TRACK REVIEW: MAJIK - Real

TRACK REVIEW:

 

MAJIK

 

 

Real

9.6/10

Real is available at:

https://soundcloud.com/majiklondon/real

RELEASED: 24^th October, 2016

GENRE: Electronic

ORIGIN: London, U.K. ___________________________

THIS review will contain – disclaimer alert! - a heavy amount of wistfulness, vacillation...

and introspection. Given the arrival of my featured artists – who I shall introduce soon – I am minded to investigate the variety of young artists emerging right now; duos and how compelling they can be and songwriters that address everyday issues and deeper concerns. Before arriving at the bearded boys of MAJIK: I wanted to take a (brief) dip into the warm sea of new artists and their cocktail blends. I have waxed lyrical about certain musicians and have been very satisfied and nourished by the range of musicians that have presented themselves throughout 2016. Last year, as I have long-mentioned, there was a bit of a dip in 2015 – a year that was not as consistent and stunning as it could have been. Maybe it was the mainstream’s problem: musicians here not really creating the sort of records expected; that overall consistency lacking. New musicians always impress but have really stepped up this past year.

Aside from the wonderful bands and duos that have been emerging: solo artists have really come into their own – especially female musicians. I have rhapsodized concerning the divine merits of artists like Billie Marten – dedicating an entire piece to her music and talents – and she is just one (of many) exceptional musicians of 2016. Whilst Marten ensures critics are suitably immersed in her soul-grabbing vocals and wise-beyond-her-years lyrics; there are some fantastic Electronic acts and brilliant Rock bands emerging. I am not sure what is causing the spate of brilliant music but one suspects there is a connection to the state of the music/wider world and problems being faced. There are so many circumspect artists out there: finding terrific ones that have endurance potential is really encouraging. I will touch more on the importance of addressing the wider world but it seems like a fraught and unpredictable year has caused musicians to really up their game. The death of musical stalwarts like David Bowie have really had an effect on many artists – I have asked and there are a lot of musicians creating music in his honour. In terms of music-related deaths, it has been a rather active and unhappy year. In wider terms, the world at large is becoming unpredictable and unsettled. Given the political happenings in the U.S. and violence around the world: music seems like an escape and perfect way to immerse oneself in something comforting and safe. That is not to say all great music has stemmed from a general fear but there seems to be a correlation. Speaking to a lot of new artists coming into music at the moment and they have the same feeling: there is a desire to try and make the world better and change things; provide something beautiful and deep. It is hard to say just how many other incredible acts will showcase before this year is done but it has been a wonderful year. Not only is the quality and passion at an all-time peak: the variations and genre-mixture is scintillating.

This is something I will elaborate on towards the end of the year but I am stunned by how many stars of the future are arriving in 2016. It is unsurprising to find a duo like MAJIK arriving in the fold and fitting directly into my discussion – a duo that has a very clear and definite future - who just walked away from Unsigned Music Awards as Best Electronic Act. I will raise a couple of new points, but before I do, let me introduce them to you:

“MAJIK are a band of two talented twenty-something’s who don’t mix ordinarily. Don’t be fooled by their identikit beards. They lead separate lives and come from very different backgrounds. There’s Jamie: the scientist from Ayrshire, Scotland – the college-trained music wizard of Logic, and the guitar. And then there’s Marcus: the artist from Marlow, England – the sensitive, soul-searching wordsmith turned vocalist. 

To date, the magic’s happened in the bedroom – in makeshift studios where they’ve managed to conjure a potion of sounds and soothing vocals that are already intoxicating thousands of fans and have garnered support from the likes of BBC Introducing and Radio X. Real is no exception; a heady mix of lush chords and potent words with the power to heal. 

MAJIK:  “Real talks of the introspective world we live in, when discovering ones commitment; before we lose ourselves in one another.”  

The single release is supported by a debut European tour alongside Eden, including a sold out show at London’s Dingwalls on the 17th November.

Last week, MAJIK were awarded 'Best Electronic Act' at The Unsigned Music Awards. The show will be broadcast tonight on Sky Showcase (Channel 212) from 9.30pm (GMT)”. 

