loops, funky bass and DJ Shadow’s Midas touch take the track over the top.

[youtube https://www.youtube.com/watch?v=NUC2EQvdzmY&w=560&h=315]

David Bowie – Lazarus

This year might be notable for its terrific music and wonderful emerging artists but it is also, rather sadly, synonymous with tragedy. In addition to Prince’s passing; the death if David Bowie sent shockwaves around the world. Much of Blackstar was written and recorded as David Bowie accepted his fate: he knew he was not long for the world and in many ways; the music is a self-epitaph. That is true of Blackstar’s second single, Lazarus. The song’s video was shot in November 2015 in a Brooklyn studio. In a 1:1 ratio aspect and focusing on Bowie (buttons sewn over eyes) it is a haunting and beautiful video that affected many listeners and one of the last times Bowie was committed to film.

[youtube https://www.youtube.com/watch?v=y-JqH1M4Ya8&w=560&h=315]

Shura - What’s It Gonna Be?

 

If we are to examine the finest albums of 2016; it would be foolhardy to overlook the debut from Shura. Nothing’s Real was lauded because of its ‘80s-referencing Pop and beautifully constructed tracks. On an album stuffed with infectious, dance-along songs: What’s It Gonna Be? is one fo the finest cuts from a brilliant album. Shura has released seven singles from the album – one assumes that will be it – but What’s It Gonna Be? was written and produced by (along with other writers) award-winning producer and instrumentalist Greg Kurstin – he worked with one of Shura’s heroines, Madonna. Expect big things and a wonderful 2017 from Shura.

[youtube https://www.youtube.com/watch?v=nJ4uBdmnKds&w=560&h=315]

Anohni – Drone Bomb Me

 

Following the exceptional first single 4 Degrees: Drone Bomb Me is a song, in Anohni’s own words: “…a love song from the perspective of a girl in Afghanistan, say a 9-year-old girl whose family’s been killed by a drone bomb. She is kind of looking up at the sky and she’s gotten herself to a place where she just wants to be killed by a drone bomb too.” Politics and anger ran throughout Hopelessness: the first album from Anohni and a Mercury Prize nominee no less. Her dominating and gravity-filled voice is enough to buckle knees and drop jaws; the lyrics cut deep and get people thinking. Drone Bomb Me cold be an angry and unfocused song – given its subject matter – but, instead, is a heart-breaking and thought—provoking song from one of music’s absolute treasures.

[youtube https://www.youtube.com/watch?v=aUEoic7ro_o&w=560&h=315]

Glass Animals - Life Itself

 

The sexy, multi-vibe Oxford four-piece released How to Be a Human Being in August and it was greeted with huge critical acclaim. Life Itself departs from their previous work and is altogether slinkier, funkier and wittier. Pulsating, warrior drums and cool synths. sit with comical, slice-of-life lyrics: the hero lives with his mum and is “North Camden’s own Flash Gordon”. It is a song that epitomised the album and the originality Glass Animals bring to music. The fact Life Itself is still regularly played on radio proves it is a song that not only resonates with the public but D.J.s and tastemakers alike. Few modern bands do things quite like Glass Animals: Life Itself is an infectious and brilliant track that bounces around the head; one you are glad to have in there.

[youtube https://www.youtube.com/watch?v=yd9p4n5hLEg&w=560&h=315]

The Avalanches – Subways

Like DJ Shadow’s ‘return’ to music – or new album after a slight hiatus – there were nerves and excitement when The Avalanches unveiled plans for a second album. 2000 was when the world was introduced to the Australian D.J.s and their life-affirming record, Since I Left You. Wildflower was never going to equal the blueprint of that record but it did contain flashes of their debut-era brilliance. Lead single Frankie Sinatra was not overly well-received; many felt the group has lost their touch. When Subways was released – the third single from the album – those fears and doubts were allayed. Subways is a Disco-Funk song and samples Warm Ride by Bee Gees; performed by Graham Bonnet – also sampling Patrick Simmons’ Black Water. The lead vocal is taken from a 1980 song called Subways – Chandra Oppenheim was only twelve when she recorded the song.

[youtube https://www.youtube.com/watch?v=bPIMfOIuEe4&w=560&h=315]

Bon Iver – 33 “GOD”

There is not much that can be said of 22, A Million that has not already been said. The American’s third album has gained hugely positive reviews and almost makes you forget about the odd song titles – he has earned the right to be a little mysterious and pretentious. What you get from 33 “GOD” and much of 22, A Million is a record that deals with personal distress and crisis better than any other. Justin Vernon’s confusion, heartache and displacement is fed through oblique lyrics you are happy to second-guess and unravel. If the lyrics push some listeners away: the exceptional composition (on 33 “GOD”) draws you in; into a wonderful, strange world that belong only to Bon Iver.

[youtube https://www.youtube.com/watch?v=6C5sB6AqJkM&w=560&h=315]

Parquet Courts – Dust

 

Human Performance was released in April and the fifth album from American Punk-Rock band Parquet Courts. Dust arrived in February and was the lead single from the L.P. A perfect way to kick the album off: Dust is drone-like but has plenty of determination and spirit; its chorus is instantly catchy and memorable and the band performance is completely tight and compelling throughout. Backed by rich and clear production values and you cannot fault the multiple layers and nuances of Dust. The rest of Human Performance switches between goofy Pop and addressing gun violence in the U.S.  and proves what a nimble and far-reaching band Parquet Courts are.

[youtube https://www.youtube.com/watch?v=lRG3R2FmGlY&w=560&h=315]

Tegan and Sara - Boyfriend

There are those still unfamiliar with Canadian duo Tegan and Sara. The Grammy-nominated sisters released their eighth album, Love You to Death, in June and the single Boyfriend two months prior. Co-writing with producer Greg Kurstin: the song tackles defining a relationship and the switch between lover and friend. The narrative was inspired by Sara Quin’s past where she was dating a bisexual woman – who has never dated another woman – who was dating a man; it also touches on L.G.B.T. themes and heteronormativity. Boyfriend is very much Tegan and Sara what they do best, albeit it, tinging their celebratory energy with something confused and heartbroken.

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

Teenage Fanclub – I’m In Love

After six years away: Scottish Alternative rockers Teenager Fanclub released Here. One of the best albums from their 21^st-centiury cannon: no cracks or fatigue to be found; simply an unstoppable band full of inspiration and quality. In fact, Here could have arrived back in 1990 (when their debut, Catholic Education, came out) and I’m In Love is the perfect exemplification of that theory. Breezy, catchy and romantic: a song that puts a smile on the face and motivates you to sing along. It’s insanely catchy chorus states: “It feels good/With you next to me/That’s enough, that’s enough/”This is not such a mystery/I’m in love/With Your love”. A sensational, hugely uplifting and glorious track from the Bellshill legends. Let’s hope they have many more albums left in them.

[youtube https://www.youtube.com/watch?v=FDOLKSp2AWU&w=560&h=315]

Jamie T – Tinfoil Boy

Trick was finally released last month but the consumer has plenty of Trick material to salivate over prior to the record’s release. Lead single Tinfoil Boy came out In June and marks one of the lariest bangers from Jamie T to date. Its chorus sounds like bit like Born Slippy with a fleck of South London; the lyrics find the hero being “tricked into waking up” and address issues of anxiety and depressions. If some songs on the album play too close to Arctic Monkeys (Power Over Men) and Combat Rock-era The Clash (Tescoland): this is one of the most Jamie T-esque songs; a ballistic strike and outright stunner from an artist still capable of surprising and bringing the good.

[youtube https://www.youtube.com/watch?v=TElBPcFIk0E&w=560&h=315]

Kate Tempest – Don’t Fall In

 

It has been a busy last couple of years for London-based poet-songwriter-authour Kate Tempest. After the success of her debut album Everybody Down (which gained a Mercury nomination) she has been restless and breathless: the novel The Bricks That Built the Houses and play Brand New Ancients were introduced and the groundwork for her second album, Let Them Eat Chaos, created. Don’t Fall In was unleashed last month and a perfect taster of the upcoming album. Propelled by a dark and seed pulsed beat; subjects of social stagnation and survival are thrown together in an exhilarating, fast-flowing song. The “half-hearted, half-formed” and half-furious, half-bored are trudging through life. Whilst separate in tone to many of Everybody Down’s tracks; Don’t Fall In contains that inimitable blend of social astuteness, endless determination and entrancing delivery.

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

Billie Marten – Lionhearted

If seventeen-year-old Billie Marten was nervous about the release of her debut album, Writing of Blue and Yellows, the critical reception must allay that somewhat. Unanimous praise and love have come her way. Many highlighted the tender, breath-taking vocals and mature songwriting; the incredible beauty and emotions that come through in the music. Despite being a debut album: there is no doubt Marten will be a huge star of the future. Lionhearted is one of the standouts from the album and looks at the heroine getting away from things and wanting a steelier heart. Whether affected by the strains of life or going through tough times: everything is made to sound entrancing and utterly beguiling because of Marten’s affecting and gorgeous voice and finger-picked composition.

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

Nick Cave and the Bad Seeds – Jesus Alone

 

Undoubtedly one of the finest albums of the year – perhaps just pipped by David Bowie’s Blackstar – Skeleton Tree is a hugely emotional record and one tinged with tragedy – following the death of Nick Cave’s young son, Arthur. Jesus Alone is the album’s sole single (to date) and mixes squelches, haunting electronic wave over a sonorous, ethereal Cave vocal. Lines like “I am calling you” seem directed at his departed son and the entire song is spine-tingling and haunted. In a year that has seen so many fine singles come forth: Jesus Alone surely stands above them all.

[youtube https://www.youtube.com/watch?v=9iGxoJnygW8&w=560&h=315]

INTERVIEW: MissDefiant

INTERVIEW:

 

MissDefiant

__________________________

I have dedicated a lot of column inches to duos and just how…

varied they are. They are never as predictable as bands and I find duos have much more longevity and quality (than most groups out there). MissDefiant consists Jordan Cather and Emily Rose Adams. The London-based two-piece is one of the most colourful, assured and delightful duos around and always bring it hard. Their three-track single Calculator is out next week and it seems like a perfect time to chat with the girls and see how the year has treated them; how they came together and what they have planned for the remainder of the year.

HEADER PHOTO CREDIT: @robgardnerphotography

___________________________

[youtube https://www.youtube.com/watch?v=b8YsAWJ8_Bg&w=560&h=315]

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

Jordan: Wassup! How’s it going? It’s been a manic week! Rehearsing for our upcoming gig at 93 Feet East and working on the promo around the release of our next single Calculator - which is out on the 7th October.

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

Emily: We’re MissDefiant! We are an Electro-Pop duo from London. We write our own music and our producer and silent member of the band is the amazing Mike Tournier from Fluke and Syntax. Our debut album will be out soon along with a B-side of acoustics and remixes - so there should be something in there for everyone.

How did you two meet in the beginning and when was the moment you realised you would go on to make music together?

J: We went to the same performing arts school called Millennium; over a year ago we met again on a film set, randomly! It was a long day of filming and we were both catching up with what we had both been up to since leaving Millennium.

It was quite apparent that we both wanted to do something in music so thought it would be cool to have a jam and write some music together…the rest is history!

Duos don’t have the comfort of additional band members or the same critical attention as solo artists. Has it been challenging putting MissDefiant in the mindset and getting your voices heard? Is it quite difficult getting exposure and attention in the modern climate?

J: Yes it’s been a challenge at times but we love a challenge and are always forward thinking! We also like being a duo as it’s a bit different. Two minds can create magical things!

E: Exposure is tough as there are so many amazing artists out there.

So we’re always thinking of new ways to get our voices heard!

How do new songs come together for you? Do you both set time aside for writing sessions or is it very much a case of putting pen to paper when ideas strike?

E: It’s a bit of both: sometimes when we go into the studio we have written a full track beforehand. But quite often we go into the studio and brainstorm ideas together and record them there and then. It can be really spontaneous. 

MissDefiant has a very colourful vibe and sense of fashion - lots of bright, neon lights and variegated tones. Is fashion and imagery a visual representation of the music or a subject you have both been interesting in for some time?

J: We are both very much into fashion and make-up! We love experimenting with new looks and arty ideas. We wanted to not just be known for our music but also for our fashion style and the imagery of what we are trying to create. We want to be music and fashion icons!

[youtube https://www.youtube.com/watch?v=JlDiX5FtDlM&w=560&h=315]

The video to recent single Ear Candy is out. The song mixes elements of ‘90s Dance and modern Pop artists like Lady Gaga. It is one of those addictive songs that have huge energy and rush. What has the reaction to the song been like?

E: It’s been great! It’s probably our catchiest song that we released so far and its particularly gone down well in clubs.

Your music videos are always eye-catching and memorable. Is that a side of music you enjoy and do you feel it’s vital to keep the art of the music video alive?

J: It’s a lot of fun creating the music videos: something I used to dream of doing as a kid!

I think the videos are very important in connecting with our fans and to also show people what we are about but also to show different sides to both of us.

Calculator is your forthcoming three-track single. What can you tell us about the themes and tone of the song? Are there remixes as part of that release?

J: This song is quite different to some of our other songs that we've released. It’s quirky with an urban feel and it’s got a lot of attitude! The lyrics express some of our personal experiences with dating!  We feel that a lot of women will relate to this song, as let’s face it, we have all been there ;)

E: We have a fab remix of the song by Hectic. Big shout out to Hectic: you are amazing! We also have a more stripped-back ‘acoustic’ version by the awesome Humbringer too, which sounds so different to the original version. It’s super laid-back and melodic.

A lot of your songs address deep issues and social concerns. Do you think musicians have an obligation to dig deeper? Is it important for MissDefiant to mix serious subjects and important messages into the music?

E: We love digging deep and spreading a strong message. Some people might think it’s a bit full-on at times but we want to feel like we make a difference to our listeners' lives, and let’s face it, we’re MissDefiant - we’re not going to just write about love and heartbreak!

We’ve been running anti-cyber bullying workshops in London schools this year; helping teens deal with it and performing our track Fairytale to them. It’s an amazing feeling helping young people through our music.

You are both hosting a festival showcase in East London on 13th October. How did you become involved in that and can you reveal any of the acts who will be playing?

J: We really want to play at festivals next year! We were reading an article about how it’s so important for festival bookers to see acts live or else it’s very unlikely they will book you for a festival. So we came up with this idea of putting on our own festival showcase to showcase us and other cool acts to festival bookers that are ready to perform at festivals next year.

We have the amazing DOPEBOYLDN, Ella on the Run; Episodes and Zen Blythe performing. It’s going to be a really great evening!

Your debut album is out in December. I guess many of your previous singles will be incorporated. What can you reveal about the songs that will appear and the general theme of the album?

E: The album has a mix of Electro. party tracks and statement songs. A few of our previous singles will be on there but there’s loads of new stuff too. It’s a really fun album that we hope our listeners will LOVE! The B-side stuff is pretty cool too: we’ve got some acoustic versions of our tracks on there which sound so different to the original. 

PHOTO CREDIT: Anna Urik

You have had such a busy year and have so many great memories. What sticks out as the best (or several) that has defined the past year?

J: It has been an AMAZING year!

The memory that sticks out for me is performing at KOKO supporting LMFAO: that was an unforgettable experience which I will remember forever.

In terms of the artists and musicians that have inspired you most: which would you rank as most important?

E: Big inspirations to us are Die Antwoord, Grimes, Madonna, Lady GaGa.

Are there any new musicians – either mainstream or underground – you would encourage us to check out?

J: Tove Lo has some awesome tunes! Also, DOPEBOYLDN is a serious talent to check out!

There will be similar duos and artists who want to follow in your footsteps. What would you say to them?

J: Be bold, be brave and don’t hold back on what you want to achieve in life! Never be afraid of what people think of you; just be YOU.

E: Don’t give up! The music industry can be a tough industry to crack and many awesome artists give up before they’ve got to a real level of success.

So keep going and find ways of doing things differently to everyone else!

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

Cool Girl - Tove Lo! It’s a sick song!

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

________________________

Follow MissDefiant

 

Official:

http://www.missdefiant.com/

Facebook:

https://www.facebook.com/MissDefiant/

Twitter:

https://twitter.com/MissDefiant

Instagram:

https://www.instagram.com/MissDefiantOfficial/

SoundCloud:

https://soundcloud.com/missdefiant

YouTube:

https://www.youtube.com/channel/UC-2ky3QstIV_tG19NbHYqYA

FEATURE: Warning: Ten Essential Green Day Tracks

FEATURE:

 

 Warning:

 

 

Ten Essential Green Day Tracks

_________________________

IT is hard to comprehend the fact Green Day have been…

releasing albums since 1990. Considering they are about to release their twelfth album is quite staggering. Revolution Radio is out 7^th October and sees a return to the Punk/political sounds of American Idiot. Following the rather lukewarm reception given to the band’s trilogy – ¡Uno! ¡Dos! and ¡Tré! – the Californians are returning to something more assured and solid. Whilst is yet to be seen whether they can scale the heady realms of American Idiot we shall see. In honour of the band’s amazing and varied career: I look at their ten most essential songs to date and a little bit about each.

______________________

 21 Guns (21^st Century Breakdown)

21^st Century Breakdown was a typically political, angry album from a band witnessing homeland carnage and disruption. Not as focused, astonishing and acclaimed as American Idiot: the album did manage to mix fiery, hands-in-air anthems and poignant moments. 21 Guns is in the latter camp and was nominated for Best Rock Performance by a Duo/Group with Vocals and Best Rock Song at 2010’s Grammys. The song looks at patriotism; Billie Joe Armstrong, in his head, saw it as a 21-gun salute for the fallen – through the prism of stadium Rock and intended for the huge crowds. Comparisons to All the Young Dudes was made – huge chorus that gets people unified – but it is typically Green Day. Others brought in names like Toto, ELO – hardly bands you’d link with Green Day – but a song that goes through various phases and is the highlight of the album. Whereas other album singles Know Your Enemy were critisised for their stiffness and lack of inspiration: this is a song that is very much anti-war and complete with some high-pitched vocal heroics from Armstrong. If many passed 21^st Century Breakdown as a lesser sister of American Idiot: this is the song that should remind them there are some classic Green Day cuts to be found.

[youtube https://www.youtube.com/watch?v=Mke9EHMQMYI&w=560&h=315]

When I Come Around (Dookie)

Dookie is arguably Green Day’s finest album (that, Nimrod and American Idiot usually divide people) but you cannot argue against the fact Dookie possesses many awesome songs. The album’s final single was inspired by a woman (Armstrong’s wife; former girlfriend at the time) and a dispute between the two. Following an argument with Adrienne; Armstrong left to spend some time alone. This was the band’s most popular song in their early days and one of the standouts from their 1994 album. In a year that saw some phenomenal, world-changing albums arrive: Dookie stood out among them; in no small part because of this song. The band’s second best-selling single of the 1990s; it was championed by critics who found it to be a mature song from a band that were dividing some with their, at times, immature and juvenile music. When I Come Around is still a song that resonates and hits the heart. One of the most emotional and poignant songs Armstrong has penned – When I Come Around shows Green Day were more than mere Punk Rock brats and political warriors.

[youtube https://www.youtube.com/watch?v=i8dh9gDzmz8&w=560&h=315]

Geek Stink Breath (Insomniac)

Insomniac is an album many overlook when thinking about Green Day. Perhaps not in the ‘big three’ when you think of the guys: it is sandwiched between Dookie and Nimrod but does not show any stress and sense of expectation. Armstrong was a new father at this time but the songs, rather luckily, do not focus on that and the sappiness you get from artists who cover this ground. Instead, one enjoys the same self-loathing and disaffected grumbles from a man who still feels under and controlled. Geek Stink Breath might not make many people’s list of greatest Green Day songs but it is such a catchy and strange number – one you have to fall for and experience its quirks and thrills. ‘Geek’ is a slang term for methamphetamine and the song looks at the effects the drug has on the body. The lead-off single from the album; the lyrics look at a singer going down the path of self-destruction and recalls Armstrong’s own experiences with the drug. The track also focuses on people (around Armstrong) who fall prey to the power and allure of methamphetamine and brings in influences of 1970s Punk bands like Ramones and Sex Pistols. Although it was a modest radio hit – probably because of the drug references and bleak subject matter – it is a cracking track with memorable lyrics and a highly-charged band performance. Many found Insomniac lacked any real growth and fell short of Dookie’s standard. The band would address this point in Nimrod but Insomniac, and songs like Geek Stink Breath, are well worth your time.

[youtube https://www.youtube.com/watch?v=zwiNqnOQH48&w=560&h=315]

Holiday (American Idiot)

Following Warning’s rather mediocre reviews in 2000: the band felt the need to step it up and change things up. Whereas Warning was a softer, less charged album than their previous work – American Idiot took critics by surprise and left many reeling. Their most astute, ambitious and theatrical – certain songs were suites; broken down into segments – the band were on-point and angry throughout. Capturing the spirit and defiance of their early work whilst addressing current political malaise and social inequality – the greatest album from the band, in my view. American Idiot is, essentially, a greatest hits collection in one album. Holiday was released as the third single from the album and gained considerable popularity and critical praise. Armstrong spent two months finishing the song as he felt the lyrics were not good enough. Taking pot-shots at American conservatism and how the Republicans segregated groups and alienated one from another – a blatant shot at then-President; one that crowds and live audiences engaged with and felt a connection to.

[youtube https://www.youtube.com/watch?v=A1OqtIqzScI&w=560&h=315]

Good Riddance (Time of Your Life) (Nimrod)

Nimrod is one of those albums one instantly links to Green Day: perhaps the purest representation of their brand of music and what they are all about. The hooks, melodies and short, sharp shocks run rampant through one of the most anthemic and memorable albums of the ‘90s. At 18 tracks, it could be a bit of a struggle but the truth is the album just rushes by. More globe-trotting and humorous than Insomniac: Armstrong was keen to put the wit back in and ensure (Nimrod) was a more consistent and appealing record. Good Riddance (Time of Your Life) shows just how much heart Green Day have. It was conceived in 1990 but not premiered to the rest of the band until Dookie’s recording sessions in 1993 – Armstrong felt the song sounded too out of place compared with the other material. The decision to add strings to any Green Day song is a risky one: it is a gamble that paid off and ensured the song got into the heart and caused something wonderful to happen in the soul. Touching, unforgettable and fantastic: the fact the band released it as a single was one of the most daring things they ever did. The track has gained a huge legacy and, due to its nostalgic lyrics, has been the chosen prom song for many high school alumni. From graduates making their way into the world or lovers reflecting on past times: Good Riddance (Time of Your Life) has captivated an entire generation.

[youtube https://www.youtube.com/watch?v=CnQ8N1KacJc&w=560&h=315]

She’s a Rebel (American Idiot)

On an album that is stuffed full of instant and grabbing songs: She’s a Rebel is certainly among the very best. It does not get singled out among many reviews but that is folly. Not only does the song hark back to the band’s early days but it is a song that just rattles around the head. The song’s rebel is “salt of the earth” but someone very dangerous. With each new line, one wonders who is being referred to. Whether an activist that is striking against injustice – and doing it through questionable means – or the embodiment of Green Day’s disaffected generation – it is a propulsive, hook-laden song that compels you to get off the chair and wave your fists in time to the song’s meaty riffs and swaggering vocals. “From Chicago, to Toronto/She’s the one they call oh-what’s-her-name” displays the keen Green Day wit, whilst the band’s performance is one of the tightest on the album. The heroine signals the dawning of time and revolution; a vivid and tempestuous figure that speaks against corruption. Past the half-way mark that breeziness and insatiable kick comes in - a fast-paced, megavolts riffs scratches away whilst the bass bounces and the percussion slams with abandon. An infectious and sticks-in-your-head-forever song – from an album that was contained them in spades.

[youtube https://www.youtube.com/watch?v=eOv5fF7maFY&w=560&h=315]

King for a Day (Nimrod)

If you ever felt compelled to show a song that would baffle anyone with preconceived notions about Green Day the King for a Day is it. One of Nimrod’s treasures possesses parping horns and a sense of woozy jubilance. Lyrics such as “Sugar and spice and everything nice/wasn’t made for only girls/G.I. Joe in panty hose/is making room for the one and only” stick in the mind and have that quintessential blend of humour and intelligence from the band. It is a song that puts guitars second and embraces something rather silly, immature and reckless. Never in a bad way as the song is one of the most focused and worthy from Nimrod. It proves how daring the band could be and pretty much make everything pay off. Words that sees a young Armstrong rifling through his mother’s drawers – finding something in a size four – and going to bed a king and waking up a princess – one of the most imaginative and eye-opening songs from the group. The percussion is especially impressive and sounds like an eight-limbed beast hammering the skins. If you are not chanting along at the chorus and getting into the spirit then you have lost all zeal and faith in life. Marching, stomping and rambunctious: all the ingredients and chemical elements that go into a Green Day song. Perhaps not highlighted by fans as a particular favourite – another one of their songs that deserves a lot more acclaim and exposure.

[youtube https://www.youtube.com/watch?v=ViWiOs9XySg&w=560&h=315]

American Idiot (American Idiot)

You want meat, grit and authority? From the opening notes, American Idiot’s title track is snarling beast that goes for the balls. One of the most explicitly political songs on the album struck a huge chord with critics and remains one of Green Day’s finest singles ever. The song states mass media has orchestrated paranoia and idiocy among the public – Armstrong not wanting to be another idiotic American. Armstrong recalled how cable media portrayed the Iraq war in deceptive tones. It was almost like reality T.V. he felt. The frontman saw adverts interspersing clips of bloodshed and could not remain silent. Inspired – in a negative way - by songs like Lynrd Skynrd’s That’s How I Like It (which celebrates being a redneck) he honed in the issue. There is that pride is war and violence; celebrating everything wrong with the world. Rather than a finger-pointing song; it is a call for unity and an eye-opening song that promotes change and betterment. The song was nominated for four Grammy Awards and remains one of the band’s signature tunes. Boasting one of their most electric and pummelling riff and most unified band performance – in my view, the song that defines what Green Day are all about. After a rather fallow period for albums (struggling to find the creative inspiration they enjoyed with Dookie and Nimrod); American Idiot was a welcome return. Its title track summed up the feeling of many Americans and is a song that seems entirely appropriate for a time where Donald Trump could lead the nation.

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

Warning (Warning)

Building off the success of Nimrod: Green Day went in a different direction with 2000’s Warning. The music remained peppy and spirited but the lyrics reflected new-found maturity and sticking closer to Pop – perhaps less Punk than any album they had written to that point in time. Their slickest and most grown-up album; it did divide some critics that felt the band should stick with what they did best. In fact, the U.S. legends progressed their sound and wrote an album that is their most underrated. Still snarling and rebellious in places; its strengths in the cohesiveness and consistency of the material. The title track is a perfect example of the solid and nuanced material that can be found throughout Warning. Billie Joe Armstrong wanted to create whose lyrics consisted signs and labels. The idea sprouted and grew from there and it rose to number three in the U.S. Rock chart. Making the top 40 in the U.K. and impressing critics: it is one of the most successful songs from the record. If the overall record split some reviewers and fans its title track was a lot more successful. A track that showed Green Day could be more organic and mature without losing their appeal and wonder.

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

Basket Case (Dookie)

Ending with, in many people’s eyes, the best Green Day song. It is certainly one of their earliest classics and remains a live staple. The third single from the band’s third album was one of the most personal songs from Armstrong. It reflects anxiety and panic that was building in his body – shortly before he was diagnosed with a panic disorder/anxiety. He felt the only way to understand it and make sense was to get it out in music. There is no denying what a legacy this one track has and how it has been taken to heart. It scooped a Grammy nomination for Best Rock Vocal by a Duo or Group and was named the best Punk song ever by Mike Davis and Zane Lowe (as part of their Lock Up Special on Radio 1). Basket Case has also been voted 33^rd-best Hard Rock song by VH1 and topped many other polls. One cannot hear the song without singing along and repeating it. Not just topics and struggles reserved for Armstrong himself. Many fans and listeners connect with the song’s messages and find solace in its, if vivid and eccentric, mandates. The song’s video was actually filmed in a real institution – at the request of the band – and gives extra meaning and reality to a song that summed up a remarkable album (Dookie).

[youtube https://www.youtube.com/watch?v=NUTGr5t3MoY&w=560&h=315]

TRACK REVIEW: Tom Bem - Numb

TRACK REVIEW:

 

Tom Bem

  

Numb

9.4/10

Numb is available at:

https://soundcloud.com/tom_bem/numb

RELEASE DATE:

September 2016

GENRE:

R&B; Soul

ORIGIN:

London, U.K.

The E.P. Beast Side is available to stream here:

https://soundcloud.com/tom_bem/sets/beast-side

____________________

I am always keen to investigate solo artists...

because they offer something you just don’t get from bands and other artists. There are a lot of solo artists emerging and it is really interesting hearing all the different sounds and genres. I find there’s some dissatisfaction with the best in the mainstream so we should be looking to the underground for the replacements and successors. If you feel all new music is weaker than that of the past: you should dig deeper and you will ably find some truly accomplished and fantastic musicians that have the potential to endure and keep on many music for a very long time. Before I come to my featured artists – who fits into my first point very well – he brings up a couple of themes worth exploring in more depth. I wanted to look at Soul/R&B crossovers and artists that blend emotive lyrics into this sound; looking at the musicians that make their way to some rather prominent names and how they achieve this. What we are seeing – in terms of the mainstream – is greater acceptance of lesser-heard genres and more experimentation from the artists. You still get Pop acts and some rather bland and over-produced artists that seem to have a large fanbase and plenty of appreciation. It is rather angered to hear some many of these types of artists remain on the scene and be celebrated. It is not just be ranting and imposing my own tastes: how do these types of act manage to get successful and why are people listening to them? I am talking about those Pop acts that have committees writing their songs and whose vocals are processed to the extreme. It is such inorganic and pointless music it is almost a form of brainwashing. Luckily, the consumer is showing more discretion lately and we are finding more credible and daring musicians being given proper attention and respect.

I have mentioned Skepta (after his Mercury win) and how we might see a turning towards Grime; maybe a genre that can infiltrate the mainstream and actually start to get the recognition it deserves – a topic I shall flesh out more in my review of Signal (tomorrow). One feels the next few years will see the lesser artists and rather cloying musicians start to be channeled out and hopefully reduced to the sidelines. R&B/Electro. blends are coming into fashion and being used by quite a lot of young solo artists. It has not just come across overnight but has been slowly making its presence known. We all have affection for Rock and the harder, more anthemic parts of music but one cannot deny the appeal and beauty you can find in R&B. What a lot of modern artists are doing is combining the pureness of R&B (elements of the ‘70s and ‘90s) with the modern sounds of Electro. Whilst a lot of the songs (you get in this area) concentrate on love and break-ups: there is a lot of variation and depth to be discovered.

It is hard to say what lies behind the resurgence of R&B and why it is favoured by a lot of solo artists but we are seeing so many great and promising musicians emerge and bring their inimitable and unique take to the genres. Tom Bem is someone who is distinct and standout in a world of hungry and ambitious solo artists. Before I carry on – and talk more about his work – let me introduce him to you:

“Tom Bem, Artist / Producer from South East London merges his distinct production of Electro RnB with his thought provoking lyrics in emotive fashion. Tom has written with and produced for an array of artists that span from double Ivor-Novello award winner Christ Difford (Squeeze) to Bastille.

As an artist Tom’s sound is distinctive thanks to his unmistakable voice, individual production sound and his unique guitar playing, making it very difficult to compare him to any other artists.

Tom Bem presented himself as an artist last year, releasing EP ‘Pass It On’, which reached download limits within a month, and helped his Sound Cloud exceed plays of 140,000 last year alone. In 2013, Tom played across the UK supporting acts such as Tinchey Stryder, Sway, Amelia Lilly and Loveable Rogues and has always had fantastic reactions to his performances.

Tom’s latest work comes in the form of ‘Shallows’, a concept EP of love and betrayal. Shallows features two co-writes with classical composer Dexter Britain, fusing Tom’s electro dub and soulful voice with emotive string arrangements, creating his most honest and vulnerable work yet”.

I have extolled the virtues of a lot of musicians on the scene but few have the talents and dynamics of Tom Bem. He is a multi-instrumentalist and producer that pretty much take care of music all on his own. There are a lot more D.I.Y. musicians coming about that produce and record themselves but Bem is someone who can achieve that and not fall into the trap of many of his peers. One of the issues with musicians that deal with instrumentation and songwriting on their own – not bringing other musicians into the fold – is that the music can sound rather rushed and clichéd. What you get are those eager young musicians that want to show they are independent and self-sufficient but tend not to take the time to think about making some original and nuanced. Although Bem unites with other producers and talent: it is his voice and D.N.A. that shines through. The little things are important when you consider Tom Bem. His official website has some beautiful artwork on it and clear and easy-to-access links. You get all the information you can want and it is very easy to navigate. It might sound like an insignificant point but it is vital for the new fan. When you get to his official site (link at bottom of review) you are treated to all Bem’s work and biography; some great photos and all the social media links. It is things like this that have separated him apart from many of his peers – too many new musicians do not take the time to think about things like their official website. Tom Bem has been fortunate enough to work with names as lofty as Squeeze’s Chris Difford to Disclossure. Many musicians would kill to have that on their C.V. but Bem has not achieved this through the virtue of his looks and youth. He is a talent that is not only an exceptional musician and songwriter but someone who is willing to be vulnerable and soul-baring through his art. This is a something that is hard to do but can pay dividends – if it is done right. It is not rare for musicians to unveil their innermost emotions and show fragility. In fact, it is quite a common currency but can get a bit samey. Depending on how it is presented and what music you put behind (those lyrics) can make all the difference. Bem is never keen to reveal everything and look for pity: he is an honest artist that shows his hurt but never asks the listener for sympathy or comes on too strong. Backed by that unique and wondrous blend of R&B smoothness and teasing Electro. and the combination is incredible.

Beast Side is the current (stunning) work from him but not the first offering. Tom Bem has been releasing music for over five years now and has brought out quite a few E.P.s It is impressive finding a young artists that has that much inspiration and material in his locker. Be Silent was out four years ago and a three-track that followed on from the much-lauded, Bête Noire. If that E.P. painted images of bad dreams and nightmares then Be Silent looked for some quiet and consideration. What you find with Bem’s work is the title gives you insight into the nature of the material. Songs like The Marionette are vivid and glistening; polished and sleek but edged with a sense of sadness. The song’s lead/subject has a voice telling them to leave: they are unable to and feel a sense of confusion and fear. It is a song that has a sensual and beautiful vocal and rides clicked beats and chocolate-smooth electronics. Nods to artists like Prince and Michael Jackson can be found yet Bem puts his own stamp on ‘80s R&B and Soul. Pass It On arrived shortly. Whereas Be Silent played more in the wheelhouse of R&B from the past: Pass It On was a much more modern and chart-primed E.P. that was fresher and more urgent. Perhaps more spirited and optimistic than its predecessor: Bem showing how nimble he was and able to show new creative sides and lyrical inspiration. The production was more polished which did take some of the genuine emotion and rawness from the music. While the songs stay in the head and resonated with many people; there is a feeling it is a little bit over-produced; one yearns for some more depth and emotion from Bem. Not that one could criticise the E.P. as it was another great step and assured work from a young man not willing to settle and repeat himself.

Shallows showed yet another new direction and came back to the earlier work of Tom Bem. There were sunnier and Pop edged to be found but, by and large, the abiding mood is one of reflection and personalisation. Plenty of rush and energy comes out in Shallows but there is a definite leaning towards passion and emotional outpouring. Looking at jealousy in love and imbalance: the most mature and rounded work of Bem’s career to date. Someone Else boasts a fine and memorable chorus that is huge and graceful - tinged with sadness and pertinent questions. Captain matches quirky notes and spacey electronics together with rampant beats and tremulous vocals. Bem at his most shivering and delirious here – showing just what his voice can achieve; it covers so much ground throughout the song. Beast Side, aside from its incredible cover art, seems like a natural compassion for Shallows and contains more similar threads. You have the solid and variegated compositions – that go from old-school R&B to modern Electro. – and the vocals seem even more elastic and profound than before. With each new E.P., Bem seems to add colours and weight to his voice and that all comes to the fore. The biggest changes are the production and confidence together with lyrical themes. The production is less polished than previous work which allows more naturalness to come out. The record is not too shiny and it means you have an E.P. that is live-sounding and raw as it needs to be. With that, there is less consideration towards the charts and fitting into the Pop mould.

One thing that worried me about E.P.s like Be Silent was a sound of a young man trying to fit alongside the worst of the mainstream – betraying his talent and full abilities. Beast Side is Bem as his own man and changing his tones. Less mournful, sensitive and tender than Shallows: it is a more toothsome, attacking and sexualised E.P. I find comparisons with Michael Jackson and his transformation from Bad to Dangerous. The former was defined by its smooth and heartfelt love songs with the odd flash of grit and anger (Leave Me Alone). Dangerous was Jackson angry and in more defiant mood. Love songs tended to be more accusation and cynical tones: a tougher, leaner and more masculine voice came out. Bem, on Beast Side, is reacting to hurt and deceit and coming out on top. That is not to say there is chauvinistic attitude and indiscretion ruling the music. The title track – as I will detail – is one of the most vulnerable and heartfelt songs he has created but there is a shift to grittier and spiked subjects in the E.P. It is rewarding finding a musician that continues to grow and react to his changing circumstances. Maybe he has had his heart broken but not going to let it get to him. In a way, Beast Side is like a concept that starts from numbed and pained beginnings and ends in an explosive song in Kalashnikov. On WHDK; Bem combines with Effie – someone I have reviewed before – and it is wonderful hearing him bring other singers into the fold. Beast Side is the most complete, consistent and memorable work from Bem and one that will see you come back time again. It is not just reserved for his fan-base and is capable of bringing in plenty of new fans. It is the opening track that interests me most and one I have been compelled to investigate.

Numb is a song that starts with a bit of tease and build-up. A little bit of electronic warp and racing beats give the song some early intrigue and settle. That restraint does not last long as everything starts to get tense and more sexual. Whilst I mentioned Numb was a revealing and vulnerable song from Bem: it is, but more in a sexual way rather than emotive. He has never before shown this side to his soul – one that seems to have abandoned patience and flirtation and is going right for the jugular. “She’s frustrated, I’m inpatient” he says – giving you an insight into what path the song will follow. If his soul and sense of trust has been numbed then so too is that sense of demure and foreplay. Like a beast on the prowl; he wants to capture the girl and make her feel numb. That sense of sexual anesthetisation and surrender gives the track a definite sweatiness and knee tremble. One can practically imagine Bem roaming around the night – perhaps at a club or bar – and hunting for a woman. At no stage is the song vulgar or crass and it is a slice that could have been taken from Prince’s back catalogue. I hear a lot of Prince in the vocal and lyrics and that is quite a revelation. Never has Bem sounded quite as grown-up and desirous as he has here. Past E.P.s has seen him explore emotions and his damaged heart; he has provided elliptical numbers and sunshine but never sounded as raw and close to the bone. “Don’t you want it?” he declares backed by sizzling electronics and savage beats - one of his most explosive choruses – and it is a song that springs into life. I have mentioned how Bem does not fit into the Pop mainstream mould and that is true here. While there is a little taste of mainstream Electro. and Pop artists – that same electronic sound and lyrical breakdown – Bem’s voice and clear musical direction steers him away from obvious comparisons. Numb sets Beast Side up perfectly and defines the E.P. with ease.

Through every note he is in command and completely authoritative. You feel him close in and get close to the girl. Maybe she is reluctant and a bit hesitant to submit to someone so pressing and confident. Warning the girl to give in to her primitive and primeval side: our hero wants to cage her and ensure she is fully under his spell. It seems like there is backstory with the two and he has been waiting to get her alone for the longest time. That frustration, tied with an un-quenched sexual thirst, makes the song palpable and urgent from start to finish. Each new line reveals more of the plot and sees the duo get closer to one another. The girl seems to be resisting for a while but, like prey in the wild, there is only so much running you can do before the energy collapses and you have to accept your fate. I am making it sound rather seedy and sworded but that is not the case here. It seems like a mutual call and the two are circling one another. Our hero wants to feel numb and has a need to get his rocks off but there seems to be more to it. Seeing as his girl is someone he has affection for and been keen of for a bit: maybe plans of a relationship and love are in his mind. Backed by some solid and polished production values – not too much though – the song blends raw and primal undertones with something luscious and honeyed. The song gains its stripes with repetitions and familiarity. Many artists might want to put too much story in and risk losing the listener. Numb is a song that has many possible moves and chapters but Bem ensures he keeps the words simple and grounded. Numb’s strength arrives when it comes to the chorus and mantras. That question he poses to the girl – why does she not want it – and the intention of making her/him numb keeps coming around. Not only will it find listeners and live crowds singing along but it makes the song instantly memorable and addictive.

PHOTO CREDIT: Rebecca Need-Meanear (http://www.rebeccaneedmenear.co.uk/) Nick Byrne Design - Edit 

After the reception of Shallows and the credit is accrued: many would forgive Bem for keeping on that same path and releasing another E.P. with the same themes and sounds. Credit to Tom Bem whose new work, Beast Side, is a more agile and hardened work. You get a bit more anger and attack but the production values and songwriting have all sharpened and improved. Constantly evolving and smoothing out any rough edges; getting stronger and more assured with every new release. Beast Side is an E.P. I recommend you check out. If you like Numb then you will find much to enjoy and love within the accompanying E.P. Although Numb deals with some tough issues – Bem states it is controlling the battle inside him and not letting the dark side rule him – you do not get a song that is suffocating and oppressive. Likewise, one does not feel bored or disengaged at any stage. It is still common for artists to deliver songs like Numb and either come across as a bit pretentious or generic. Bem suffers no such issues and puts his personality on the page. His music never suffers stereotype and predictability and everything is given a distinct lift due to his constant commitment and unending talent. All of this is expanded throughout Beast Side and it is going to be exciting seeing just how far Tom Bem can go. The London-based producer-musician has already achieved much in the last few years and he is in no mood to stop there. One of the difficulties for solo artists that play R&B/Electro. combinations is that there is quite a lot of competition to be found. These genres are becoming popular and are endlessly accessible. The questions will remain: how do you separate the wonderful from the plain? Yes, it can be difficult but I would advise some patience and discretion. In terms of the composition, the haunted and spectral electronic rushes meet alongside simple clicked beats and vocal processing. Bem’s lead is kept clean and natural but his voice is layered and utilised in the background to create more weight and conviction. Numb will appeal to those who love their R&B vintage and sexy but has enough commercial appeal to draw in those who prefer their music chart-destined. The London boy has created an original and impressive number that makes him a definite name to watch. Numb begins an E.P. that has some golden moments and is his best work yet. Make sure you check out this artist and experience a wonderful and engrossing song.

PHOTO CREDIT: Rebecca Need-Menear (http://www.rebeccaneedmenear.co.uk/)

Bem is definitely someone who is worth your time and long-term appreciation. Beast Side is a typically strong and nuanced set of songs from someone who is still finding their way through music. Tender in years and possessed of huge ambition and energy – let’s see just what can come about. I see him releasing an album in the next year and feel he has enough material to go into one. Maybe his P.R. guides will be advising him to hold off for now. The problem with an album is the sheer cost and tireless work that goes into it. If an artist is not quite ready or needs to take more time, then making an album can be a risky gamble and a lot of time wasted. It is the financial side that is the biggest concern for musicians and is putting many off. That is something I will look at a bit more and want to raise. I know there are a great deal of musicians around so why is the business of making music and recording not more affordable? Even in an age where technology is freely available and recording music is easier than ever – why are our studios so pricey?