MAJIK are yet another duo sprouting from the capital and get me thinking about just how many are out there. From my favourites REWS and Gypsyfingers (London) to ISSIMO (Bradford); there are so many awesome duos making music much more interesting and strong. I have speculated what it is about duos that make them more appealing than bands but have yet to formulate a conclusion I am happy with. I feel the two-piece has that undeniable connection and togetherness that is missing from a band or solo artist. I love both musical camps – and am fascinated by the solo acts of this year – but the duos often get overlooked by a lot of people. Whereas the sole musician will be applauded by their one-man/woman fortitude and steeliness: the bands are congratulated and featured in the coolest music websites and magazines around – always a fixture of critical allure and the acts that fill festivals and venues. I am fascinated by duos and the music they play. Not only (is the music) freer and more nimble: the tightness and kinship of the two members are very special and unique. In terms of sounds; I find the duo is as agile and ambitious as any artist you’ll hear. Solo artists are, by and large, limited with regards scope and sound whereas a band tends to be more ‘focused’ and linear – often fitting into mainstream demands and replicating their heroes.

It may a general, all-sweeping statement but there is something in it. Jamie and Marcus certainly prove my point before musically and spirituality. Almost brother-like in their bond and energy: listening to their music and one senses two distinct (but familiar) artists that have that natural affection and understanding. When you properly listen to the music; you get a real sense of affinity and passion – both chaps really putting their all into every word and note. I am not sure when the duo came together but MAJIK seem like a years-old duo that have been touring the world and sharing some wonderful experiences – two men whose excellent and original music is the result of a close friendship and huge respect for one another. I can, and will, spend more time unraveling the merits and complexities of the duos, but the point is this: they are, in my view, the kind of acts we should be watching closely. Often overlooked by much of the music media: MAJIK are a perfect example of a two-piece that has the ability to adapt to the demands of the mainstream and provide something quite wonderful.

Before I get down to reviewing the guys’ music: their approach to songwriting has stirred something rather emotional and vulnerable in me – denuded my soul and created quite a sensation. Jamie’s wizardry and technological prowess and Marcus’ sensitive side: both fuse to create something affirmative and heartbreaking. Real is a song that I will provide my own views on but, in their own words, it looks at the introspective world and the danger of losing oneself – becoming adrift and disconnected; not opening our eyes to what is around the embracing opportunity. It may seem like, on the surface and image-wise, the duo are similar and identical – as they explain, their souls and personalities are quite distinct. It is Jamie’s college training and scientific background that provides the music an intellectual edge and philosophical depth – able to burrow into the deep recesses of the subconscious and ensure the listener thinks more deeply about the world (and themselves). On the other hand; Marcus has that poetic tenderness and curious heart – a wordsmith who resonates in the heart and provokes emotive outpouring and self-searching. Together, they are an irresistible combination of tones, bones and contradictions – a unity and brethren whose music is among the most arresting and nuanced about. I use a word like ‘nuanced’ and it is not something you can apply to many new acts. Those that go for the gut and keep their minds close to the groin will never have any sense of nuance and mystique. In fact, love and relationships – broken and endangered – are commonplace and becoming rather fatigued. Those musicians that step away from relationships and (unselfishly) concentrate on something more important and

MAJIK have been casting a spell for a while now and have a series of songs under their belts. The boys have produced tracks like It’s Alright, Save Me and Closer but have, in my opinion, not crafted something as compelling and full as Real. It is, in a lot of ways, their most daring and immediate track – a song that gets to you straight away but has plenty of charm and intrigue the more you play it. That is quite a hard feat in music and one they do rather well. It makes one wonder whether the boys have an album or E.P. in the pipeline. It seems like there is plenty of energy, inspiration and creative impetus in the ranks – surely enough momentum and reason to put something out to the world. That may come with time – and arrive next year – but Real is a song that really announces them and distinguishes MAJIK. It’s Alright has just been released on YouTube – its video arrived two weeks back – and shows a different side to the duo. More bracing and driving than Real – a soulful and pulsing moment that you clasp to the heart. Despite the song having been out for a while: the fact it has a video release shows there is a lot of demand and faith in the song. It is quite rightly placed as it, perhaps dissimilarly to Real, deals more with the heart and personal relations. In a sense, the combination of composition and themes reminded me of London Grammar – those sparse and twilight electronics (the sort that runs through tracks like Strong and Wasting My Young Years).