Tom Bem is someone you would love to hear record an album but one wonders if the sheer expense involved in this is going to put him off. Even someone established like him might need a lot of time to raise the necessary finances. Maybe the proliferation of iPad-led recordings means fewer people are going to studios – thus, the prices are being raised. All pure musicians want to record and mix at studios but the bosses need to be more realistic with their pricing schemes; lest they repel a lot of great artists and risk putting the future of music at risk. Although Bem is unsigned and still making his first moves in music; it is going to be a very bright future indeed. I shall not put too much pressure on the shoulder of Tom Bem only to say that he should be thinking just what the future holds. His music has that translatable quality and is already favoured across the globe. It is not like he is working in narrow confines and his music is reserved for a chosen few. Although he is distinct and superior to many out there: that R&B/Electro. parabond is a popular dollar and one that many are willing to hear a lot more of. I know, in many of my reviews, I highlight nations like the U.S. and Australia. They are two nations – you can put Canada in the mix – that every new musician should set their sights to. In America, you have L.A. and New York; still huge markets for music and absolutely set-up for people like Bem. I would say L.A. is perhaps a little more favouable and suitable for his brand of music. Not to define a city but New York still favours the harder-edged musicians and bands. Yes, there are some great R&B acts in New York but I feel Los Angeles is a lot more suitable and hospitable in this regard.

PHOTO CREDIT: Tessa Michaelides

Maybe that is somewhere he will be looking to in the coming years – I know finances are, once more, going to put the kibosh on that sort of thing. Likewise, and perhaps even less likely, is a period in Australia. It is not just Melbourne and Sydney that would provide audiences and masses but Brisbane is another part of the nation worth exploring. Many of us overlook Australia for new musicians but the nation is still one of the most productive and consistent. Whatever is in Bem’s mind, he should take heart and pride from the reception his E.P. is gathering. Beast Side’s lead-off single is one that is gathering plenty of stunning feedback and it seems Bem has a huge army behind him. He may want to rest and take a breather before he takes his need charge but I am sure he has his own plans and goals. If you are bored of the raft of average solo artists out there then cast yourself adrift from them and latch onto Tom Bem. Someone who has that mainstream sound but is a lot more credible and distinct than 90% of musicians out there. Go discover him and let his music take you somewhere wonderful. Once it gets inside the head…

PHOTO CREDIT: Josh Lamptey

YOU won’t want it to get away.

[soundcloud url="https://api.soundcloud.com/tracks/277487184" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

__________________________

Follow Tom Bem

 

Official:

http://www.tombem.co.uk/

Facebook:

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

Twitter:

https://twitter.com/tom_bem#_=_

Instagram:

https://www.instagram.com/tom_bem/

SoundCloud:

https://soundcloud.com/tom_bem

YouTube:

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

INTERVIEW: Cassi

INTERVIEW:

 

 

Cassi

________________________

FEW of us take time to get away from our cosy…

tastes and explore music we would not normally experience. Drums and Bass is a genre that still seems reserved to a clique: a small sector of music fans; it is hard assimilating the genre into the mainstream. Hot young talent is coming through and making it more exciting and accessible for those taking their first steps into that arena. I have been talking with Surrey-based D.J.-producer-songwriter Cassi following the release of her debut E.P., Sonder. She discusses her career so far and plans in the pipeline; her reaction to the positive feedback of Sonder and the single biggest influence behind her music.

________________________________

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

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

Hi Sam! My week has been good thank you. I’ve been at lectures all week although I’ve come down with Freshers’ Flu - so I’m currently under the duvet with a Lemsip and Logic!

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

Of course! My name is Cassi and I’ve recently got into the music scene. Considering where I am now; it’s a bit crazy to think it was only half-a-year ago I actually started producing music properly. But I am more determined than ever to ‘make it’ in the music industry so I think I'm definitely on the right path. I also run a business with Jamie Ford called Quantum Arc Ltd. We are predominantly a graphic design company but have expanded to music and commissions on other artwork as well.

Sonder is your debut E.P./mini-album. Have you been surprised by the reaction it has received so far?

To be honest with you I have been utterly overwhelmed by the support I have received throughout.

I was unbelievably lucky enough to meet Jayline, Levela; Intraspekt and The Qemists who have listened to my E.P. and shared it. Now, that is just unreal. I’m very lucky! The best support has come from my friends and family - I wouldn't be here, doing what I’m doing without them. The tracks from my E.P. have had 498 views so far on SoundCloud; WOW!

The song titles are really fascinating and get the listener guessing. How do you come up with song titles and what inspired the E.P.’s name?

I’ve got a thing for finding deeper meanings; in everything. It means I question everything in life but it also means I never take anything for simply what comes across. I don't judge books by their cover, you could say - I read every word in the book first and then read in between every line too! I have also loved music and lyrics with deeper meanings than simply what is being said to the listener. 'Sonder' is actually a made up word from The Dictionary of Obscure Sorrows but it has become quite recognised. It refers to the realisation that each and every person is living a life as deep, vivid and complex as your own. The lyrics in Sonder are: “Don’t you know? One day you’ll have to be your own hero. ‘Cause everyone else, is too busy saving themselves”. You can piece the rest together… ;)

Your music mixes Drum and Bass and Electronic. Are these genres that deserve more mainstream exposure and what attracted you to these styles of music?

It’s difficult to say. Yes, I do think Drum and Bass deserves more understanding and respect. I know a lot of people who negatively stereotype Drum and Bass listener but D’n’B is a community with a lot of passion and energy - again, try not to judge books by their covers.

On the opposite side: I like that D’n’B is not in the limelight and being played everywhere. I have no disrespect for the music we hear on the charts and in 90% of clubs in Guildford - those songs are popular for a reason! However, I feel that D’n’B has a certain personality to it; it’s more underground, more thrilling, more dangerous - and so, for me, that makes it more exciting.

How did you decide to get into music-making and producing? Was there a point in life that compelled you to follow that course?

Jack, my boyfriend, is my soul inspiration and reason for why I'm here. He is a Drum and Bass producer, who goes by the name Mania. We had been together for a year before I even thought about actually making music myself. I taught myself to play piano at the age of nine and carried that on throughout. I have written some (awful!) songs on my guitar which have equally awful lyrics to them! I picked up Ableton very quickly and the first track I ever wrote was That High which features on my E.P. Without Jack, I would still be very lost and there is no chance I’d be producing if it weren't for him.

Music can be very healing and escapist for a lot of people. What effect does music have on you and how important is it in your life?

As well as Jack; music has absolutely saved me. I’m not going to go into my ‘sob story’ but I have had a pretty rough time for around 8 years, and thanks to Jack and music, I am happier than I ever have been.

Music has always been an escape for me but actually making the music gives me a whole different experience. You become the music and with Drum and Bass’s upbeat tempo; even the dark music makes you feel better and stronger. Music has been a huge influence in my own personal healing.

[soundcloud url="https://api.soundcloud.com/tracks/282599323" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Sonder brings together some great vocal talents like Roxi Yung and Luna Ward. What was it like working with them and how important have they been with regards the songs on the E.P.?

Working with Luna and Roxi is incredible. It can be challenging working with some people but these two are absolute stars. Luna has been a big part of my life for a long time. I started off recording with her and we have so much fun: she’s fantastic at inputting ideas and is a phenomenal singer… not to mention she's actually studying marine biology!

Roxi is just extraordinary. She’s given me a new look on life and really makes you believe in yourself. Working with Roxi is so easy. It’s as simple as ‘here are the lyrics’ and half-an-hour later we have a song. She’s such a unique person with an unreal amount of passion and talent, and together, those bring out some absolutely beautiful results. I know she’ll go far.

But let’s not forget Mania. He’s the inspiration behind the whole E.P. and features on the track Sonder. The E.P. wouldn't even exist without him. I owe my whole musical journey so far, and life really, to him.

I hear whispers there might be a new song coming up? What can you tell us about that?

Ah! I’ve got a new track ready and will be collaborating with Roxi for the vocals. There’s talks of Roxi and I producing and recording a whole album together which is very exciting. I’m really looking forward to getting the vocals down for this new track!

Not only are you a musician but you are an artist too. Your drawings are particularly memorable and beautiful. How do you think your art and music connects and is the visual side of music important to you?

Thank you! Art has always been a massive part of my life. I actually had a place at art uni. but I dropped it to pursue music. Art and music come hand-in-hand; art can really add to music in so many forms. Logos for starters. I have created a few logos for artists at A.C.M. which really adds to the professionalism of their work and persona. But art tells just as much of a story as music does . I’d love to learn how to animate so I can create animations as music videos but I’ve tried and I think that’s a little beyond me!

You are currently based out of Surrey. What is the local scene like there and any musicians/artists you’d recommend we check out?

I live in Guildford. Musically, it’s sad that there isn't much variety; but there is a Drum and Bass night coming up soon which is a fantastic step towards an open music community. I know a lot of people at A.C.M. are pushing for more variety in the genres played around the area so I really hope we succeed in accomplishing that. Uhuru is a band based between Guildford and Southampton which I really believe will go far in the music industry - you should definitely check them out! Here’s a link to their Facebook page: https://www.facebook.com/uhurumusic/?fref=ts

Music can be cathartic and meaningful for so many people in so many different ways. What do you hope your music does to people and has it changed you as a person?

Music has given me so much: it’s given me life, confidence; a sense of self. I hope that it does the same for those who listen to my music.

Drum and Bass, in particular, can feel like you’ve left Earth and you're completely in another realm. It’s a world that you can take everywhere and you eventually see this world through the lens of the other. It probably doesn't make sense, but music is like a shield I wear - it helps me get through life and enjoy it too. I know that probably won’t make sense to a lot of people but hope that my music at least brings a feeling of freedom and energy to people.

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Of all the songs you have written and produced so far, which is the most meaningful to you?

Sonder. Absolutely. The lyrics alone mean so much to me. It reminds me to fight for myself and not rely on others - because at the end of the day you have to keep yourself above the water.

It reminds me to remember that everyone is fighting their own battles and to respect and support them with that - and it also reminds me that I'm not alone.

The male vocals, by Mania, are powerful and strong. They represent the more demanding, almost forceful voice in the female’s head. The female’s vocals are more passive, emotive and almost desperate - as if she is stressing to herself in desperation what she knows to be true. It is supposed to represent a battle of will: a fight to save yourself; an understanding that everyone is treading water.

As a D.J. you will be premiering a new show on Kane F.M. What will the show entail and are you excited about it?

I’m excited and super-nervous for the radio show! It’s an incredible opportunity, but as a ‘D.J’, I need a lot of practice. I wouldn't even call myself a D.J. at all - a radio presenter, yes; but I need a lot of work to allow myself the title of a D.J.! It’s a specific talent which requires a lot of skill - so I’m working hard on refining that!

The show will be an hour-and-a-half of Drum and Bass and then will follow with half-an-hour of local talent; songs from up-and-coming artists from A.C.M. I think it’s a great opportunity to support my peers and give those who often go unnoticed a voice. I love that Kane F.M. is a radio station that promotes underground, independent music: it gives those that don't fit into the stereotypical ‘box’ a way to connect and express. I’ve been sent some incredible tracks by my peers to play on the show (which will be every Sunday from 7-9pm on Kane 103.7).

You study at A.C.M. (Academy of Contemporary Music). What has the experience been like so far and are there a lot of like-minded creatives there?

It’s opened my mind to how much talent is out there and how hard you need to work to make it. The music industry is a big and saturated world and you really need to put in 100% to even get a chance. I’ve met some incredible artists at A.C.M. - you’ll hear their talent on the radio show! I’m looking forward to the course. It’s very hands-on, industry-related and will definitely set us up for the music industry! The tutors are incredible. We are very lucky to be taught by such people.

In terms of the albums and artists you grew up listening to: which have been most important to you?

It may seem odd but Ludoviccio Einaudi is my biggest inspiration in music, and being a classical pianist, it seems strange - even to me. But I learned to play piano because of his music and I try to incorporate the way he layers and layers different parts into my own songs. The melodic layering and composition of his music is outstanding and without his music I probably would never have learned piano - and therefore wouldn't have gotten into music as I have now. His new album is my favourite: it’s called Elements and like D’n’B does; it takes me to a whole different planet - I get utterly absorbed by his music.

For musicians/D.J.s tempted to follow in your footsteps: what advice would you offer them?

Work HARD. It’s a difficult reality but with 40,000 students applying to music production courses each year you really do have to be unbelievably passionate and determined to get there.

Learn to have confidence in yourself. Believe in what you do and truly believe that you're going to make it.

That’s what I do anyway. Be humble and always take the opportunities you're given if you want them - even if you don't feel ready. Sort of like my radio show: by no means can I D.J. but now I need to it has massively pushed me to learn. These are all things I want to be doing and I create pressure for myself to keep me focused. Also, you never know when opportunities will come around again so grab everything with both hands and just run (and keep running)!

Finally, and for being a good sport, you can select any song (other than one of yours as I’ll put that in) and I’ll play it here…

Einaudi's Experience: the reason I am where I am today.

[youtube https://www.youtube.com/watch?v=_VONMkKkdf4&w=560&h=315]

________________________

Follow Cassi

 

Facebook:

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

Twitter:

https://twitter.com/cassi_edm

SoundCloud:

https://soundcloud.com/user-188189449

YouTube:

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

INTERVIEW: Baby Queens

INTERVIEW: 

 

Baby Queens

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THERE was a vogue for girl bands towards the start of the ‘00s…

PHOTO CREDIT: Eleanor Sutcliffe/Sooty Photography

that followed the wave of legendary acts of the 1990s. Artists such as En Vogue, The Spice Girls and TLC inspired legions of young musicians to follow their example. Whilst there were some notable acolytes – Little Mix are one of the most credible acts – you do not hear of too many great girl groups on the scene. IV Rox are a group I follow but how many others are there? I speak with the two sisters, two cousins and adopted sister from Cardiff: the mighty and meteoric Baby Queens. The girls are all of mixed heritage and seeing their music acclaimed by sources as notable as The Guardian. Taking time out of their busy schedules: the girls talk about brand-new music and which artists have influenced them; how they came together and how Welsh music should be put more in the foreground of the modern mainstream. Cara, Estelle; Monique B, Ruth and Vanity are here to give you a rare glimpse into the Baby Queens world.

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[youtube https://www.youtube.com/watch?v=CjYU1S4nbec&w=560&h=315]

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

It's been great thank you. We're really hyped right now with the amazing response to our latest single Tired of Love!

For those new to your music: can you introduce yourself please? How did you all get together?

Vanity: I'm Vanity. I used to make music with Monique when we were about 13 lol! Met Ruth, Cara and Estelle around 6-7 years ago - we all used to jam together down at Cara and Estelle's house

There are not many Welsh girl groups around. Do you feel a sense of responsibility representing the country or is it quite freeing being one-of-a-kind?

Cara: We are all very proud to represent Wales: our country is naturally very beautiful, rich in culture and history, and is of course, famous for the music and singing (all of which we are very proud of).  Wales, being such a small country, has had to fight real hard for hundreds of years to keep these traditions and keep the language alive; so I guess it's the whole underdog mentality like when Wales win the football - the excitement and celebrations are off the chain; I don't know that you could find pride or unity like it anywhere in the world.Although we are very proud to represent for Wales; we truly believe in uniting people regardless of race, religion and nationality. Every band member is of a mixed heritage and I think growing up with many different cultural influences has instilled within us all the ultimate truth (something we do try to push with our lyrics/music) that we are all human; we are all one.

Although we are very proud to represent for Wales; we truly believe in uniting people regardless of race, religion and nationality. Every band member is of a mixed heritage and I think growing up with many different cultural influences has instilled within us all the ultimate truth (something we do try to push with our lyrics/music) that we are all human; we are all one.

Are there any local musicians or acts – or cool artists you have discovered – you would recommend to people?

Cara: The music scene in Cardiff and Wales, on the whole, is full of artists and musicians that the world needs to hear. We would like to see way more exposure for these incredibly talented musicians.  Check out the bands and artists on the BBC Wales Horizons tour; the Hip-Hop/Grime artists of Pryme Cut, the bands on Strangetown Records. There's way too many cool acts to mention! If you’re looking for Welsh female artists please check out Leah Hutchinson, Sam Jones and Jessie Allen - all three are beautiful souls and beautiful musicians.

Vanity:  There literally is so many;  so much talent out of Wales. I would also add Afro Cluster, Ruel Ellijah and Ellie Paris to name a few (but there are a lot more).

Various reviews have defined you as a mix of Massive Attack and Portishead meet En Vogue and T.L.C. It sounds like a varied musical palette. What genres/bands have inspired your music and sound?

Cara: We tend to describe our music as ‘fusion’ in that we all have very eclectic styles when listening to and writing music.  We are all true music-lovers and are massively inspired by artists and bands throughout history. We love everything from ‘50s Rock ‘n’ Roll, to Hip-Hop and Reggae; from Motown Soul to Grunge and Punk Rock.  The Beatles, Led Zeppelin; Red Hot Chili Peppers, Sublime; Super Furry Animals. All of these bands mixed styles and genres to create their own unique sound and made ground-breaking, beautiful music as a result of it.  We basically take inspiration from any music that is written with heart and soul.  Music that inspires positive change.

You bring Trip-Hop and Soul together with Pop. A lot of modern girl groups lack that cutting edge and experimentation. Do you feel it is important to create music that pushes beyond the predictable sound of the mainstream?

Cara: Yes absolutely. We really want to inject something with a bit more ‘realness and feeling’ into the music industry - especially for young people to have something positive to listen to and hopefully aspire to. We would love to think we influenced some young girl somewhere to pick up a guitar and get passionate about world affairs.  It's seems; currently, when you turn on MTV, you'll see a lot of Autotune and meaningless or negative lyrics; very few female acts with conscious or positive lyrics - probably even less playing their own instruments.

I think it's important to remember we are a Rock ‘n’ Roll band with something to say - not a manufactured female vocal group. Every one of us plays at least two instruments or more; all of the music and lyrics are written by us; we are a full live band.

When we jam together and write music, all of our different musical influences come into play. We have tunes that are soulful Hip-Hop; others that would be classed as Acoustic Folk, RnB; Reggae, Trip-Hop; Psychedelic Rock ‘n’ Roll -  and others that could be classed as a fusion of three or more genres in one song.  There are no boundaries: we play what feels natural and sounds good.

Vanity: Yeah. I think it’s cool to just be yourself and not be afraid to try something new and different.

[soundcloud url="https://api.soundcloud.com/tracks/277329921" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Tired of Love recalls the great girl bands of the ‘90s but comes in hard and shows real personality. What was the inspiration behind the song and is it something you connect with as musician and women?

Cara: Tired of Love highlights the confusion, pain and sadness that most humans - man and woman alike - will encounter in a romantic relationship; the highs the lows; the back and forth.  It's the gravitational pull we all feel when love becomes a power struggle: when it exhausts you to the point of insanity  but somehow you can't give up no matter how you want to (or know you should). I guess it's talking about the internal emotional/mental battle we all face: the light/the dark, the ying/the yang and how your heart will often override the logic that your mind will provide. Sense goes out the window because love is such a powerful force.

The Guardian just featured you as their New Band of the Week. What was that like getting that honorific?

Cara: It was an incredible honor. I think we are all still in shock; especially considering we were then made ‘Breakthrough Act’ by The Sunday Times the following week!

Your eponymous debut album is imminent. What can you tell us about the song themes and inspiration behind the record? Do you all have a say in the writing and how much control did you have of your visions?

Cara: On the whole, the album addresses many different current issues. We have songs that are not so much anti-establishment but more pro-human rights - songs that are not so much anti-racism but more pro-unity. We have songs that cover abuse; loss of loved ones; all kinds of things that we have experienced personally and also as a group.

We write all the music and lyrics ourselves and generally jam together as a band when writing.  I may come up with a riff on the guitar and a melodic hook. We might then freestyle lyrics and melody over it until we have the song.  Other times, each band member may come to rehearsal with a riff and hook then everyone will offer ideas or sometimes we will turn up with a completed song with a clear vision of what kind of bass line/drum beat is needed. We will all jam it out until we have fulfilled the writers’ vision. Everybody has a say in everything we do there is no hierarchy within the group: we all massively value each other's opinions, wishes and feelings. Always.

A lot of the album reflects a love of music and feeling – rather than lyrical depth – and wonderful harmonies. How important have the classic girl groups and heroine you grew up been with regards that dynamic and intuition?

Cara: Yes, we are all emotional souls with big heart. We believe music is a very healing and powerful force in the world: the feeling and tone of the music is paramount to all of us.  I don't know if we have been greatly influenced by girl groups as such although we have most definitely been influenced by girl bands and female artists who really stood up for something or created music with the intention of educating and healing people. Girls that we have mad love for would include Tracy Chapman, Jean Grey; Stevie Nicks, Erykah Ba; Janis Joplin, Lauryn Hill; Angel Haze, Suzi Quatro; Janelle Monae and Patti Smith.

Female/female-fronted bands we are influenced by would include Blondie, No Doubt; X-Ray Spex, L7; Hole, Sonic Youth; The Pretenders, Gladys Knight and the Pips; the Yeah Yeah Yeahs.

Vanity:  The feeling of the lyrics is important of course but you can hear a song in a different language and still know if it's sad or happy. Not everyone in the world can relate to our life but everyone can relate to emotions: feeling sad or happy or angry or in love. Emotions are universal and that is what are music represents the emotional side of life.

Vocals are a big part of your music. How did you decide who sings lead on which songs? Did you know instantly when writing the songs or is it something you arrive at when rehearsing the tracks? Vanity: it mostly gets decided while writing the track.

Cara: There are no rules. Every song will be written differently with a different girl on lead and backing, although when it comes to harmonies, Vanity and I tend to sing high; Monique and Ruth mid and Estelle lower.

You each have a distinct style and fashion sense. Estelle and Cara mix surf and skate; Monique and Ruth more Urban and street-level; Vanity purple-haired and eye-catching. How important is style and fashion to you and any idols that have inspired your looks?

Cara: We do all love fashion: it is a beautiful art form; it's art that you wear and another pure  form of expression. Although none of us would conform to wear something just because Milan or Paris are dictating the season’s ‘look’; we all kind of mix styles up to create our own unique look - ranging from high-fashion items to vintage pieces found in jumble sales, car boot sales and charities.

Vanity:  We all have our own style we like to be individual and can appreciate other people's individual styles also.

 [soundcloud url="https://api.soundcloud.com/tracks/109150462" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Your new music is slicker and more confident that, say, debut single Red Light. What can you attribute that to?

Vanity: Red Light was our first single and the first song we ever played together so I think confidence has grown with time.

After the album: what does the rest of 2016 hold for you?

Cara: We have one more single release this year with a music video to accompany it. We have a string of shows nationwide as well as our album launch party. It's been a great year for us so far and hope we can continue to grow at the same pace.

Looking back at the crowds you have played and the moments you have experienced: which have stuck in the mind and made you most proud?

Cara: There have been so many incredible shows, journeys; experiences we have shared, but I think a massive moment of realisation for us was playing at Great Escape Festival (Europe's biggest festival for new music).

It was the first time (outside of playing in Cardiff to friends and family) that we saw a big gang of people in the crowd singing our lyrics back at us. We realised none of these guys personally knew any of us. We were blown away looking at each other like "we have real fans!"; "Actual strangers who like our music and know the words". We were laughing together about it together but all knew it was a pretty special thing.

Vanity: I think T in the Park was a good one also. Personally, a local beer festival we played a year or so back for me was my most memorable: the crowd were so responsive and everyone was up and dancing was a great atmosphere.

Away from music, do you spend a lot of time together and how do you choose to unwind?

Cara: Yeah; we hang out a lot. We are close friends and family members before we were ever in a band. We are very lucky to have beautiful beaches and waterfalls 20 mins in any direction from our town. Personally, I hang out at the beach and swim in the ocean weekly throughout the summer and into autumn. We all love nature and are often meeting up to go to the beach or walks in the forest. We attend gigs in town together now and then and mainly hang out at each other's houses making food, talking; relaxing, watching documentaries; jamming on the guitars.

If, between you, you could take 5 albums to a desert island, what would they be?

Cara: I would take John Frusciante 's(from the Red Hot Chili Peppers) album To Record Only Water for Ten Days.

Vanity: Mine would definitely be either Songs in the Key Of Life by Stevie Wonder and Lauryn Hill's The Miseducation of Lauryn Hill.

Estelle: Best of Pen Island Records

Monique B: I'm taking  Marvin Gaye’s What's Going On album

Ruth: Yes. Mine would be Jimi Hendrix Greatest Hits album.

Can you offer any advice to any other bands or artists looking to follow Baby Queens into music?

Cara: Write music from your heart. Be authentic and sincere; practice your instrument/writing/singing/rapping until you feel comfortable and natural to just jam and play freely.  Put all of your doubts and fears into your music; do not try to hide behind a false ego; wear your scars with pride. It is the true nature of any artist to feel vulnerable and insecure and this is why heartfelt music is so powerful and beautiful - because it is real and raw. When you write honestly from the heart people who listen to your music can connect straight to what your soul felt as you wrote it and understand with empathy.

And lastly - as Joe Strummer from The Clash said - never give up.

Vanity: Work hard. Always love what you do and have faith in your dreams.

Finally, and for being a good egg, you can name any song you like (not one of yours as I’ll include that).

Cara: Bishop Briggs - The Way I Do.

[youtube https://www.youtube.com/watch?v=p_jfVLHn8NM&w=560&h=315] Vanity:  The Fugees’ Fu-Gee-La (Sly and Robbie Remix). I heard it the other day for the first time in aaaages and had forgotten how much I like it lol.

[youtube https://www.youtube.com/watch?v=B4Q8odsJgrQ&w=560&h=315]

________________________

Follow Baby Queens

 

Facebook:

https://www.facebook.com/Baby-Queens-523170581048847/

Twitter:

https://twitter.com/baby_queens

SoundCloud:

https://soundcloud.com/baby-queens

YouTube:

https://www.youtube.com/channel/UCbhC6mpYkUBEFW_XzZP8ukQ

INTERVIEW: Leigh from Echo Arcadia

INTERVIEW:

 

 

Leigh from Echo Arcadia

____________________________

ONE of the best things about music is coming across a band that not only takes the…

breath but comes back and keeps on producing great material. Echo Arcadia are a Scottish force of nature who have undergone some personnel change but seem at their strongest – as they prepare to release their latest album. Following from the critically acclaimed Beauty in an Average Life, the band are causing tongues to wags and fans to simmer with excitement. I have been chatting with lead vocalist and guitarist Leigh. He reveals what we can expect from the new album; how the band has progressed and his reaction to Echo Arcadia overtaking Red Hot Chili Peppers in the Dutch charts.

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You are the lead of Echo Arcadia. Where did that band name come from?

The band name is actually a mixture of two things. Our old keyboard player, Majied’s wife, works in fine art and she suggested the name of a piece called Ecce Arcadia. If memory serves; it’s Pan’s entrance into Paradise. We have a deep love in our music for the Roland Space Echo so we chose Echo Arcadia - the drug reference with ecceys also helped us change that first part haha.

How did the band come together and were you guys friends from way back?

I had a band with Dan, our drummer, called Brightside. When some key members left we wanted to reinvent ourselves so pulled in some friends of friends (mush) and my partner Vonny to form the original Echo line-up.

There have been some changes in staff but the core has remained the same.

Kate, who was part of Brightside, has now rejoined us so it’s been like old times.

It seems like there is a lot of jollity and brotherhood within Echo Arcadia. Does the band hang out away from recording and who is the most ‘troublesome’ member of the band?

We do hang out a lot; though as an older band we have less time to these days. We try to make it about the quality of the hang more than the quantity these days, though. The thing I love about being so close with everyone is that it’s always like I've just seen them no matter if it’s been a couple weeks or a couple of days.

[youtube https://www.youtube.com/watch?v=Kt3MESH_1nw&w=560&h=315]

You have a new album on the horizon. What can you tell people about its songs and themes?

The album is about a journey through my recent life. It’s a little dark: as anyone who knows my lyrics this shouldn't come as a surprise (and details my recovery from the breakdown of a major relationship to depression and the journey to the other side).

The tunes are poignant without being weighed down in the subject matter. They're very Echo'.

Beauty in an Average Life was the previous album. How would you compare your current work to that and how has the band changed?

Our producer Garry Boyle recorded us in his studio in Castlesound called the Slate Room. He found the album to be much more mature than Beauty’. It’s a more coherent album too, I feel. It was written and recorded in a year and has a real continuity to it. I like that it feels like a step forward in a journey.

A couple of your members have left – Tony and Jenna – since the band’s inception. Have the changes affected the music or have you managed to remain close-knit?

We are closer than ever; we are a band of brothers (and a new sister) and the new guitarist (Dawid) has been a breath of fresh air.

His input has sparked the writing of album three and it’s sounding great so far. We've been together a long time as a core and there's barely ever a cross word spoken between us all. It’s all held in the belief in ourselves that we love each other and what we do.

[soundcloud url="https://api.soundcloud.com/tracks/261871420" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

I see you have been tussling with Red Hot Chili Peppers in the Dutch charts and Into the Shadows is overtaking Dark Necessities. Any messages you’d give the band to ‘commiserate’?

I'd say: “Don't worry guys, there’s plenty of room for us both. Dry your eyes on the $100 bills and keeps at it haha”

I know the current album has taken a lot of effort and hard work from the entire band. Do you have any immediate plans to tour the album and what does the rest of the year hold?

We would love to tour it. We are in negotiations with two rather large indie labels to release it so that's what has been the delay so far.

Don't let our quietness mislead anyone to think we aren't busting to release this album haha

As a songwriter and singer: what inspires you as a songwriter and what events compel your music?

I'm a morbid wee fucker at the core I think. I do find the whole process of writing my heart into little stanzas to be pretty cathartic; like free psychotherapy. Then, making people listen to them in the guise of Pop songs haha. Life events as a whole inspire me. I've lived a storied existence and when I seem to be running low on fodder I just make more by being the fuck up I naturally am.

The band hails from Edinburgh. It is a city notable for its great music. Do you think it gets overlooked in favour or areas like London and Manchester?

Without question, people can't seem to see past Biffy (Clyro) as all that Scotland has to offer and Edinburgh suffers from this too - in favour of Glasgow bands usually. I feel that a Renaissance has happened in Edinburgh and we are producing some amazing bands and singer-songwriters. Hopefully, the rest of the country catches on soon, though.

Which local bands and artists would you recommend we check out?

Broken Records, Posable Action Figures; Lost In Vancouver, Return to the Sun; Carrie Mac... The list would be never-ending there are so many great and talented people around here

Can you give us some juicy tabloid-worthy gossip about Echo Arcadia? Any members who are particularly unruly or possess a dark secret?

We are a good bunch of mature fellas. There's a chemtrail theory perpetrated by one member (who is suitably quizzed and mocked in equal measures). A couple of vapors who are single-handedly eroding the ozone layer; but overall, we wear our hearts on our sleeves and are nice to old ladies

For musicians tempted to follow in your footsteps: what advice would you offer them?

It's cliché for a reason but stick at it.

Write what makes you happy; not what people expect of you.

Finally, and for being a good sport, you can select any song (other than an Echo Arcadia one as I’ll put that in) and I’ll play it here…

The Motorcycle Boy Reigns by Broken Records.

[youtube https://www.youtube.com/watch?v=MM-knPcfF2s&w=560&h=315]

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Follow Echo Arcadia

 

Official:

http://echoarcadia.com/

Facebook:

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

Twitter:

https://twitter.com/EchoArcadia

Instagram:

https://www.instagram.com/echo_arcadia/

Soundcloud:

https://soundcloud.com/echo_arcadia

YouTube:

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

FEATURE: The September Playlist: Vol. 6

FEATURE:

The September Playlist: Vol. 6

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THE final day of September is…

just about here so it is time to conclude this month’s Playlists with a round-up of the songs out now – those taken from new albums or ones out in the next week. From Fatboy Slim and Fleewtood Mac – who have reissued albums out – to some new gems from The Wytches and Peter Doherty: a glimpse into some rather varied and wonderful music. It is exciting looking into October so let’s buckle in and investigate some of September’s very best.

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Danny Brown (ft. Kendrick Lamar, Ab-Soul and Earl Sweatshirt) – Really Doe

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

Slaves - People That You Meet

[youtube https://www.youtube.com/watch?v=yZg2qNAhSwE&w=560&h=315]

Nicolas Jaar - The Number and the Siren

[youtube https://www.youtube.com/watch?v=B-VF8bIhmzw&w=560&h=315]

Shabaka and the Ancestors - The Observer

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

Kimbra - Sweet Relief

https://play.spotify.com/album/595AJFLEMqvtzbFDmZTV0R

Temples – Certainty

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Deacon Blue - This is a Love Song

[youtube https://www.youtube.com/watch?v=xCx6vxRaEno&w=560&h=315]

Yellowcard - The Hurt Is Gone

[youtube https://www.youtube.com/watch?v=9m5Br9Jg50A&w=560&h=315]

Scarlett Saunders – I Should Know

[youtube https://www.youtube.com/watch?v=JGCHr2bFwzk&w=560&h=315]

Tegan and Sara - Stop Desire

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

 

John Carpenter – Utopian Façade

[youtube https://www.youtube.com/watch?v=oJeDQYlpBp0&w=560&h=315]

 Norah Jones – Flipside

[youtube https://www.youtube.com/watch?v=TTy8iSdQMwM&w=560&h=315]

Pete Doherty – I Don’t Love Anyone (But You’re Not Just Anyone)

[youtube https://www.youtube.com/watch?v=A8vuCEETbtA&w=560&h=315]

The Wytches – Crest of Death

[soundcloud url="https://api.soundcloud.com/tracks/284974576" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Bon Jovi – Labor of Love

[youtube https://www.youtube.com/watch?v=MDl4ZwkIzrY&w=560&h=315]

Chase and Status (feat. Tom Grennan) – All Goes Wrong

[youtube https://www.youtube.com/watch?v=WC0-fNkZ-NU&w=560&h=315]

Green Day – Still Breathing

[youtube https://www.youtube.com/watch?v=pnTZa4FY_7I&w=560&h=315]

Kat DeLuna – Waves

[youtube https://www.youtube.com/watch?v=TM2RbNzLooc&w=560&h=315]

Leonard Cohen – You Want It Darker

[youtube https://www.youtube.com/watch?v=v0nmHymgM7Y&w=560&h=315]

Margaret Berger – Running with Scissors

[youtube https://www.youtube.com/watch?v=3-E3BC5Aj18&w=560&h=315]

Nevada (ft. Mark Morrison & Fetty Wap) - The Mack

[youtube https://www.youtube.com/watch?v=C3-SupAvd9k&w=560&h=315]

Fatboy Slim – Song for Lindy

[youtube https://www.youtube.com/watch?v=3VpoyWKM9TY&w=560&h=315]

Fleetwood Mac – Gypsy

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

Giraffe Tongue Orchestra – Blood Moon

[youtube https://www.youtube.com/watch?v=EtJbgV3pGkI&w=560&h=315]

Heidi Talbot – The Year I was Born

[youtube https://www.youtube.com/watch?v=hbj5SWrYFiE&w=560&h=315]

Idina Menzel – Like Lightning

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

Insomnium – Winter's Gate, Part 4

[youtube https://www.youtube.com/watch?v=39riiZNGAcc&w=560&h=315]

Macy Gray - Annabelle 

[youtube https://www.youtube.com/watch?v=d9423itVULU&w=560&h=315]

Sum 41 - War

[youtube https://www.youtube.com/watch?v=o5fuqdczxEE&w=560&h=315]

Julia Jacklin – Leadlight

[youtube https://www.youtube.com/watch?v=c313zRJ96GY&w=560&h=315]

Ultimate Painting – I’m Set Free

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

Amy Lee – Dream Too Much

[youtube https://www.youtube.com/watch?v=bjGMq34r0Ng&w=560&h=315]

What a month September has been and what a month October threatens to be. I am looking forward to discovering what the next month has ahead and look back fondly on a bumper month for music. Every day, a new song drops and gives people a chance to discover something wonderful. Who knows what the following four-week period will provide, but one thing is for sure: it is going to be another busy and tremendous period for music.

INTERVIEW: Roxi Yung

INTERVIEW:

 

 

Roxi Yung

________________________

I have just come away from interviewing the multi-talented…

production master Jay Picasso: someone who helps nurture young artists and is among the vanguard of studio names that are making big impressions on music. It seems like he and Roxi Yung could work with one another in the future. Her inimitable style and eye-catching fashion seem primed for the mainstream. It is her voice that really gets in the head and contains so much soul, heart and immense passion. A definite character and a D.J.-cum-musician that has clear goals and definite sights: how long before Yung is a big name?! I got a chance to ask her about music and what it means to her; how important Drum and Bass is and what her career goals are. Sit back and gain an insight into a wonderful young talent unlike any other.

____________________________

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

I’m very well thank you; tired and sweaty but that never changes. My week has been hectic and I feel as if there is no time for life but it’s all good.

I know you are moving out of Surrey and migrating to London. What compelled the move and are you looking forward to it?

Yes, I have already moved now and I’m currently living in Brixton in my new place whilst working in Sloane Square at Emma Hope Shoes. Moving to London has always been my goal and now I’ve finally done it; moved to the big-wide, shitty city.

Do you think there are enough opportunities outside of the cities for young artists or is it a struggle to get your voice heard?

Yes, if you are lacking confidence, marketing and the obvious tools to gig with then it is very hard to get your voice heard.

I am lucky because I went from Brockenhurst College; to A.C.M. in Guildford and now I’m in Central London so my networking is probably what helps me out the most. It’s who you know not what you know nowadays.

You seem like a very vibrant and colourful person: someone who embraces life and would have fitted in with the ‘60s Psychedelia movement. Your fashion and style stand out. Is imagery – and standing aside from the crowd – important and do you think there are too many musicians/artists that do stand out?

I think in a world like today where everybody is trying to make it within the creative industry. It’s hard to be unique and original, but if you stay true to what you love and you believe in what you’re doing, then others will do too and you will stand out. I wish I was born in the ‘60s hahaha. Life is too materialistic today I like wearing wacky clothes because I don’t like to conform to society wearing whatever you are ‘told’ to wear: plus, life is more fun when you add some colour! :)

Tell me about your D.J. work. How did you get into that side of music?

I studied Musical Theatre for 2 years at Brockenhurst College in the New Forest because I thought I could gain confidence and further my singing and acting capabilities that way. After realising (that) in the back of class - I always had Drum and Bass playing in my headphones in the middle of a dance class - I realised that I wanted to learn how to actually MAKE the music, and D.J. it etc.

I’m not saying that I can already sing but I’m saying after 2 years of singing warm-ups, exercises and singing as a choir; I wanted to take on some new skills under my belt. I always find myself searching for famous D.J.s on YouTube and just watching through their D.J. set as if I was there with them.

Being on a stage in front of loads of people having a sick night is what I want to be doing. Good vibes and good music.

In terms of your D.J. work: what have been your favourite gigs the past year and which venues do you particularly like to play?

I haven’t actually played much yet because I’m getting over that whole ‘I’m not ready yet’ thing. I played at Notting Hill Arts Club on my birthday and all my mates came and said they had a great night. I just have to get over the fear of playing to complete strangers. Now I’m living in Brixton: what better place than to start actively D.J.-ing here?!

My favourite gigs that I’ve BEEN to have to include Boom Town; O.M.G., Congo Natty was ridiculous and Sam and I loved it so much that he’s just booked tickets to see Natty next month at Electric Brixton (which is now on the same road as my place - get in!). Along with that… every Macky Gee concert I go to is insane and I always enjoy My Nu Leng.

[soundcloud url="https://api.soundcloud.com/tracks/271460748" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

How do songs come together do you? Are they inspired by any one event (break-ups or personal struggles) and do you have to get into a particular mindset when creating music?

When I’m writing lyrics I understand that I am in the end creating a Drum and Bass or House track; although I try to write lyrics about things I actually care about: not referencing drugs, relationships etc. TOO much just because those are the things that are usually relatable in music. I’m aiming to write lyrics that are catchy but also more meaningful than sex ,drugs and Rock and Roll.

You are, in addition to being a D.J., a singer and musician. Can we expect any new material or solo E.P.s from you in the future perhaps?

Yes! It’s taken ages trying to get everyone together that volunteered to help me prepare my E.P.; especially when you’re working with friends because you forget to be productive and you end up just going to rave rather than working on your own material .

I will have an E.P. coming out soon that I am not putting a specific ‘genre’ on.

I take a lot of inspiration from all Drum and Bass in general plus I loveeeee Bass House 140B.P.M. etc. I like groovy ‘feel-good’ House music; then I also like a little Grime and Hip-Hop so I’m going to add influences from all to try and finish with some music that everyone can get into.

Most of your work takes you into Drum and Bass territory. What is about the genre that inspires you and which artists, either past or present, are especially important to you?

OK… what do I like about Drum and Bass?

I like Drum and Bass because it’s forever growing, forever changing; incorporating different kinds of instruments, emotions and pop culture into it.

You can party to Drum and Bass! You can add a flute or a guitar or some nasty bass-y drums - or some weird synths.

I think at high school, when everyone was listening to whatever was in the top 40 U.K., I got really bored. I started listening to the stuff I wanted to listen to - Flava D, Cause & Affect; Macky Gee, Nero and Dimension. This kind of music gave me a rush like whatever emotion I was feeling, as long as I had this music playing, I could get rid of my mood.

Your vocals are particularly unique and standout. Were there any heroines/heroes that motivated you to become a singer and how much do you have to work on your vocals as an artist?

Thank you! :) So when I was in year 4, I was in hospital for a while because I had an ‘infection on the brain’ apparently. My parents both had to quit work (etc.) to come and spend every night in the hospital with me for a few months. I wasn’t myself for ages: I couldn’t eat, sleep or rid a bike. Gradually, I started getting better. My mum and dad prayed every day and the doctors said their medication wasn’t working but somehow I was beginning to recover. I would say I’m more spiritual than religious but I definitely believe something is watching over me and my family.

(I come off topic very often).

My biggest inspirations (vocals) are Amy Winehouse all the way! Whitney Houston, Etta James; Ella Fitzgerald, Christina Aguilera (I never used to shut up singing Christina Aguilera; my mum used to go mental); Becky Hill, Miley Cyrus (purely because she’s lived her own life and doesn’t care what anyone else thinks); a little bit of Duffy. I usually like listening to jazzy, laid-back (but powerful); soulful, husky voices.

Guys: I loooove George Michael, Phil Collins; Sam Smith and MNEK. Good vibes!

Having provided vocals (this year) to Optikx’s Blue Soul: are you collaborating with anyone else this year and can you give us a sneak-peak into any other songs you will be appearing on?

So, I am collaborating a lot at the moment with Cassi! She’s incredible and it’s soooo refreshing to meet a girl who is not bitchy; not two-faced; genuinely interested in music and her career and can give me real advice and direction.

Plus, we literally agree on everything. If I sing a bad note we will literally look at each other with this weird face and that symbolised that we both knew it sucked.

I’m working with a lot of students from A.C.M. because I loved my time there and I can’t believe it’s over already - I’ve got some awesome friends that that I’m not going to lose touch with.

I got an email the other day from a really huge label that manages some of my favorite artists - I nearly fainted when I saw it.

I’m not telling anyone until something real happens with it, though - I always get my hopes up and then nothing happens with it haha.

[soundcloud url="https://api.soundcloud.com/tracks/254790874" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

As both a D.J. and artist, you must have goals and ambitions unfulfilled. Moving to London will be a big help but what is there left to tick off on the ‘to-do’ list for you?

What is necessary to begin my journey is basic marketing and promotions, business cards; a lot of gigs -putting myself out there. I need to take every opportunity I can get and accept that every time something goes wrong or could have gone better, it’s just a learning curve.

If you could turn back time and offer your younger self some advice, what would it be?

Don’t follow the crowd: believe in your fucking self not what everyone else wants you to do. Particular members or my family or friends have not always believed that having this sort of career will be able to provide me with a decent income to live etc. etc. They think I should be doing something serious you know: accountant, lawyer (I get it something where I’m definitely going to get dolla). But it’s my passion for music that will drive my career. I can’t deal with a 9-5 job!

Were you only allowed to take three songs and three albums to a desert island: which ones would you choose?