Although the vocal is up-front and in charge: the backing provides spirituality, verve and passion; a myriad of emotions, thoughts and ideas. Combining with a silky but lustful vocal performance – a song that is a paen to a girl; a private prayer to the benefits of a deep connection. Maybe I am misreading the song but it has a pure beating heart and a loyalty to it – the hero connecting with the girl and satisfied with his lot. Despite personal interpretations and the complexities of the song: it is a beautiful number that has a contemporary edge but very much the sound of MAJIK. I have mentioned touches of London Grammar – other acts can be heard – but the boys’ rare talent overcomes and makes it very much their own creation. It is fascinating digging into the song and trying to reveal its truths and hidden layers. It is a contrast to Real but shows a definite consistency – an urgency and instant reaction. It’s Alright overflows with sensuality, sweat and sexiness – perfect audio accompaniment and perfectly-placed notes with a smoky and breathy vocal. Whereas It’s Alright accompanies you on a night-time drive and is a perfect soundtrack for a city drive – where the lights are dimming and you are alone with your thoughts – Real makes you sit up and concentrate – a song that appeals to a different side of the listener; a more cerebral number but no less raw and attractive. The fact MAJIK have started their careers so strongly shows there is more life in them and plenty of determination. I would love to see an L.P. from them and a greater exploration of their (multiple) talents and abilities.

It is hard to pinpoint the most impressive facet from Real’s first moments – it is a veritable smorgasbord of synaesthesia and intertwining emotions. You get the sound of a metronome (or a representation of one) and some faint beats; little shivers, shimmer and edges of light – some dark undertones and crackling neon. Perhaps it is the liquid, shivering guitar line that registers hardest, first. I have brought in London Grammar but you hear that line and think of their debut album – the same sturdy and disciplined sound; packed with coolness, potential and candour. The compositional elements perfectly set the stage and get the listener involved and imagining. All the best songs spare little time seducing and flirting: making sure impressions are made right up-top and you jump right into the track. I leaped into Real and cast my mind between a bedroom scene and a young man’s view of the modern world. I have stated how MAJIK are writing songs that look out at the world and assess the state we are – introverted a little reluctant to embrace improvement and the need to affect change. On the other hand, one can hear – in the initial lyrics – some romantic revelations and something close to the heart. The duo have laid down their interpretation of the track but Real is a fascinating song that will have many reaching for different definitions. I get the feeling – when the song was written – there was a split feeling between being committed in a relationship and being faithful to the world. One senses that need to open up and be honest: making sure (you) let your feelings out and not lose your identity; again, I get the idea the boys are casting their gaze to the larger population and seeing too many people getting lost and turn their eyes away from harsh realities and their fellow man. Our hero is willing to let things slide; he is able to sacrifice himself. Running on “instinct for you” one gets the feeling more than a single relationship is in his mind. Maybe having been scarred and let down in the past: a general malaise and commentary about how cloistered and closed some people can be. In my mind, I see an alluring and beautiful girl: someone who is more addicted to technology and electronic feelings; perhaps a little vain and self-centred.

Maybe there is shyness but one imagines she is being reserved for the wrong reasons – not so much coy but uncaring; getting lost in the social media world we live in. With the hero willing to give up himself and overlook certain things: you wonder if there is any way back for the ill-fated lovers. The chemistry and instinct of MAJIK’s conjurers make the song such a beguiling and tender thing. In the back, one discovers some rich and whispered embers; a graceful guitar line and plenty of atmosphere. In the foreground, the sermon-like vocals are knee-buckling and honeyed – one man so close to the microphone and eyes closed; letting his soul and doubts flood out. Listening to the song and it seems like a gamble is being taken. The hero will give up a lot and compromise, if his girl is willing to be open and real. It seems like the love, as genuine and solid as it seems, is missing that necessary spark and hit. If it were pure and unbreakable; one would get that warm and nourished sense – that is not happening here. It is easy to assign blame but the hero seems to have it all figured: too much insularity and coded messages; not enough human conversation and honesty. Trying to assuage that anxiety and anger: the central performance mixes huge soulfulness with something tempered and refined. The song never comes on too heavy and you are not carried away with histrionics and melodrama. Similarly, the vocal is never too slight and casual that it passes you by. The best thing one can say (of) a track like Real is it mixes the sparseness and raw sound of a bedroom-made production with the finery and polish of the studio. MAJIK have built a reputation on D.I.Y. dynamics: here, they put half your mind to the wall (a fly listening to pillow talk and lovers conspiring) and the other in the modernity and luxuries of a high-end recording facility. There are plenty of other compliments one can levy at Real. Pattering, tom-tom beats and flat-packed edges drive the song forward and really help illuminate the lyrics. If there is a gravitas towards the vocals then one cannot ignore the command and relevance of the composition. Whether you are compelled by the bright and heartfelt guitar twinges or the heartbeat vocals – so much story and progression are achieved in the composition.