I’d probably take an Amy Winehouse album to make me feel at peace and to keep me sane. I’d take a UKF Drum and Bass album hopefully with a few old Jungle tunes on there. Then, if I’m honest, I might take a Frank Ocean album to let me chillax. I LOVE the song Shrine by Artificial Intelligence: I find it so emotionally experimental. it’s beautiful!

Many will see what you are doing and want to follow in your creative footsteps. For those reading or hesitant about embarking on such a leap: what advice would you offer them?

To put the work in and believe in yourself. To use the tools around you in every way you can. To never miss an opportunity because that opportunity you missed could have been your ticket to success.

Also… read the book Think and Grow Rich by Napoleon Hill. That book was thrown towards me by my dad and it genuinely has all of the answers on how to follow your dreams and become successful in life.

Finally, and for being a good egg, you can name any song you like; I’ll play it here…

Play Sonder – Cassi ft. Roxi Yung. My mum even likes this one :)

[soundcloud url="https://api.soundcloud.com/tracks/282599330" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

_____________________

Follow Roxi Yung

 

Facebook:

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

Twitter:

https://twitter.com/RoxiYung

Soundcloud:

https://soundcloud.com/roxiyung/

Instagram:

https://www.instagram.com/roxiyung/

INTERVIEW: Jay Picasso

INTERVIEW:

 

 

Jay Picasso

_________________________

MUSIC is often about those on the stage and behind the microphone…

but we do not often recognise the important and relevance of those who make the music come together. Studio figureheads and impresarios at huge record labels seem all about the money and figures whereas those who truly love music and the great underground musicians trying to put their sounds down are to be commended. Jay Picasso is the boss at Starcity Studios and has taken a lot of great artists under his wing and help shape and promote their music. One of the busiest men in the industry; I was lucky to catch a few moments as he explains his role and some of the artists that have come through his doors – who we should keep our eyes out for in the coming months.

_________________________

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

Hey Sam; I’ve had a very productive week so far. I have mainly been preparing content for Wayne Woodward’s album release next month and preparing for Signal’s (single) Down release next month (and launch party performance next week).

Can you tell us a bit about what you do?

I am a music producer. I run a recording studio Starcity Studios (London) and write music for artists both signed and independent. I am also an artist manager.

You are the director at Starcity Studios. How did you become involved with the studio and what does it offer potential clients?

I founded the studio in 2012; starting out working with local talent and producing music for bands. Then, a few years down the line, my name had spread a little further than my local town and started to receive offers of work from labels and film production companies.

The studio offers the complete artist experience from writing and rehearsing, through to production and mastering.

At Starcity Studios, we generally do all the work needed to prepare artists’ music for radio and distribution…..top 40 stuff!

It’s a confusing world out there for artists so we try and make the process as straight-forward as possible.

[youtube https://www.youtube.com/watch?v=TDWIkoR4XDk&w=560&h=315]

The name Jay Picasso definitely carries huge weight with regards producing and mentoring. When did you decide you wanted to help musicians achieve their dreams and what is the most satisfying part of your job?

It was a few years ago that I realised I wanted to assist artists in their development. It was probably only a year ago that I actually found myself in the position to do so. The most satisfying part of my job is seeing the development of an artist who has had to overcome the struggles of staying committed to something that doesn’t initially pay.

Being an artist is a tough job. For most, it seems like an easy decision to become rich and famous. Truth is, for a creative person it can be a very challenging path to walk.

So that and witnessing an artist go from a follower of a genre to a pioneer of that genre. It doesn’t always happen so when it does it’s amazing to have been a part of.

Signal – who recently recorded at the studios – releases Down very soon. What was it like working with him and can you give us any cheeky secrets or inside information about Signal?

Ha. Big Sig! He doesn’t like that name but it’s my duty to tease him. Yes, all is well with the project. Signal’s music keeps going from strength to strength. Down is a record I feel very strongly about. It feels like the product of patience and perseverance. Signal is a very hard-working individual with a very strong head on his shoulders.

I really can’t say much at the moment; however, I will say that it was only this morning we discussed the possibility of an E.P./album. It’s early days and we don’t want to put out the right product out at the wrong time. But that might be worth asking Signal about….

It seemed like he had a blast in the studio. How do you help artists like Signal with their music and bring the best from them?

I find the most important about bringing the best out of an artist is to listen to them. Knowing what matters to them, knowing what they are about; what music they listen to and enjoy. I just try my best to make them feel comfortable and in the case of Signal and a few others, I have had the pleasure of becoming good friends with them. This is always great. It makes studio session more like hanging out. Just good fun!

[youtube https://www.youtube.com/watch?v=riIT85hak8A&w=560&h=315]

Which musicians – who have come through the doors this year – have impressed you most and would recommend to us?

Wayne Woodward was one of many that walked through my door. He has come such a long way. I’m very excited for the album release. Blynx is another rapper that I work with who, again, has come such a long way. He has begun to release his music this year (which we started recording in 2012) and has already started to generate quite a buzz on his videos.

You produce a lot of varied musicians and genres but tend to focus around Dance, Grime and Electronic artists. What kind of music did you grow up listening to?

I grew up listening to everything.

My parents both are very musical and had me listening to most popular records of the ‘80s.  I remember lots and lots of Motown. I got heavily into R’n’B, Hip-Hop and Neo-Soul in the ‘90s and then, when I started producing, strangely enough, I really only listen to music from genres I don’t produce.

It’s relaxing. I listen to the charts and Pop records for my own development and being relevant. But it tends to make my mind tick over with ideas too much. So, to relax, I listen to Jazz and Soul music mainly.

Are there any underground treasures you would recommend we listen to? Any artists that are not quite at mainstream level but about to burst through?

There are so many that come to mind. The first would be a young and talented producer King Kev (@KingKevsDCBM). If there were ever a producer who has truly impressed me I’d have to say him. He is an amazing musician and ploughing through the game just like me! I know he has produced some ‘hits’. I’m pretty sure it’s only a matter of time before he is climbing the charts.

Chang (@ChanyUK); a singer-songwriter working alongside producer Melodic Beats. They have some serious R’n’B that is just waiting to blow! I know they are working very hard at the moment.

Deamer (@DeamerArtist; London rapper from south-side of the bridge. Very talented young man. Lots of deep and controversial content; all about the mixtapes.  Deamer has lyrics for days!

[youtube https://www.youtube.com/watch?v=K6NZzx4D4Vc&w=560&h=315]

You are a BRIT School graduate and alumni.  What was that experience like and do you think it is the premier birthplace of our up-and-coming musicians?

It was definitely a good start. I wouldn’t be who I am today or where I am today without the education and training I received at BRIT. These days, however, I feel talent is everywhere. Although attending the BRIT or any performing arts school might assist someone with their musical careers it’s not enough to make it. You have to have more than education. You need real raw talent and a motivation to succeed.

Skepta recently walked away with the Mercury Prize. What was your reaction to that and do you see Grime and Hip-Hop becoming more integrated into mainstream music – greater widespread acceptance, perhaps?

Skepta deserved it! It was good to read about! Honestly, yes I believe its Grime and Hip-Hop are becoming wider spread. Sometimes, however, I believe that wider spread can also mean watered down. Being acceptable in musical terms really means ‘popular’, which in my opinion kind of defeats the object of such a musical style. However, with production in the right hands, ‘watered down’ becomes ‘commercial’ and commercial allows more people to accept and hear. So, In a very long-winded way, what’s happening to the Hip-Hop and Grime scene is great. I just hope that the genres maintain their integrity.

The mainstream is still overrun and infiltrated by Indie bands and rather bland Pop. Do you think there needs to be a shake-up or do you feel it will become more varied and all-inclusive in future years?

I don’t think so. I think there is so much variety of acts these days that the 'mainstream’ has always made itself superior to.

Although these acts are full of talent and often new fresh music - the problem they will always face in the U.K. is that there is only ONE chart for all music to compete in.

This simply means that if you specialise in genres like Hip-Hop or Grime, you will be directly competing against the Adeles of the industry for sales. In the U.S., they have a chart for each genre of music. Now although they are much bigger - with many more artist competing for chart positions - this alone means each artist creating a specific genre of music is competing against others within the same genre - makes things a little smoother in my opinion.

 

Being based out of London: do you feel it is the best place in the world for great new music? Has London become the go-to city for the freshest and most original artists?

Haha. Yes and no! London is a bursting scene. Something is always happening. Someone is always performing! It’s great! The only thing I would say is that the world has gotten a lot smaller now because of the Internet and this means artists and talent from all over the world can collaborate at the click of a button and be heard from the simplest of YouTube uploads. Lastly, people love what’s new and people what’s love different. You can find new and different anywhere in world. London just so happens to attracts many of those people.

What does the rest of the year hold for you? Any insight into the artists you’ll be working with?

Lots of release dates; lots of studio hours; lots of shows and hopefully lots of new music available. All the artists I am working closely with have some kind of strategy in place for the next few months. I personally like to have plans made up until Christmas for each of them. We will then take a little break and assess how to proceed in the New Year.

For any producers and creatives that are tempted to follow in your footsteps: what advice would you offer about getting started and making moves in the industry?

Get started now! In my eyes, I’m still on a long road towards where I want to be. Each month/year brings me a step closer but it’s important to know that progress is progress.

Some months can be longer than others but always keep moving towards where you want to be. On a practical note: anyone serious on becoming a producer or manager; work with new talent. Commit yourself to at least once project per year which doesn’t require payment. I find that this often means you’re working towards something you believe in and are seriously passionate about. Prepare for more work than you expect and keep in mind that for the majority of people trying to make it in this industry; it’s a slow game with some real rewarding moments. Lastly, and obviously: yes it can pay huge sums of money. But expect very little to start and know that like anyone else you will have to earn your wage, your promotion and your pension.

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

That’s probably the hardest question you have asked. However, this song is one I heard a month or so ago, an artist from the U.K. and clearly working with some very talented producers…..

Thabo… World War Free

[youtube https://www.youtube.com/watch?v=BaKR9P_WYV4&w=560&h=315]

_______________________

Follow Jay Picasso (Starcity Studios)

Official:

http://starcitystudios.co.uk/

Facebook:

https://www.facebook.com/starcitystudios/?pnref=lhc

Twitter:

https://twitter.com/starcitystudios

YouTube:

https://www.youtube.com/channel/UCbuB96voLAdyWXF5xTGETzg

Instagram:

https://www.instagram.com/starcitystudio/

FEATURE: The Legends Are Mortal: 10 Dissapointing Follow-Up Albums

FEATURE:

 

The Legends Are Mortal:

 

10 Dissapointing Follow-Up Albums

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The bands and artists who create fine work often have the unenviable task of following it up. The pressure can be immense - critical expectations and fans’ eyes on you – and many fail to fulfil the hype and keep the pressure on. It happens to the best musicians so I have been looking at some of the high-profile albums that have caused critics to screw up their faces and ink-up their red pens. It can be hard following on from such a celebrated album and creating something as important and strong. From Lady Gaga to The Strokes: a peek into the bands/artists who created sensational albums and then took their foot off the gas pedal.

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The Beatles – Let It Be

There is never a truly bad album in the cannon of Liverpool’s finest, The Beatles. Not only one of the greatest bands ever to have lived: they inspired so many other artists to follow them and become more daring with music. Throughout their career you can chart the various phases and how their music evolved. By 1968 – following their eponymous album and its strains – there was hostility in the group. Various members leaving and coming back – Ringo particularly unhappy as a Beatle – many felt ‘The White Album’ would be their final call. Although Abbey Road was the final studio album recorded: Let It Be was the final release – recorded just before Abbey Road – and has an appropriate amount of fatigue and tension. Not as gleaming, wondrous and memorable as their previous work: band tensions and the omnipresence of Yoko Ono perhaps added to the problem. A few classic cuts emerged – including McCartney’s title track and The Long and Winding Road – but by and large, it was a patchy effort. The band did rectify things for their swansong but Let It Be is the product of a group losing their brotherhood and connection in music – only bringing some of their genius to the album.

[youtube https://www.youtube.com/watch?v=rfX0q1aNCos&w=560&h=315]

Oasis – Be Here Now

 

No band in the 1990s had such respect, acclaim and importance as Oasis. Definitely Maybe was their defining debut and gave the world such instant classics as Live Forever and Cigarettes & Alcohol. That record brought the Manchester band to prominence and showed they were arbiters of the modern Rock revolution – proper lads who knew how to pen a great tune and not give a f**k about anything. (What’s the Story) Morning Glory? Arrived in 1995 – the year after their debut – and can be argued to be a better record. More emotional depth and tenderness can be found: plenty of rock-solid anthems nestling alongside. No matter what your views on both albums there is a unanimous feeling towards (What’s the Story) Morning Glory?: one of the best albums of the 1990s and a natural continuation from a truly world-changing band. Be Here Now was under immense pressure to complete a staggering 1-2-3 and failed to do so. If the first two albums from Oasis were booze-tinged with a bit of marijuana: Be Here Now is a cocaine album from start to finish. Bravado, braggadocio and arrogance can be heard in every number – Oasis were never sort of self-confidence. If (What’s the Story) Morning Glory? suggested a call-to-arms and need for unity: Be Here Now was that message fed through a bulhorn. Songs went on too long – most of the tracks are over five minutes in length; four exceeded the seven-minute mark – and the production was too bland to do the finer numbers justice. Stand By Me could easily rank alongside the finest Oasis compositions – although that is essentially chorus-heavy and lacks depth – but it is the highlight from an otherwise average album. It was the fastest-selling British album at the time and the popularity and fond reviews bowed to public expectation. In hindsight, many have reassessed their views and recognise Be Here Now as the point where Oasis started to show cracks.

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

The Stone Roses – Second Coming

It is hard to think of an album that was as celebrated and revered as The Stones Roses’ debut masterpiece,  Bringing together elements of the rave culture and sparkling gems of ‘60s Pop: the album captivated music lovers in 1989 and introduced one of the most influential bands of the time. Critical reception was positive when the album was released yet The Stone Roses has gained more retrospective acclaim and respect. Influencing so many contemporaries and still sounding fresh today. Hopes were high for their follow-up but several factors contributed to the sense of disappointment. A five-and-a-half year gap between albums was one; the fact the band withdrew from arena touring for most of that time was another. Second Coming boasts typical; funky workouts and tribal grooves but released in the Britpop era and it seems out-of-place. Not capturing the same imagination, zeitgeist-defining wonder of their debut: it is a record with occasional flashes but not much else. Not quite a disaster but not an album that you’d readily associate with one of Britain’s best groups. New material has surfaced the last year which gives hope of a third album from The Stone Roses – that will be exciting to see.

[youtube https://www.youtube.com/watch?v=ct-qa6SjRZo&w=560&h=315]

Michael Jackson – Bad

Following the tremendous success and celebration of Thriller: many artists would crumble under that pressure and be unable to live up to that hype. Thriller has gone on to become the biggest-selling album ever and rightfully so. Its standout title track – and THAT amazing video – sits naturally alongside street-beat dramas Beat It and the slinky anxieties of Billie Jean. Throw in Human Nature and Wanna Be Startin’ Somethin’ and you have a legendary album by anyone’s standards. Bad arrived five years after Thriller and gained plenty of positive reviews from critics. There are those that feel Bad is less filler-heavy than Thriller and a more solid effort. That is true but Bad contains fewer true epics and standouts; its production is a little theatrical and its sounds treading the same ground as Jackson’s previous work. Bad is only a let-down in terms of Jackson’s standards – compared to any other musician it is a triumphant and sensational work. Dirty Diana and Smooth Criminal are two of Jackson’s best-known tracks and it is hard to fault his confidence and songwriting. What Bad misses is the same drama and accusation as Thriller. Leave Me Alone is the closest thing to a Billie Jean or Beat It – something Jackson would remedy on the remarkable Dangerous.

[youtube https://www.youtube.com/watch?v=crbFmpezO4A&w=560&h=315]

Terence Trent D’Arby - Neither Fish Nor Flesh

At one point the British media were touted Terrence Trent D’Arby as the next Prince: in fact, the man himself was keen to make those comparisons and big himself up to the hills. His debut, Introducing the Hardline According to Terence Trent D'Arby, gets near to fulfilling those lofty ambitions. Sign Your Name and Wishing Well are noted as true classics and songs, once heard, are very hard to forget. If D’Arby was claiming to be the most important artist/album-maker as The Beatles/Sgt. Pepper’s’ then some of that ego was fed into some remarkable songs. Two years after his debut and Neither Fish Not Flesh is a little too ambitious and some of its aims do not fully hit the mark. Middle East strings and an even more varied palette means the songs are a little too wide-reaching and unfocused. Neither Fish Nor Flesh does not contain the same instancy and consistency of its forefather. Perhaps pretentious in places and a shadow of the debut: D’Arby still proved he was worthy of close investigation; a musician that could never be boring or terrible. His 1993 album Symphony or Damn regained some of the command and brilliance of Introducing’ but Neither Fish Nor Flesh struggled to gain commercial foothold – the record company rejected it and compelled D’Arby to change his name to Sanandra Maitreya.

[youtube https://www.youtube.com/watch?v=lyGxhaxV2Hw&w=560&h=315]

Primal Scream - Give Out But Don't Give Up

Like The Stone Roses; Primal Scream were another band that swung into music with an exceptional album and failed to keep that momentum going. To be fair, the Scottish band was on album number three by the time Screamadelica arrived. Not only (did that album) transcend the time and places it was recorded but ranks as one of the finest records from the 1990s. Kaleidoscopic, colourful and trippy: nobody I know has a bad way to say about the album. You hear songs like Movin’ On Up and Loaded and surrender to their charms and primal powers. Given the legacy and love that album cemented: one would hope its follow-up would at least contain some of the brilliance and sound of its predecessor. Give Out But Don’t Give Up draws its influence from classic Rock and Blues – Screamadelica took from Psychedelia and glistened because of it. Not only did Give Out’ lack the passion, flair and variegation of Screamadelica: it sounded like so many other bands at the time (1994). Rocks is the track we all associate with Give Out But Don’t Give Up yet how many other songs from that album will you be able to name? Primal Scream are still recording today but missed a trick with Give Out But Don’t Give Up. Too disciplined and well-mannered and missing that experimental touch: it is a record worth some attention but not one you will come back to time and time again.

[youtube https://www.youtube.com/watch?v=Z3ZCZjhjguA&w=560&h=315]

Bob Dylan – Self Portrait

Bob Dylan’s career is so long and varied it is challenging keeping up – few artists are as prolific and surprising (even in his 70s). Blonde on Blonde arrived in 1966 and remains one of Dylan’s greatest achievements; following that, the marvellous John Wesley Harding arrived the year after. Nashville Skyline came out in 1969 and the political landscape had changed dramatic. The assassination of Dr. Martin Luther King Jr. and riots broke out in some major cities. Richard Nixon was sworn in as the new U.S. President (in 1969) and a great deal of hostility and tension ran throughout the nation. Dylan, renowned for his political statements and of-the-moment commentary, used Nashville Skyline to look at positivity and love – a dramatic commercial shift that was warmly received by critics and showed how nimble Dylan was. Given the times, a 1970 album from Bob Dylan (one hopes) contain political references and a reflection of the times. Self Portrait is a double-album of well-known songs and Dylan originals. Not since his debut album has Dylan received such lukewarm reviews. Upon the release of Self Portrait, many assumed Dylan to be a spent force. If the ‘60s had killed The Beatles then Dylan looked like following them. A few half-decent songs can be found but largely it is a forgettable record that ranks among the worst albums from Dylan’s (largely wonderful) career.

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

The Strokes – Room on Fire

Like their British counterparts The Libertines, The Strokes are a band that capture the youthful Punk energy of the ‘70s masters and are easily capable of transfixing the listener with their cool, clout and swaggering bravado. Whereas The Libertines follow-up to Up the Bracket (their eponymous debut) was a phenomenal work that kept their legacy burning – although squabbles and fractions in the band meant it was not as meaningful and strong – The Strokes struggled to follow Is This It with anything as impactful. Their debut was lauded as one of the finest (debuts) ever. Simple, snarling and imbued with Punk bliss: music of the highest order a completely assured and perfect introduction. Critical favourites and darlings of the scene in 2001: its 2003 follow-up, Room on Fire, was always going to be a disappointment. In its own terms – and compared to any other band out there – it would have been a fantastic success and incredible achievement. Is This It was so singular, peerless and joyous, it would be have been near-impossible equalling it. The Strokes seemed to retread their debut on some of the songs and there is a sense of truly to repackage an album rather than create a progressive step and fresh-sounding work.

[youtube https://www.youtube.com/watch?v=b8-tXG8KrWs&w=560&h=315]

Lady Gaga – Born This Way

Love or hate her; you cannot deny how much of an impact Lady Gaga has made on Pop music and what a unique force of nature she is. A U.S. version of Björk perhaps: there is eccentricity and outlandish fashion choices but great music to back it all up – a million miles away from Björk’s sound, mind you. Joanne is her latest album out in a few weeks and will be fondly received by her devotees. If we look back at her first two albums – The Fame and The Fame Monster – one can find plenty of superbly-crafted Pop tunes and personality reigning from every note. They were records that introduced Gaga and just how good she was. Born This Way gathered plenty of praise but like Artpop (its follow-up) it seemed a little rushed and overly-excessive. Excessiveness and bloating defined Lady Gaga’s work but nothing on Born This Way rang as clear and proud as on The Fame Monster, let’s say. It is another case of negative-when-compared-with-the-rest-of-the-world on Born This Way. So far, the U.S. singer has not rereleased a poor album but Born This Way feels too desperate to please and perhaps keen to capture quick attention after The Fame Monster – perhaps some more time in the studio would have benefited it. Some critics noted the persistent sloganeering and strong-in-the-face-of-adversity tropes – a lack of subtlety and lyrical maturity perhaps. The sharp and body-rocking beats and moves were all there but Born This Way follows too close to her early work to provide a necessary evolution.

[youtube https://www.youtube.com/watch?v=wagn8Wrmzuc&w=560&h=315]

Led Zeppelin – Presence

It seems appalling to put the words ‘Led Zeppelin’ and ‘disappointing’ into the same article. The truth of the matter is Led Zeppelin are as mortal as anyone. 1976’s Presence was certified triple-platinum but is Led Zeppelin’s slowest-selling album and was received with mixed reviews. Perhaps it would have fared okay had it not followed the titanic, world-conquering beast that is Physical Graffiti. That double-album is perhaps one of the grandest statements in all of Rock history – the best Led Zeppelin album in a career that is not short of genius albums. Lead Robert Plant suffered a serious car accident the year before Prescene’s recording and was still recuperating at the time – Jimmy Page deemed the album the most important of the band’s career. Able to face turmoil and obstacles and still sound defiant: this attitude, connection and rebellion swam right the way through Presence. What was missing was the epic anthems and sheer impunity. The band sound almost forced and lifeless throughout an album that betrays their true potential and legacy. Nobody’s Fault But Mine is the album standout and could have easily replaced some of the weaker moments on Physical Graffiti – the fact that album is so astonishing despite poorer efforts says it all. Presence found Jimmy Page exerting more creative control and the band did not tour the album extensively. Not a write-off or terrible album: it is one you only dip into rather than truly absorb and fall in love with.

[youtube https://www.youtube.com/watch?v=c5ntRwfKD38&w=560&h=315]

INTERVIEW: Liz Loughrey

INTERVIEW:

 

 

Liz Loughrey

________________________

RISE Up! is a single that has been hotly anticipated and promoted by…

Toronto-based artist, Liz Loughrey. From a nation (Canada) that has provided so many of today’s best new artists; I am in no shock to find Loughrey being celebrated and creating serious buzz. Her voice has a silkiness and sweetness; a sexiness and strength – a combination few of her peers possess. Not only is Loughrey releasing Rise Up! as a single: she is popularising and touring the #RiseUpMovement. That sees her tour schools and provides inspiration videos and stories. It has captured imaginations already and seems like it can be franchised to other nations and other sectors of society. Liz Loughrey is clearly above the average musician: someone who gives back to the people and is one of the most mature and fascinating young women in music. All of this given; I was super-keen to talk with her and what we can expect from her new single and the months ahead.

[youtube https://www.youtube.com/watch?v=yOWu4JTkI1I&w=560&h=315]

____________________________

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

Great thanks; spending a few weeks making music in L.A.!

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

Hey, I’m Liz. I’m a singer-songwriter from Toronto and I hope to make people feel united when they hear my sound. I’m half-Trinidadian and half-Irish.. so the last name is pronounced lock-ree (common misconception.)

I am interested in Rise Up! You will be featuring stories and photos from amazing people rising up in their communities. What inspired that idea and where about are you taking the concept in terms of towns and cities?

We turn on the news and are constantly bombarded with negativity and so it's easy to feel powerless but the #RiseUpMovement is about spreading the message that we can do amazing things when we commit to positivity. The #RiseUpMovement is worldwide! There are people rising up in communities all over the world and the goal is to share as many of these positive stories as possible.

 

Your first Rise Up! talk occurred a few days ago. What was the reaction like from the school you visited?

Seeing the kids engage with the workshop was so encouraging. They were dancing, singing and even getting up in front of the school to tell their peers how they want to better their community. Seeing at-risk youths overcoming their fears of public speaking in that moment was really incredible.

Do you think young musicians have a duty to do more in communities and use their voice to help others?

I don’t think that duty is exclusive to young musicians: I think it extends to everyone. We have to do more because we can. I think young musicians have the unique opportunity to engage the world in that message through music and we should make better use of that.

Your latest single, Rise Up!, is out very soon. What can you tell us about it and the influence behind the song?

I’m so excited! I don’t think I had any idea how important this message was when I was writing this song in Miami. I didn't write it so that I could start a movement or be an activist but that’s what this single has become for me. It has an island vibe: that’s my Trini. roots right there!

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

You are a classically-trained vocalist and one of the most original voices out there. When was the moment you decided you wanted to pursue music and have there been any challenges along the way?

I grew up hearing my mom sing in church; that's sparked an early interest for me. There are ups and downs in pursuing your dream just like with anything in life. But the highs outweigh the lows, and one door always leads to the next.

When you sing, as you have said, people sit up and take notice. That is a rare power for any singer. Which artists have influenced you most and gone into that stunning voice?

I’ve learned so much from listening to the greats. Etta James, Billie Holiday; Amy Winehouse and Sade just to name a few.

You seem (if you don’t mind me saying) quite mature and vintage compared to your peers – more suited to life as a ‘50s Jazz singer, perhaps? Have you always had a fascination for older artists and how influential were your parents in that?

I’ll consider that a compliment :) I always say I was born in the wrong era. As I’ve gotten older my fascination with powerful female artists from days gone by has grown. Because now I feel like I understand. Now that I’ve known both love and heartbreak. Their sound, their stories, their style… so much authenticity to be inspired by.

[soundcloud url="https://api.soundcloud.com/tracks/236227826" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

After Rise Up! is released, what can we expect in the next few months? Tour dates or any new material afoot?

After the Rise Up! workshops wrap up I’ll be working on my E.P. and releasing a few more singles! I sense a few U.K. shows in the near-future too!

Toronto is one of my favourite cities for music (where you hail). Do you think the city gets the recognition it deserves outside of North America or is a place many music lovers are not aware of?

Toronto is taking the world by storm! You know those guys Drake and The Weeknd… they really paved the way for this generation of musicians coming out of the city.

I actually think other countries give Toronto more credit for its art than we give ourselves.

In terms of the local talent: who would you recommend people investigate?

So many gems! Here are a few of my faves:

If you want to get heavy, check the band Sate; if you’re into poetry check Mustafa the Poet

and local to the county: Montreal native Kaytranada will always be a fave.

Your music seems to be influenced by some British acts and has quite an anglicised aspect. Are you a big fan of British music and can we see you perform over here anytime soon?

British music is the best! Huge fan of the sound and the energy there in general; definitely going to be spending some time there in the coming months! I’ll keep you posted on show dates!

Looking at your social media posts, you seem like a positive person keen to give energy to others. As a young woman who has a busy career: where do you find that energy and how do you remain so positive?

It’s my greatest joy as an artist to reach people in a personal and positive way. It’s much more draining to be negative so positivity comes naturally most of the time. Nice to hear that’s reflected on my social media sites :)

There will be young artists looking at your rise and wanting to follow in your footsteps. What advice would you offer them?

Sometimes you’ll have to fight for your vision so make sure that vision is clear and surround yourself with people who get it. Also, never get too comfortable. Bowie said it best: “As soon as you feel like your feet can touch the ground, go deeper”.

Finally, and for being a good egg, you can name any song you like (not one of yours as I’ll include that); I’ll play it here…

Currently playing as I write this: Estelle - Come Over

[youtube https://www.youtube.com/watch?v=uESW6eoUIX4&w=560&h=315]

____________________

Follow Liz Loughrey

Official:

http://www.lizloughrey.com/

Facebook:

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

Twitter:

https://twitter.com/lizloughrey

Instagram:

https://www.instagram.com/lizloughrey/

YouTube:

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

Soundcloud:

https://soundcloud.com/lizloughrey

FEATURE: The September Playlist: Vol. 5

FEATURE:

 

The September Playlist: Vol. 5

______________________

NOT only is there a spate of brilliant…

new songs and albums out now – and the coming weeks – but some of the old masters have brought out work. David Bowie’s Who Can I Be Now? collates his 1974-‘6 work – showing the shift between Young Americans and Diamond Dogs – during his ‘American Phase’ and the brilliance and transitions of his work. Nirvana’s Nevermind and Primal Scream’s Screamadelica celebrate 25 years of existence; Weezer’s Pinkerton is 20 today. Beck has decided to release his back catalogue on vinyl and we celebrate the 50^th anniversary of Jimi Hendrix arriving in London. In terms of new music coming through - cuts from Dirty Projectors, Emilie Sande and Fenech-Soler are all included – plus the artists releasing albums in the coming days (or last week) and a lot of sonic goodies. Sit back and enjoy September’s 5^th Playlist.

___________________

The Old Guard

Weezer – El Scorcho

[youtube https://www.youtube.com/watch?v=1_XnVHDA0fI&w=560&h=315]

Primal Scream – Movin’ on Up

[youtube https://www.youtube.com/watch?v=wWUC2-ypnDQ&w=560&h=315]

Nirvana – Lithium

[youtube https://www.youtube.com/watch?v=gu7j7g9Nt14&w=560&h=315]

Jimi Hendrix – Freedom (Live)

[youtube https://www.youtube.com/watch?v=wDvlErh5zcc&w=560&h=315]

Beck – Loser

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

David Bowie – Young Americans

[youtube https://www.youtube.com/watch?v=ScVi_L817ec&w=560&h=315]

The New Breed

Warpaint – Whiteout

[youtube https://www.youtube.com/watch?v=K1BqwONm4TE&w=560&h=315]

Daft Punk and The Weeknd – Starboy

[youtube https://www.youtube.com/watch?v=45OXhlVFXI0&w=560&h=315]

Tor Miller – All Fall Down

[youtube https://www.youtube.com/watch?v=wk8zp0Yh914&w=560&h=315]

Hamilton Leithauser + Rostam – In a Black Out

[youtube https://www.youtube.com/watch?v=5Sko_A6dU_U&w=560&h=315]

Deap Vally – Gonnawanna

[youtube https://www.youtube.com/watch?v=VTHmbk0177s&w=560&h=315]

Boxed In – Jist

[youtube https://www.youtube.com/watch?v=8NGa3wIyWoY&w=560&h=315]

Dirty Projectors – Keep Your Name

[youtube https://www.youtube.com/watch?v=r9tbusKyvMY&w=560&h=315]

The Slow Revolt – Lean

[youtube https://www.youtube.com/watch?v=QZVyiIlt4S4&w=560&h=315]

Will Joseph Cook – Sweet Dreamer

[youtube https://www.youtube.com/watch?v=A6Pxne5Wouo&w=560&h=315]

How to Dress Well – Can’t You Tell

[youtube https://www.youtube.com/watch?v=8wd2S8LEyoY&w=560&h=315]

Billy Bragg and Joe Henry – Gentle on My Mind

[youtube https://www.youtube.com/watch?v=-mJnOX6fbvo&w=560&h=315]

Merchandise – Lonesome Sound

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

Marillion – The New Kings

[youtube https://www.youtube.com/watch?v=Xiwtl-ljUI0&w=560&h=315]

Trentemøller – Redefine 

[youtube https://www.youtube.com/watch?v=fGaF2VUV2kc&w=560&h=315]

Passenger – When We Were Young

[youtube https://www.youtube.com/watch?v=1hByUdeM1nM&w=560&h=315]

Fenech-Soler – Kaleidoscope

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

Slaves (ft. Mike D.) – Consume or be Consumed

[youtube https://www.youtube.com/watch?v=05Q5akU8d7g&w=560&h=315]

Malone (ft. Ismael Sankara) -Dream Big [Remix]

[youtube https://www.youtube.com/watch?v=897CzbCHoLc&w=560&h=315]

Gold Complex – Backbone

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

Emelie Sande – Hurts

[youtube https://www.youtube.com/watch?v=a17OKsH10m0&w=560&h=315]

Shamir – Tryna Survive

[soundcloud url="https://api.soundcloud.com/tracks/283537267" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

DZ Deathrays - Pollyanna

[soundcloud url="https://api.soundcloud.com/tracks/283555584" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Bloc Party - Stunt Queen

[youtube https://www.youtube.com/watch?v=YcEsqSr0jG0&w=560&h=315]

Green Day – Revolution Radio

[youtube https://www.youtube.com/watch?v=LHPKOy3dtqQ&w=560&h=315]

Joan as Policewoman (ft. Benjamin Lazar Davis) – Broke Me In Two

[youtube https://www.youtube.com/watch?v=hH95gCe-tOI&w=560&h=315]

 

Daya – Sit Still, Look Pretty

[youtube https://www.youtube.com/watch?v=-JO2qY45EIg&w=560&h=315]

Bon Iver –  10 d E A T h b R E a s T ⚄ ⚄

[youtube https://www.youtube.com/watch?v=HNy7VtSsmu8&w=560&h=315]

Craig David & Sigala – Ain’t Giving Up

[youtube https://www.youtube.com/watch?v=oLGhVNMw2NA&w=560&h=315]

The Divine Comedy – The Pact

[youtube https://www.youtube.com/watch?v=D3NNXlETa48&w=560&h=315]

Mouses – Hollywood

[youtube https://www.youtube.com/watch?v=r85J_fEN4Ew&w=560&h=315]

Hinds – Bamboo

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

Raf Rundell – Right Time

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

Beach Baby – Atom Bomb

[youtube https://www.youtube.com/watch?v=xBjgsWEaI6E&w=560&h=315]

It is going to be exciting seeing what else the month offers and the singles that will arrive. October is looming and there are some wonderful albums in the pipeline. I shall keep you abreast of them, but for now, re-enjoy the gems of September and all the awesome music about. The nights are getting cooler and music’s warm glow is something we all need to embrace. Keep your attentions set to the music press as some very notable bands are preparing to unveil new albums in the next weeks.

E.P. REVIEW: FloodHounds - Look What You've Started

E.P. REVIEW:

FloodHounds

 

PHOTO CREDIT: Aimee Catt

 

Look What You’ve Started

 

9.5/10

RELEASED: 16^th September, 2016

GENRES: Blues-Rock; Alternative; Rock ‘n’ Roll

ORIGIN:

Sheffield, U.K.

The E.P. Look What You’ve Started is available at:

https://play.spotify.com/album/5vohM1D0qs36jqxLqfc18p

TRACKLISTING:

A&E – 9.5

State of Mind – 9.4

The Fear – 9.5

Soulmates to Cellmates – 9.5

End of the Road – 9.4

Greatest Mistake - 9.4

DOWNLOAD:

A&E; The Fear; Soulmates to Cellmates

STANDOUT TRACK:

Soulmates to Cellmates

____________________________________

THERE is a lot to recommend about my featured band…

who are looking to the future – having been playing for many years; there is no sign they are ready to call time. Before I come to them, it is worth looking at bands from Sheffield (and Yorkshire; they hail from here) and the Indie-Rock genre; looking at groups who manage to survive and succeed when changing their membership. At the start of last month, it was Yorkshire Day: a chance to celebrate everything about the county. Whether you consider it God’s County or a part of the world rather gentle and scenic: you cannot deny how many great bands have come out of Yorkshire. I have mooted this point before (many times) but we have misconceptions about Yorkshire. Often looking at the likes of Alan Bennett as the archetypal symbol of the county: images of cardigans, soothing narratives and a nice cup of tea always come to the fore. You can apply the same stereotypes to any county and would be overlooking the reality. Yorkshire is a huge county with many distinct areas and people: those who live in Leeds are distinct from those in Harrogate; Sheffield is separate from York. The same distinctions should be made with regards music – such a varied and busy area for wonderful talent. If you put a cursory search through Google – ‘the best Yorkshire bands of 2016 – the results would be a little scarse and limited – why are there not polls and articles dedicated to this type of things? Apply the same question and replace ‘Yorkshire’ with ‘London’ or ‘Los Angeles’ and you’d have ample reading material – so why does Yorkshire get overlooked?

It is an interesting question that has never been adequately answered. The big cities – in terms of legacy and media glare – get the kudos and attention whilst Yorkshire has to bubble beneath the surface. ‘Older’ bands Sister of Mercy, Soft Cell and Embrace come from Yorkshire: The Long Blondes, Pulp and Cribs represent different parts of Yorkshire – Sheffield (Pulp and The Long Blondes) and Wakefield. Arctic Monkeys are perhaps the most synonymous and famous Yorkshire band at the moment but there are plenty of terrific unsigned and away-from-the-mainstream artists that deserve credit. There will be local journalists (in Yorkshire) that are going to gigs and discovering fantastic bands. I feel there needs to be more exposure and blogs dedicated to the best and brightest artists in Yorkshire. I have been trying to find comprehensive lists that point me in the direction of some wonderful Yorkshire musicians – you have to go by instinct and haphazard fortune. Billie Marten is a 17-year-old prodigy whose voice capture the heart and is one of the most beautiful you will hear – showing Yorkshire is more than bands, Rock and a certain image. It is impossible to unearth every great Yorkshire musician but cracking the surface is needed – ensuring we do not miss out on some terrific music.

FloodHounds are a band I have reviewed before and find their music to be among the most interesting and energetic. Before I raise some new points, looking at the band’s previous work, I will introduce them to you:

Jack Flynn – Guitar/Vocals

Rhys Owen – Bass/Vocals

Lauren Greaves - Drums

 “FloodHounds are a fast-paced 3-piece British indie-rock band from Sheffield - Layered in Blues.

FloodHounds' "gloriously guitar-heavy rock," takes you from British Indie/Rock to raw American Blues and hits you like a British Black Keys, crossed with The Rolling Stones, fed on a diet rich in Band of Skulls, The White Stripes, Blur and Kasabian.

Floodhounds were picked (out of 1,200 unsigned bands who applied) to play at Sheffield's iconic Leadmill. They join an exciting Tramlines Saturday 2015 line up, headed by Fat White Family. http://www.tramlines.org.uk/lineup/floodhounds BARE BONES, the title track of the band's second EP currently streaming on Soundcloud; has attracted Radio play from BBC INTRODUCING Sheffield, Sheffield Live and a host of other local/online radio shows around Europe and America.

A video of the band recording of "Bare Bones" at Sheffield's iconic 2FlyStudios is atyoutu.be/24xT906F1kU. Following storming local gigs at the Rocking Chair and Plug Sheffield (supporting October Drift) and strong positive reviews in the local music press, FloodHounds are now playing further afield. Some successful London gigs in Camden and Shoreditch in April and supporting DJ sets by the likes of Gus from alt-J at 229 The Venue's Mayday Festival.

The band's new 3-piece incarnation emerged in late 2014, when founder members Jack Flynn - the vocalist, guitarist, songwriter of the band - and bass player Rhys Owens, were joined by drummer Lauren Greaves”.

There is an honesty and reality to the band that is missing from a lot of their contemporaries. So many bands are about image and ego; trying to be as exposed as possible in an attempt to side-step the issue their music is not that strong or original. There are enough artists that do not distinguish themselves enough and are all talk and no action. FloodHounds get on with music and are as raw and open as you’d imagine. They are three normal (are extremely talented) musicians that do not need to create waves of hyperbole and self-hype to get people talking. Few bands are capable of surprising and existing after several years – the demands and hardships of the industry scare many off – and have evolved since their formation. Lauren Greaves (drums) joined the band in late-2014 and has added new relevance and inspiration to FloodHounds.

Groups that bring in new members or shift their members often face losing solidity, consistency and quality. I have seen many artists slim-down or replace members and their music has suffered as a result. It can be challenging and risky introducing new musicians and changing dynamics, but in the case of FloodHounds, it has enhanced and benefited their music. Since late-2014, FloodHounds have been building their fan-base and ensuring they keep putting out great material. Critics and radio stations have highlighted their Indie-Rock, guitar-heavy sounds that are a nice blend of familiar and fresh. They are inspired by everyone from The White Stripes and The Rolling Stones: unifying Blues and Rock from ‘90s U.S. and ‘60s U.K. By mixing America and Britain; splicing genres and styles together: their music has that depth, variation and quality. Even though they have hints of others, you get plenty of unique perspective and originality from the Sheffield band. It seems like there is a little bit of a gap left since the ‘brief hiatus’ of Royal Blood. I know I have used the Brighton two-piece as an example before – they are recording new material but been off the scene a little while now.

PHOTO CREDIT: BACKSTAGE:UK

It is always risky coming in strong and creating a solid and impressive debut album: leaving too big a gap after that risk the energy and fascination waning; many will go looking for other bands. Little snippets the duo have released (since their debut) suggest their sophomore L.P. is going to be titan, mighty and meaty. In the meantime – assuming they put something out in the next year – I have been looking for bands to fill that void. FloodHounds have a little bit of Royal Blood to them but are more varied and everyman in a sense – Royal Blood a little grittier, harder and straight-out-Rock. As I listen to the radio of a day – 6 Music is my drug of choice – you hear a few promising bands but not many that are straight-ahead Rock. Too many synths. and introspection; gloominess and a lack of directness. It is frustrating hearing artists like this – you need some but it seems like radio playlists are packed full of them. One yearns for something driving, spikier, and let’s face it, more interesting. Royal Blood are just one example of what we need more of in music: musicians that know how to bring something biting and body-moving to music but keep it personal, disciplined and universal. FloodHounds are masterful when it comes to crafting loveable anthems and music that gets straight into the head – free from tinsel and distractions of many of today’s artists. A good old-fashioned band who know how to rock and keep it simple but compelling. Look What You’ve Started follows from their previous work and adds new themes and urgency. It seems, like all great and eager bands, they are at their peak and suggest even better are just around the corner. The E.P. is picking up plenty of appreciation and love. The six-track E.P. is impressive with its emotional balance and standout cuts – the video to Soulmates to Cellmates is gathering particularly strong acclaim.

The trio has released two E.P.s previously and is a band who always capture the spirit and energy of live performances in their collections. Cuts like Motivation and The Fall from their eponymous debut rattled with urgency and a wonderful band performance. Always tough, spirited and electric: a wonderful duo of songs that defined the E.P. and brimmed over with life and evocativeness. Moving Pictures had that swagger and confident vocal. The hero was wearing out his mind (“Trying to keep up with you”) and it had that spirit and defiance of the Britpop era. Acts like Oasis came to mind and one was transported right back to the heydey of their rivalry with Blur – maybe shades of Arctic Monkeys creeping in. Bare Bones (E.P.) followed a couple of years after their debut and contained more variation and threads. It is hard to pin down but you can sense a little more confidence and assuredness in the music. The compositions are more nuanced and the production a little more polished – really bringing the best from the music. In both E.P.s, the gang display clear influences yet very much have their own voice and sound. The three-track E.P.s were tight and memorable and every song compelled you to come back and reinvestigate. If you look at Look What You’ve Started and it is a six-track E.P. that displays yet more confidence from the band. Having toured a lot and picked up new skill (and inspiration) on the road: FloodHounds bring all this into the new work and expand their sound once more. You get little tastes of Oasis, Arctic Monkeys and The White Stripes but they are less obvious and the band is embracing their own voices more. Keeping the Blues-Rock template strong and carrying on from where their previous E.P.s left off – their most solid, variegated and complete work to date. You immerse yourself in the music and notice a distinct skin and personality in each song. Unlike Bare Bones and FloodHounds, one senses more distinction between the tracks and the trio seem a lot closer and more adventurous with the compositions and lyrics. Perhaps the confidence and faith in the ranks are high but FloodHounds are at their peak right now and seem unstoppable.

A&E begins with twang and a definite defiance. Cool-edged and rebellious; it hoves into view. All the people “look so small” when you are down and out says our hero. Perhaps directing to a friend or someone in need of comfort – the song seems to deal with someone who is struggling with some hard times. The hero offers that comfort and support if needed and you wonder what is behind the song and its lyrics. The guitars chug and race whilst bass and percussion keep everything tight and authoritative. Always bonded and together in every song they release: here, there is even more solidity and FloodHounds are at the top of their game. Despite the excellent production values, there is still a sense of loose and raw live-sounding elements creeping in which means it will appeal to a wider sector. Many bands over-produce and polish their music which takes its edge off and sounds rather fake. FloodHounds attempt to reproduce their live sound and that energy. Throughout the song, the lyrics are clear and you start to piece the storyline as it unfolds. I got the impression of a colleague or friend that was going through some tough times and that suits the song’s title. Maybe things are at a low but it seems like there is a way out. When Flynn sings about there being a better place to be – a question that is posed by the subject – you feel it is a cry for help and a way out of a bad town/situation. Throughout the song, you are hooked and scintillated by the unfolding drama and the combined strength of the band. It is an excellent and fiery opener that does not come in too hard but shows what a unit FloodHounds are.

State of Mind begins calmer and boasts woozy Blues strings before ramping things up and coming out of the block. The hero sees his friends working 9-5 and cashing cheques; maybe caught in a mundane and predictable way of life. He poses questions like “Why do we try?” and seems to be aghast at the sameness and routine nature of life. Perhaps balking against anything that boring and workaday: one hears the dissatisfaction and annoyance in the vocal; bereft and fatigued by what is unfolding. Wondering if you’re “going to make it in this world alive” it is a cautionary tale and warning to the generations. You speculate whether the lead has seen too many of his friends go through the motions and not learnt from those lessons. State of Mind is a song for everyone and people that might be stuck in a rut and unwilling to get themselves out of a hole. Few can deny the emotion and conviction that goes into the song and the way the band support the hero. The composition remains funky and kicking but able to kick and spit when needs be. The malaise and miasma is a state of mind and a funk that can be remedied. Our hero knows things can change and you can escape the pressure. One of the more inspirational and defiant songs the band have created: it is surely going to be a live favourite and get the crowds singing along. Maybe there are elements of debut-album Oasis but the influences are less obvious than the band’s debut E.P. What we find (compared to albums like Definitely Maybe) is the sense that things will be okay and we will get through things. Completing a rousing and glistening 1-2: a perfect way to get Look What You’ve Started into the mind.

The Fear arrives and does so with a bit of menace and attack. The bass hops and skips whilst the guitar is definitely laden with trunks of funk. Sassy and hip-shaking; the song instantly gets inside the head and distinguishes itself from anything FloodHounds have done. Images of stepping out of the light and staying in sight lead you to believe some rather tense and anxious experiences are being assessed. Whether turning the lens on himself or addressing a friend: there is that motivation to escape fear and run away from something that is torturous and weighing. “I don’t want to watch it bury you” defines this sense of urgency and the fact someone might be in peril. It is hard not to be intoxicated by the constantly swing and addictiveness of the composition that will get crowds jumping and dancing along. The Fear balances serious and heartfelt messages with a fun and frivolous composition that makes it one of the E.P.’s standout numbers. It is another song that will resonate well live and is hard to compare it with any other band. You maybe hear a little essence of other acts but FloodHounds are starting to emerge as their own group and separate themselves from their influences. More confident and assured with their music and talent: terrific to hear them embrace their own voices fully. Like A&E; one wonders if a sweetheart is being assessed. Maybe a girl has a point of view that threatens to swallow her and the hero is reluctant to watch it all go down. You do not want to see it happen and you speculate what the origins of the song are. Maybe it is just self-destruction or someone with an ego; a person who is blind to their faults and not listening to advice.

Soulmates to Cellmates intrigues with the title alone and that is before experiencing the stunning introduction. It is another typically catchy and funky parable that shows the band getting out of the pure Rock ‘n’ Roll and adding more Soul and Funk into their music. Able to stay strong and gritty but imbued with sway and merriment; it ensures the song begins hot and captures the imagination. Stepping to the microphone and asking “What have we become?” the hero is unable to relate (to the subject’s) smoke and mirror games. It might be a relationship that is breaking down and cracks starting to form. The song’s title leads you to believe the duo is caught in a small space but instead of being lovers they are prisoners that are trying not to kill one another. You sense that claustrophobia and sense the walls are coming in. It appears the girl is at fault and is lying and deceiving the hero. Keeping her feelings guarded and not willing to be straight – the end of the road for the pair it seems. The girl is trying to remonstrate and beg for some sort of forgiveness. Asking for another chance and time so she can explain things: our man is not letting her off the hook that easy. Time heals everything, it has been said before, but not when the heroine is around. The track has just had a video made and it perfectly explains and illustrates the tensions, emotions and imbalance in the relationship – typically humour from the band being shown throughout. Calming things down and casting himself in the guise of his other half, there is that desire for things to return to normal and wait for understanding to come in. It is not clear what has caused this split but the girl seems to be reluctant to walk away – perhaps to the dismay of the hero. Soulmates to Cellmates is a song you will come back to as it has that charm and shows the band at their very finest.

End of the Road starts with plenty of grumble, gravel and verve. It is yet another song that starts with force and catchiness and spares no time in laying the table and showing manners – right into the action and getting down to things right away. The band have really stepped it up when crafting their music and ensuring every note gets into the head and evokes reaction. Look What You’ve Started is altogether tighter and more muscular than their earlier work. End of the Road find the hero clinging to the breeze and in the midst of a storm. Maybe it is another relationship drama and tension but one that is not bogged down with lyrical cliché or snarling strings. FloodHounds ensure even the heaviest emotions have a little bit of lightness and accessibility as not to put the listener off. The dust and smoke and settling and our lead is keeping his eyes closed. “There is no easy way out” and it seems like whatever is ascribed – a girl that is baying for blood – will take no more from her man. Metaphors are laid out and vivid images presented: the hero is being left by the side of the road and fed up with being exploited and taken for a fool. Not as predictable and obvious as you’d imagine: FloodHounds address a common subject without loading it with bland lyrics and hyperbole. It is a great balance of regret and defiance as the hero tries to make sense of everything. Once again – and common words for this review – you do get hooked by the music and the trio come together splendidly. Taut and leading basslines propel the tight and smacking percussion that, in turn, aids the funk-ridden and sexy guitar. By the song’s end, the hero has expended a lot of emotion and one feels the relationship is doomed and beyond repair.

Completing the E.P. is Greatest Mistake, and one feels, another song that trades in some rather harsh and regretful emotions. Unlike its E.P. counterparts; here we get a more restrained and contemplative introduction that brings some genuine heart and sensitivity into the mix. A lot of bands structure E.P.s this way and end things with an emotional and touching number. In the first few seconds, it is a song that has elements of ‘60s Blues and a rather sensual start. The strings are cool and slight; they evoke all kinds of images and possibilities. Another departure from the band’s previous work it effortlessly fuses Blues, Jazz and Soul in a teasing and shivering coda. The lead does not know if he should reach out further – the girl has her will and he has his – and you feel love is under the microscope again. Feeling blue at times and only relying on his own thoughts and truths: maybe it is the continuation and reflection on a love story that has had quite a bitter end.

One feels the entire E.P. could be seen as a concept and each song represents a different stage in the relationship. From the supportive and hopeful arms of A&E via the contrasts and mood swings of Soulmates to Cellmates – we now arrive at the aftermath and the hero looking back on things. “Over and over I replay the steps” and it is a sentiment that seems to define the song. Maybe both parties have made mistakes and the black box is being pulled apart and studied. All the while, the composition is light and breezy but replete with a Blues soul and a sense of romance. Percussion adds a heartbeat and certain tension whilst the bass adds fluidity to the song – ensuing myriad emotions and layers come to the precipice. Here, we see some self-examination and doubts from the hero as he states that the greatest mistake is making no mistakes at all. Wanting to change things and turn back the clock: maybe it is not as one-sided as one assumes. FloodHounds show they have depth and are capable of presenting something quite emotive and revealing without crowding it with noise and anger. Greatest Mistake brings things to a close and ensures Look What You’ve Started ticks every box the listener has in their survey. Jack Flynn, Rhys Owen and Lauren Greaves are one of the most solid and talented group of musicians around and have developed and grown from their earliest days. They sound much more like themselves and ensure FloodHounds are not easily compared with other bands. Their latest E.P. shines with memorable moments and highlights how much more is still in them – I would not be surprised to see another E.P. from them next year. One feels an L.P. could come and they have so much life and energy in the camp. A tremendous effort from a band that are going to be mainstream artists in very little time.

The guys are excited about the coming months and one can hardly blame them. Look What You’ve Started is being championed by the media and fans: that will give them impetus and motivation to keep recording and carry on in music for (let’s hope) many years to come. They’ll be playing a string of dates – check out their social media pages for more details – but take their music to Spice of Life (Soho) on 29^th October for the Animal Farm. It will be great to see the guys in the flesh and the capital seems like a perfect place for them to play – lots of new fans and stations that will lap their new E.P. up and spread the word. Mixing their usual heartfelt emotion with humour, candour and passion: a triumph from a band that keep on surpassing and evolving what they do. The trio are a properly solid and galvanised unit whose natural talent and chemistry goes into everything they produce. It will be interesting seeing where they go now and what their next moves consist. Of course, touring will be in their mind but surely new music is in the back of their minds. It will be good seeing what materailising but there is good spirit in the camp and a lot of energy among FloodHounds. I started by looking at Yorkshire music and what a history the county has – how undervalued it is compared with other parts of the world. It is fairly harsh the county is not as exposed and focused-upon as it should but that has not deterred musicians (there) making a big noise and creating some of the finest music on the underground. FloodHounds are one of Sheffield’s finest but have no intention in remain localised and sitting still. Look What You’ve Started is their most impressive, full and strongest work to date and you get the feeling they have many more releases ahead. Ensure you check their E.P. out and catch them live if you can. They are another terrific young band that have been playing for years but have many more to come. With many of their peers struggling to remain and survive; it is imperative we do our utmost to encourage…

PHOTO CREDIT: BACKSTAGE:UK

ARTISTS like FloodHounds.

[youtube https://www.youtube.com/watch?v=WnZb675v6Vw&w=560&h=315]

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Follow FloodHounds

 

Official:

http://www.floodhounds.com/

Facebook:

https://www.facebook.com/FloodHounds/

Twitter:

www.twitter.com/floodhounds

YouTube:

www.youtube.com/user/floodhounds

Instagram:

www.instagram.com/floodhounds

INTERVIEW: Lánre

INTERVIEW:

 

 

Lánre

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IT is hard properly defining yourself and standing aside from…

the crowd I guess. Music has so many different entrants and acts it can be a minefield situating yourself away from the rather faceless mass: showing character, light and originality without coming off insincere, faked and forced. Lánre is an artist for whom I have a lot of respect and time for - one of the noblest and warmest musicians around. Her live performances are talked about in passionate tones and her music channels spirituality, faith and common experiences through something we can all relate to. I was excited to see how the year had been treating her and what upcoming gigs she was looking forward to – how her heritage and African roots have influenced and enforced her music.

[youtube https://www.youtube.com/watch?v=ErXy0S5YZxM&w=560&h=315]

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

Hiya, I am well. Week’s going great. Just got back from a family holiday and preparing for autumn gigs and projects.

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

I am a singer-songwriter currently based in London. I released a new E.P. a few months ago: it’s my third project.

You have just played a gig in Guelph (Ontario). How have you found Canada and what are the audiences like there?

It’s my second time of playing in Canada; first time in Guelph. I love sharing my music with new audiences. I get to meet new people and other creative people as well.

PHOTO CREDIT: Janssem Cardoso

Are there any upcoming gigs you are especially looking forward to?

I have a few gigs coming up – it’ the 80^th Anniversary of Cable Street and I’ve been commissioned to write a new song and perform the song live at Rich Mix on the 1^st of October. I also playing at an event supporting a great cause called Thumbs UP for Uganda on the 27^th Sept and on the 5^th of October, I’ll be playing at The Troubadour.

You seem to have a special bond with your audiences when performing. Is playing your music to people vital for your growth and confidence. Do you feel a direct companionship with your audience? 

The feedback I get is that people love when I tell the stories behind the songs. I love to play in intimate space. Writing helps me to figure things out in my mind. Not necessarily provide an answer but helps to let those thoughts out and to then get to share that with an audience is a blessing. So I'd say yes, writing and singing has helped me grow as a person.

In July, you ran two interactive storytelling sessions called Finding Your Voice. It was held at Africa Writes and brought together poets, translators and authors. What was it like being in such rarified company and is it something you want to continue next year?

If the invitation comes again I'll be honoured to be a part of it. Helping people find their voice through storytelling and writing is new for me but I enjoyed doing that.

Human was your E.P. released this year. What were the themes and inspiration that drove and defined the album’s lyrics?

Life; dreams deferred; love, humanity and purpose. It's all wrapped up in those 4 songs. All I try to do is pay attention and then write from there.

[soundcloud url="https://api.soundcloud.com/tracks/256733462" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Fire is my favourite song from the E.P. Can you remember the day you wrote it and what was the story behind that track?

Thank you, I love that track as well. It all started with words 'will you light a fire for me' when I first heard about a friend who was diagnosed with terminal cancer. Then it grew into the idea that we all want to be remembered, to be seen; to know that our time here on Earth counts for something. When you live in a city like London, with the fast-paced day-to-day grind, you tend to forget to look around you; to pay attention ‘til something tragic happens that forces you to take a min. to reflect. So Fire is all about that.

Can we expect to see any new music coming into 2017?

I'm always writing, so who knows... when it's time for new songs to be heard, it will come.

As you have performed in Canada: are there any other areas/nations (as-yet unticked) you’d like to play.

Oh yes! Oh dear! I have dreams traveling the world playing music.

You are a very positive person and often inspire others with your inspirational messages. How do you remain so positive in a world that is very fraught right now?

I am? Thank you. I try to stay grounded and positive through my faith. I know we live in the world where it's so difficult to believe that there's a divine force at work. So many questions unanswered but it's what makes the search interesting. I have a little light deep inside me that represents hope. I think that's what keeps me grounded. I have rough moments and times of doubt ALL THE TIME but I also believe and have faith.

How does your African heritage and upbringing go into your music and the way you perform?

My heritage goes into everything; my food, my fashion; it filters the way I see life. So it comes through my music naturally I think. I love the Yoruba language: I think it's one of the most beautiful languages in the world and I'm proud to introduce a lil it of that to my audience.

Are there any artists and musicians that you would recommend we investigate?

I just bought LA Salami's album Dancing with Bad Grammar. Have you heard it?

[youtube https://www.youtube.com/watch?v=IH_AuFU073I&w=560&h=315]

What have been your favourite albums from 2016? 

The Dreaming Room - Laura Mvula

The Wild Swan - Foy Vance

Martyr Loser King - Saul Williams

What advice would you offer new musicians coming through?

Get on with it, persevere and enjoy the ride.

Finally, and for being a good egg, you can name any song you like (not yours as I’ll put one in); I’ll play it here…

Meshell Ndegeocello – Oysters. This song goes for your heart

[youtube https://www.youtube.com/watch?v=Lo3KyleLve8&w=560&h=315]

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Follow Lánre

PHOTO CREDIT: CK Goulding

Official:

https://lanreworld.wordpress.com/

Facebook:

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

Twitter:

https://twitter.com/iamlanre

YouTube:

https://www.youtube.com/c/exhalejustbreathe

Soundcloud:

https://soundcloud.com/lanreworld 

INTERVIEW: Samuel Jack

INTERVIEW:

 

 

Samuel Jack

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ONCE again, I am the feet of another promising and terrific…

solo artist with a bright career ahead of them. Samuel Jack has just released his Let It All Out E.P. and the third track-by-track video for the song, All the Things – where he explains the inspiration and story of the song’s creation and germination. Raised on the legends of Blues – B.B. King and Etta James counting among his early idols – and spending his formative years in London: the South West-based musician even recorded an E.P. in his caravan. There are few like Samuel Jack so I was eager to find out more about his recording process and inspiration; which musicians mean most to him and his plans for the future.

[soundcloud url="https://api.soundcloud.com/tracks/270062712" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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

Hey, hey. My week’s been full of lovely musical endeavours; rehearsals, writing and a gig for Sofa Sounds London, which was ace. I’ve been saving up for some swanky new equipment for my home studio too (which arrives today!). I’ll be indulging myself with my new toys for the rest of the week.

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

I’m Samuel Jack: a singer-songwriter; I write and sing and sing what I write. I’m London-born, Dorset-bred via Amsterdam and Johannesburg. I currently live in a caravan on the Dorset-Somerset border.  I’m a new artist and hope to be in your ears more and more over the coming months.

It is rumoured you record and rehearse out of your caravan (or did in the past). Is that true and is it an environment more suited to your musical style? What was the decision behind this?

I certainly demo. in the caravan, yes, but use a studio for proper recording - but I rehearse and write in the caravan all the time.

I moved in the caravan mainly because it's cheap; allows me the flex. to be on the road as much as possible. I also wanted a chilled space to write in literally in the middle of nowhere: tranquil, it allows me to be solely focused on music.

It’s just me and the sheep. It gets a little cold through winter. It’s not exactly The Ritz, but it's home for now - some central heating wouldn’t go a miss :)

You hail from Dorset and have performed widely through the county. What is the music scene like there and are there enough opportunities for a young musician like yourself to be heard?

If I’m honest, the Dorset music scene isn’t the most thriving - not to say there haven’t been some great artists emerge from here. Venues are closing doors quite regularly; it’s a tough one. To really get yourself heard you have to travel, which luckily, is something I love.

After you were spotted in a local restaurant and invited to play the Avalon Stage at Glastonbury, it all must seem like a dream. What was the experience like and how nervous were you stepping on that stage?

It was all a bit nuts really. I couldn’t believe it. At that stage, I only had a bunch of unfinished songs too so it was a mad scramble to get a long enough set together. I was totally nervous: I think it’s always good to be a little nervous but these were killer, knee-shaking nerves. I think I did ok, though. It was an amazing experience. It was a real shot in the arm for me at the time. I was kinda just working in a pub, writing when I could. A bit all over the place I guess, and then suddenly it was like ‘boom, you’re opening Glasto. stage’.

You are playing The Hospital Club and Sofar Sounds in London. Are you looking forward to those gigs and what how does playing London compare to Dorset?

I look forward to every gig. Sofar Sounds shows are so brilliant and they’ve been great to me.

I’d do one every day if I could, and yeah, Friday’s show at The Hospital Club should be great. I love playing London. I was born there; some family is there still; I’ve played some wicked venues so far but I’ve definitely got many on my list I want to tick off (Wembley etc. etc.)

Your music has been played on U.S. shows including Nashville and About a Boy. Have you been getting feedback from U.S. fans and would you like to perform in the country if offered the chance?

Yeah, I’ve been really lucky. There are a few T.V. shows out there that are liking my music and I’ve had several really cool placements. I actually played a few shows on the West Coast earlier this year. The plan is to be back out there in the New Year. I love the vibe there. I remember landing at LAX and driving straight to the studio just thinking to myself: wow; a few hours ago I was in a caravan in a field in the middle of nowhere; now I’m driving through Hollywood about to cut a record. Those are the sorts of stories I wanna tell my grandkids (note: I don’t have any grandkids) haha.

[youtube https://www.youtube.com/watch?v=6ocJklu6vSs&w=560&h=315]

The video for Let it All Out (your latest single) seems like it was fun to shoot – involving a group of friends constructing a house-like structure and releasing balloons. What was the idea behind the video and what was it like shooting it?

It was so much fun, and yeah, the people in the video are all friends of mine. The idea came about because the song is about release, togetherness and about having a good ol’ sing-song. I wanted the video to capture those themes and I think it does that. We built a church-like structure.

I’m not a particularly religious guy, but after spending time in South Africa, I fell in love with the way whole communities would gather together and sing the tribal songs; the traditional songs; sometimes at a church and sometimes in the townships.

I like the idea that a church is somewhere people come together so we built one :)

Let It All Out is the E.P. and has gained some great reviews. The songs are quite emotional and vulnerable at times. Did the writing and creation (of the E.P.) occur at a difficult time for you and how do you view the creative process in hindsight?

Y’know, it’s an amazing thing, writing a song.  You’re putting yourself on paper. I’m no sob-story, but yeah, I guess that vulnerability you hear and that emotion is derived from points in my life where I’ve struggled a bit. I’ve moved around a lot – I’ve lived in bedsits, caravans and trying to make ends meet - all whilst writing & performance music. It’s a labour of love, y’know? Relationships have been tricky; romantic and not. I’ve had some confusing family stuff happen to me over the years but I’ve tried to enjoy the journey and I’m loving every second of the ride right now. Things like that contribute to the way I write for sure, and they’ll continue to do so.

[soundcloud url="https://api.soundcloud.com/tracks/270062705" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Which songs from the E.P. do you view with the most fondness or hold a special place in your heart?

I love all the songs on the E.P: that’s a toughie. Remember Me and All the Things will always be particularly special to me. I’ll let you listen to the lyrics to work out why ;)

Your voice has been compared to Hozier. Is he someone you follow and what singers/musicians have influenced your style and career?

I’m just trying to do my own thing; make my own sound; tell my own story.

It’s flattering to be compared to Hozier. I feel really honoured to be put in the same bracket as such great artist. I love old Soul, Blues; Gospel, Roots and Electro. I draw influence from a lot of the old greats and like to listen to as much music that’s coming through now as I can.

I know you were raised on artists like B.B. King and Etta James. Do you think there are few icons like this in modern music and how do you compare today’s vocalists with the legends of old?

I mean, don’t get more wrong. There are some voices out there: some big, big voices, but for me, unless you look really hard you’ll struggle to find a voice like Etta James and James Brown - that raw, rugged; natural,  oozing-out-their-skin-type passion and delivery is hard to find.

Looking ahead and what are you especially looking forward to in the coming months?

I’m on-tour through November. It’s my first small U.K. tour: playing in Manchester, Bristol; London, Brighton; Cardiff and the South West - can’t wait for that! Also, I’m writing every day. I’ve got a bunch of new material in-the-works that I’m really happy with; excited for people to hear it. Beyond that, we’re working on European dates, and as I mentioned,

I’ve got a bunch of new material in-the-works that I’m really happy with and excited for people to hear it.

Beyond that, we’re working on European dates, and as I mentioned, hopefully a return to the U.S.A.

You have come a long way and achieved so much in a short space. What do you attribute this success to, and what advice would you give to others coming through?

Ah thanks. I’ve been very lucky to have worked with some great people - two in particular from my label - they’ve pretty much taken me from working in a restaurant to being on stage. I owe a lot to them, but of course, all this stuff starts with yourself. My advice would be to persevere, surround yourself with good people; do what you do, and most importantly, enjoy the journey.

Music is defined by long hours and huge demands. Do you manage to take time off and disconnect or is that not a possibility at the moment?

I worked in hospitality for years so I’m no stranger to long hours: hard work’s in my blood.

The great thing is that now I’m exchanging long hours in a restaurant for long creative hours on the road; playing live, writing. I love it.

It’s my passion. I’d do it every second of the day if I could.

Finally, and for being a good egg, you can name any song you like (not one of yours as I’ll include that); I’ll play it here…

Awesome . I’m well into Honne at the moment. Have a play of Honne feat. Izzy Bizu. I played with Izzy last October; she’s brilliant. Listen to Someone That Loves You.

[youtube https://www.youtube.com/watch?v=LQC3dBWS_FE&w=560&h=315]

________________________

Follow Samuel Jack

 

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Twitter:

https://twitter.com/samueljackmusic

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SALT, Saints Patience; Words & Noises + Meat Loving Vegans Play Musicmusingsandsuch's Free Show at #Blogtober

It is with delight that I announce SALT will play alongside Saints Patience, Words & Noises and Meat Loving Vegans at Musicmusingsandsuch's free show at Lost in the Manor’s #Blogtober festival in London on October 30^th.

I have loved assessing these musicians and will be tremendous bringing them all together under one roof at The Finsbury. Meat Loving Vegans are one of my favourite finds and frontman Dexter will be playing a stripped-back acoustic set. Expect big tunes and plenty of noise from SALT and some typically alluring, enlivened Rock from Saints Patience. Words & Noises will bring stories of love, life and romance to the capital in a not-to-be-missed gig.

Maybe SALT newbie Don’t Look at Me That Way will feature in addition to Words & Noises’ E.P. The Collector. Saints Patience welcome new members and fresh tunes while Meat Loving Vegan’s Lost in Fiction could feature in a more intimate and toned-down performance. Whatever happens, it will be a gig you will not want to miss.

Head down to The Finsbury on October 30^th and show some support. You can find tickets here. They are limited, so reserve them now. Make sure to R.S.V.P. on Facebook, too.

In addition to Musicmusingsandsuch: 30 other nights will give Blogtober plenty of variety and magic. CLASH, Artrocker and Louder than War will be there; For Folk’s Sake and many others  - some of the biggest tastemakers in the country. 

For more information on #Blogtober; head to the event page

SALT have just released the video for new single Don’t Look at Me That Way:

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

INTERVIEW: Adam K

INTERVIEW:

 

 

Adam K

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MANY ignore the great solo artists of the underground…

and those who have the potential to be future stars. We get hooked on the charts and magazine-tipped examples: we often forget the raft of exceptional musicians waiting to be discovered. I am excited about Manchester-raised, London-based Adam K and what he can achieve in the coming years. One of the most special and original voices you are likely to hear – packed with so much emotion, gravel and drama. It gives birth to incredible songs that are gaining attention and marking him as a talent to watch. I got the chance to catch up and ask him about the coming months and his music career so far…

_____________________

Hey, Adam. How are you? How has your week been?

Hey, Sam! I'm good thanks. It's been a productive week. I've just done a gig in Dalston at The Servant Jazz Quarters.

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

I'm Adam K. I'm a solo-acoustic artist based in London. I'm different from the rest: playing catchy riffs followed by unique vocals - the two work hand-in-hand. Who needs a band ey? Haha!

[soundcloud url="https://api.soundcloud.com/tracks/207139894" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

You moved from Manchester down to London. What compelled the move down to the capital?

The music scene mostly. My girlfriend had wanted to move to London for a while so I had two options... Option A.) Stay in Manchester where the music scene is great and commute to London or B.) Move to London with my girlfriend where the music scene and opportunities for gigs are at a larger scale. I went with the latter.

If you had to compare the two cities: what are the main differences that stand out from a musician’s perspective?

The local music scene in Manchester is great for music and you kind of know everyone. It's a little restricted though as there are only so many venues.

London, on the other hand, has a never-ending stream of venues and pop-ups! I've been here for over 4 years now and there's still so much I haven't seen or done - I've got a list that I'm gradually ticking off. It reminds me of a smaller-scale New York: it's always busy and there's always something going on.

You are playing for Lost in the Manor next week. Are you excited about the gig? Will it be your first time playing The Pack & Carriage?

Yes to all of the above!  I'm excited for this gig; the lineup looks great. It'll be my first time playing The Pack & Carriage and also my first time playing for Lost in the Manor - it certainly won't be the last. There's still a couple of FREE tickets available for  Saturday 24th  September here:  https://billetto.co.uk/events/147937

In terms of all the gigs you have performed over the past year: which have been particularly treasured?

I'd say Camden Rocks Festival. Great day and a great gig with so many inspiring acts in one place. I'm hoping to be there again next year as it's such a cool atmosphere.

Songs like Left Inside and See Through have great acoustic guitar lines and unique vocals. The songs sound like nobody else. At what age did you study guitar and realise you wanted to become a musician?

Thanks! Well from the age of 14/15 I wanted to play guitar and sing. I couldn't afford guitar lessons so had to go to the local library and get books to teach myself. Luckily for me, I heard a neighbour called Andy playing guitar as I was walking past his house. I knocked on the door and asked him if he could teach me a couple of nights a week and he did. For FREE! It was a Tenacious D moment like when Jack Black-meets-Kyle Gas, haha! There was no Pick of Destiny, though. He let me borrow a few tapes like Metallica's Kill ‘Em All, Ride The Lightning and The Black Album (Metallica); Nirvana's  Nevermind - which we jammed to and I've been learning ever since. I'll be forever grateful to Andy for helping me.

It may sound like a hackneyed question, but what drives your music and compels your writing? Do you have to get into a particular headspace and what kind of topics enforces your music?

I try and write riffs that are catchy as hell. The ones that make you stop and go: THAT is a killer riff like G.N.R. Sweet Child o’ Mine or Metallica's Enter Sandman.

I try and create something unforgettable every time. Singing on top of that can be a challenge but I work on that until it's ready for the public ears.

Recently, I managed to create a song from a riff that I've had since 2010. 6 years later, it's become a song by slowly adding layers of different styles and direction. It can take years to write the song you want. Sometimes it will just come to you and you can write it. Topics for the music I write? I'll let you decide that one.

[soundcloud url="https://api.soundcloud.com/tracks/226464730" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Can we expect to see any new material coming in the next few months?

I've got lots of new material which can be heard at my upcoming gigs. I'll be recording them soon. I'm steering towards more of an album than an E.P. really but I'm not going to rush something that'll be out there for good. I want it to be right.

Which musicians and artists were particular influential when you were growing up?

My favourite question!

Metallica, Nirvana; Madness, Foo Fighters; Queens of the Stone Age, Red Hot Chili Peppers; Rolling Stones, Black Sabbath and ZZ Top were my main influences growing up.

Growing up my sister told me: "Listen to everything and you can become a better musician". How true that is: listening to everything without judging or saying I only like 'x'.

I've learnt that by listening to different genres you can incorporate those styles a little into your own music whilst maintaining the style you have without going too much off track.

If you had to select the three albums that have played the biggest role in your life, what would they be?

Q.o.t.S.A. - Songs for the Deaf.

What an album! Not a bad song on it. Riff after riff with great catchy vocals. I've heard that album start to finish at least 50 times.

Metallica - The Black Album. 

Love this album. Again: not a bad song on it. A lot of people say they sold out by going from Thrash Metal to a mix of ballads, Rock and Thrash. It's good to be different and mix it up. Great dynamics on a great album. Listening to that will make anyone pick up an instrument.

Madness - 7. 

This album makes you want to jump around with your mates while clinking a beer in the process. A bouncy Ska vibe is what you need in your life. Wicked guitar work made me see it's not all about Rock.

Which musicians (local or nationwide) would you recommend we should check out?

Sonic Boom Six - Vibrant, feel good band with killer songs. They take a bit of everything that we each love and combine them together and they do it so WELL! Especially live; you have these great bouncy, vibrant songs being played to a room full of Liquorice allsorts! You know; there's a Mod in one corner and a Metal-Head in the other. Nice to see that a band that can bring and unite a mix of people regardless of age, sex or race together all under one roof. That's special.

Have you any advice for any new artists coming through right now?

Keep doing what you're doing. If people don't like you; f*** them.

Also, watch out for pay-to-play gigs. Why would you pay to play a gig? For what reason? Baffles me. Play as many free ones (within reason) and paid ones, as well as open mic's, but don't pay-to-play a gig. Once you start to build a following you're on the right road.

Finally- and for being a good egg- you can name any song you like (not one of yours as I’ll pick one); I’ll play it here…

Misfits - Fiend Club.

[youtube https://www.youtube.com/watch?v=xK6P8zMO8mQ&w=560&h=315]

(Thanks for the interview, Sam!)

________________________

Follow Adam K

 

Facebook:

https://www.facebook.com/adamacoustick

Twitter:

https://twitter.com/AdamacousticK

Gigmit:

https://www.gigmit.com/Adam-k

Soundcloud:

www.soundcloud.com/adamacoustick

INTERVIEW: Bird

INTERVIEW:

 

Bird

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AT the tail-end of last year, south-London based Bird…

gave the music world Figments of Our Imagination. Restless beats and imaginative electronics: vocals that are at once warm and tender but have rouse and defiance underneath. So much life and energy went into that album and that reflected in the opinions and reviews of fans and the media – regarded as a triumph for Bird. Beat is her latest album and remixes the songs found on Figments of Our Imagination. Bringing a host of producing/D.J. talent to the album: the individual takes show the original material had plenty of flexibility, potential for new life and emotion – wonderful to see each interpretation. After such a busy year – and more to come as 2016 ends – I was keen to chat with Bird as she reflects on the past few months and what it has brought.

[youtube https://www.youtube.com/watch?v=_zSLi1BTuk4&w=560&h=315]

________________________________

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

Hi! I’m great. It’s been an exciting week. We have signed a deal to release the Beat album through the Lifted House label for Scandinavia

For those new to your music can you introduce yourself please? How did you decide upon the moniker of ‘Bird’?

I’m an Alt./Pop singer-songwriter.  I am called Bird because I love the word! For me, it’s synonymous with freedom and flight. Birdsong is (apart from magpies) beautiful, so for me, it works as a musician’s artist name. It’s also a very familiar word to me. Coming from South London, it’s a term we often used - it wasn’t at all derogatory. It was important for me to have a name other than my own: my artist persona is separate to me. As Bird, I feel more able to express myself.

You are based in south London. Is London a city that suits your creative drive and are there opportunities enough to perform?

South London is in my blood. My grandfather’s family grew up in Battersea. I think a place that feels homely and so familiar is always a good place to work.

Of course, it’s good to be challenged and to feel uncomfortable sometimes as an artist so I love to travel and feel out of my comfort zone - but I also love working back in London in my little studio putting the ideas together. I think there are fewer opportunities to perform here live, though. Sadly, so many of the more intimate venues have closed down over the past two decades.

One of the things that always strikes me about you is your style and unique fashion. How important is imagery in terms of your career and how influential has London been with regards that side of things?

I think image is important as an artist. Bird is a character of her own so it’s important Bird has her own style; her own world to be entered and discovered. I have a degree in design too so I’m sensitive to imagery. I love to style Bird in response to the music I am making at that time.

You seem like someone in love with retro. and ‘traditional’ music (cassettes and vinyl). Your fashion has that vintage chic and ‘60s touches. Do you feel connected to another time and how do you feel about the digitalisation of music?

I don’t feel particularly retro. at all. What I am in love with is honesty and quality.

I think we live in a world now where we produce to consume: we are driven by a need to have more with little regard for the degradation of quality that might occur as a result.

That being said, there are a lot of positives to the digitalisation of music. We are able to explore and push ideas further with modern technology and people have more access to music than ever before. That’s a good thing.

Do you think social media and the Internet has taken some of music’s physicality and honesty or has it made it more accessible for people?

See above! Definitely, yes. I think social media and the Internet has stolen a lot from us; particularly with regards to allowing our imagination do some of the work. I think we are at risk of becoming an information overloaded and addicted society now: we know too much and yet so much less than before.

It has been over a decade since you released your debut album. How do you think you’ve developed since that release and do you look back fondly at that time?

I am currently in the process of remaking the first album – it is an artistic challenge I have given myself. As a writer, it’s easy to listen to everyone telling you to "write a bit more commercial"; "speed up the songs" in pursuit of the "golden ticket" that is national radio-play. I’m not totally adverse to writing music in order for it to be played but I also have to be an artist sometimes! That means more than just writing a song: it means challenging myself as a creative person, finding ways to be uncomfortable; interested, curious, brave. So, I’m actually really looking back to that time right now: revisiting all the old files and seeing how the artist I have become in the last decade responds and creates as a result of contemplating this old album. I’m hoping this process will help me answer exactly your question. It is the one I am currently asking myself and the reason I am revisiting The Insides.

I noticed from a recent Tweet you were listening to Stevie Wonder’s Higher Ground. He is a particular music hero of mine. How did you get into Wonder’s music?

There is no one defining moment: I’ve just always loved him. I remember hearing Red Hot Chili Peppers’ cover of Higher Ground in 1989 and had no idea it was a cover. Then I heard Stevie Wonder’s version and was totally blown away – then I had to hear all his stuff! Now he’s one of my favourites to play because his music sounds so good on vinyl. You have to genuinely be a good musician to play well on vinyl - it’s unforgiving which is what I love about the format.

Which other artists were important to you growing up and helped define your musical direction?

So so many – I also find it difficult to make a list!

My dad played a lot of music at home so I grew up surrounded by The Rolling Stones, Cat Stevens and Supertramp. I trained classically on the cello so I listened to lots of Jacqueline du Pré recordings.

She was a real heroine for me growing up. Then, as a teenager, I was listening to a pretty eclectic (and for the time, weird) assortment of music: from the stuff on the radio; Tone Loc, Level 42; Spandau Ballet to stuff I was discovering: The Police, Suzanne Vega; later on, Radiohead, Beck – lots of mainstream stuff but what I call 'proper Pop' - people who made music for masses but with intent and some integrity.

Figments of Our Imagination was released last year and gained great critical feedback. Were you surprised by the reaction and did you receive any messages from fans after the album was released?

Acclaim is always nice as an artist. I would love to be one of those really cool, aloof artists who says they don’t care at all what people think of their art/music once it has been made. I try not to let other people’s views affect how I continue to create but I also do care how people receive what I have released. I did receive quite a few messages and they were so positive: it’s like a little care package of energy for me as an artist every time I hear someone has enjoyed what I’ve made – it gives me a little bit more fuel to continue my artistic journey.

The songs look at love and relationships but do so in a very new and original way. Were there any particular times and relationships that influenced the album’s song or do you draw from imagination quite a lot?

I do draw from my imagination a lot when I write because I think it is often more honest. It’s easy to twist things to suit when you consciously think but much more difficult when it comes from your subconscious. I thought that the overwhelming theme of Figments’ was one of social commentary and isolation yet a lot of people see it’s central theme as love - so I must have been subconsciously thinking about it the whole time!

I notice - hope you take it as a compliment - some parallels between yourself and Roisin Murphy. In terms of compositional talent and style, there are some parallels. Is she someone you admire and what do you think of her current work?

She looks a bit like me doesn’t she?! Going to be honest: I only know her name from Moloko. I had no idea she had this cool Electro. solo career. Just been having a listen and see where you’re coming from. I think I’ll have to listen to her for a few weeks to give a meaningful opinion. We do share some genes. I’m half-Irish. :)

Talk to me about the concept behind Beat. How did you come to the decision to release an album containing remixes of Figments of Our Imagination’s songs?

I have never been precious as a songwriter. Some writers won’t let you change a single thing about a song once they’ve written it. I am the opposite.

I love the excitement I feel when I’ve finished a song: not just for what it is but also for what it could potentially become.

For me, historically that would be more to do with how I would orchestrate and interpret it for live shows/acoustic versions. So, remixing for me is simply another way to explore the possibilities a song may have for reinterpretation. My press agent Dave Woolf played one of the tracks from Figments’ to a remixer’s manager he knows who offered to get his team to remix the track. I immediately said yes and we decided to release it. It went top-ten in the commercial club charts and other remixers approached me so I thought: well why not try and remix the whole album – one project creating and informing the next.

The album sees you collaborating with Seamus Haji, DEVolution and Full Inten1on (among others). How did you come to meet and work with so many different talents?

Some approached me and some I approached because I’m really interested in what they do.

What was it like listening to your songs reworked by other people? What was your first reaction upon hearing them all played back?

It felt refreshing! I know the album so well. It’s so familiar that it was such a great feeling to have the songs feel unfamiliar to me – to be a listener, not just a creator

Wideboys’ remix of Think So is the last single to be released from Beat. Is it your favourite from the album or does another remix hold that honour?

Never a good thing to have favourites :) If you twist my arm, I’d have to say Lee Groves' version of Small Town is stand out: it reminds me of Fourtet (who I asked to remix a track but couldn’t get hold of).  I also love DEVolution’s version of Thrill Me.

Looking back at all the gigs you’ve performed and people you have met: what have been the fondest memories from 2016 so far?

Supporting Hooverphonic on-tour was pretty special. I also co-wrote and sang two tracks on their album which went to #1 in Belgium earlier this year; so I played with my band supporting then changed outfit and went back out to sing the first two songs with them every night. That was a lot of fun!

After Beat’s final single is out, what plans have you for the future? Can we expect any new material next year?

See above! First, we’re releasing another single from the Figments’ album (Small Town) which will be part of a single package to include a live acoustic version of the track and the Lee Groves remix.

(Then) I’ll be in my studio working on the new version of The Insides as well as writing material for a completely new album.

I’m hosting a writing camp through Pop Fiction Records with some very dear friends and amazingly talented writers next month – so hoping we’ll pen a song or two together then!

https://play.spotify.com/track/7xvYXWuCgxPNkNRQVYbDol

There are a lot of singer-songwriters and Alterative-Pop artists on the scene. Many will not remain for years whereas you have been performing music for over a decade. What is the secret of your longevity?

I can’t stop! That simple: music is me. I can’t quit; I can’t change career. When I don’t work on music, I feel a bit lost.

Are there any current artists in the mainstream you are impressed by and recommend we follow closely?

Tough. Sadly not as many as I’d like. I find the mainstream charts fairly depressing these days. Curious to hear Emeli Sande’s new album but mainly because I worked with her in the early days. She’s a wonderful lady and much more talented than her last album shows her to be in my opinion. I’m also interested to see what Lorde will do next. Everything Everything are refreshingly different – I enjoyed watching them play live earlier this summer.

Away from the hurly-burly of music, how do you spend your downtime? Do you get any chances to relax and are you able to travel and get away from London?

I like spending time with my family. I love art and I seem to be constantly travelling due to the fact I live about a third of the year in Italy.

https://play.spotify.com/track/4TkL09UFYSm9uVizCYDiKw

If you could perform with anyone dead or alive (cliché question, I know) who would you dream of sharing the stage with?

David Bowie. He looks like the twin of my mum  and they grew up at the same time really close to each other.

When I was growing up, me and my cousin used to call him ‘Uncle David’. He felt so familiar to me. I always thought I’d bump into him one day at a gig and we’d laugh at the fact I thought we were related; then we’d write an amazing track together then play it live. Obviously that’s never going to happen.

What advice would you give to any musicians coming through inspired by what you do?

Make what you really love – not what someone else tells you will be popular. Don’t let anyone rush you but know when to stop and finish a body of work.

Finally, and for being a good egg, you can name any song you like (not one of yours as I’ll do that); I’ll play it here – why is it important to you?

Toughest question yet! So many  and my answer would change I’m sure depending on the day. So today it’s Johnny Cash’s version of Hurt  because it’s so brave, raw and minimal – it does everything a cover should do. It makes you consider the original in a way you never otherwise would have, and when you watch the video (with it), it becomes so personal to Johnny Cash. It’s also the perfect example of how a song can have many lives and mean different things to many different people.

[youtube https://www.youtube.com/watch?v=FywSzjRq0e4&w=560&h=315]

________________________

Follow Bird

 

Official:

http://www.birdofficial.com/

Facebook:

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

Twitter:

https://twitter.com/birdmusic

YouTube:

https://www.youtube.com/channel/UCY3YfQXt8frOfAGGR1A6Z5A

Instagram:

https://www.instagram.com/birdofficial/

Soundcloud:

https://soundcloud.com/birdofficial

__________________________

Beat is available at:

https://play.spotify.com/album/03rH8fmRbcfcXvTRf42EKk