The guys not only unite and entwine throughout Real but have their distinct merits and roles to play. You get hooked by the lyrics and the bare honesty of a young man who wants something committed and uncomplicated. It seems, delving into the lyrics of Real, that not only do you get some personal insights into a rocky relationship – there are nods to those who keep themselves shrouded; people who shut themselves off from truths and reality. I always like to peel away the façade of songs and look for deeper meaning. Listening to Real unfurl and swim, and one imagines themselves immersed in the tranquil recesses o f a coral bay or secluded island. One detects a distinct hazy breeze and sun-kissed entice: there is a dichotomous emotive drive and organic pain that is hard to overlook. These contradiction and distinct pillars and brought together in a song that continues to search and question into its latter stages.

Real becomes heavier, more emphatic and orchestral as it progresses: the full weight of the situation starting to crystallise. “Why don’t we feel a little bit more? /It’s all that I’m asking for” seems to the central coda - the supplication that is falling on deaf ears. One can picture the two sweethearts pacing a room and exchanging furtive glances: not willing to talk; each with a tense look on their face. It would be interesting to imagine where the song originated – whether a previous relationship for one of the guys or a general composite of failed relationships – but it is a song both personal and ubiquitous. Everyone who has found pure love has experiences the turbulence and silent hurricanes of Real. It is not until the final seconds one sits back and takes the song in. I was instantly revisiting Real and discovering it in a different light. A song that resonates the first time you play it but keeps on giving you light and meaning (upon further spins). It is that n-word again: the nuance that few other acts can muster. A lot of love songs deal with carnality and impunity: so forcefully and unsophisticated in their mandate you come away spent and unlikely to revisit the song – if you do it sounds flat and insipid. The thing with Real is it a song that has some distinct burdens and woes but carries hope and strength with it. Never defeatist or capitulated: the hero is always looking for an answer and resolution to the problems faced.

That is one (of many) reasons the song captures the heart and mind. The other reason is the musicianship and vocal brilliance of Marcus and Jamie. Their spoonerism-anagram-portmanteau has come up with something both modern and unsettled with oldskool vibes – complete with widescreen messages and intelligent concerns. Real posits the benefits of communication and the dangers of insularity – applicable to every relationship and problem that arises in the modern world. Jamie’s twin peaks of guitar mastery and Logic rationale gives Real its clothing, flesh and movement. Whilst I am typing this, I’m cleansing the palette with some Groove Armada – At the River, to be precise. Listening to that song it makes me think more deeply about Real and what I have heard. You will swoon over Jamie’s blood-rushing guitars and the way he blends technological beats with pure and unfettered strings – making sure the track is consistently engaging, grand and beautiful (listening to the luscious horns from At the River gets me thinking about the vocals and lyrics). Marcus’ words and vocals are curative, semi—philosophical and imbued with poetic sentiments and bravery. Another terrifically spine-tingling vocal turn and set of lyrics that gets one thinking and looking at the world around them. Not only does his prowess and talents draw you directly into the song: Real stays in the head and will continue to release timely snippets and echoes when needed most. Put all of these ingredients and components together and you have a terrific song from a duo on the rise. Real is not only a wonderful number from the London-based boys – one hopes it will parlay into new material and big ambitions.

There is already a pretty loyal and impressive fanbase behind MAJIK. The conjuring duo of Marcus and Jamie have already impressed radio stations like Radio X and made their way under the radar of B.B.C. Introducing. If – thematically and sonically – the magic happens in the bedroom: the boys have transitioned from the four-walled safety of home to the vicissitudes of the world. So far, things are looking very positive. Over the next few weeks, MAJIK have some impressive tour dates under their belt - MAJIK Live (w/Eden): 15th November – King Tuts, Glasgow, 16th November – Deaf Institute, Manchester SOLD OUT; 17th November – Dingwalls, London SOLD OUT, 18th November – The Academy, Dublin SOLD OUT; 20th November – Oh Yeah Centre, Belfast, 22nd November – Prince Charles, Berlin SOLD OUT; 24th November – Paradiso, Amsterdam SOLD OUT, 25th November – Botanique, Brussels SOLD OUT; 26th November – Les Etoiles Theatre, Paris, 27th November – Start The Bus, Bristol  (w/ CUT_); 6th December – Birthdays, London (w/ CUT_)  - and will ensure their music reaches as many ears as possible. The Parisians will love the guys and (the) Deaf Institute is going to be an unforgettable gig. It occurs – given the fate and spate of London venues closing – the duo could restore some local pride and perform at some of the capital’s most notable venues – they seem readymade for Village Underground down Shoreditch’s Holywell Lane. There is a lot of territory the boys can claim in London: they might be too busy touring the country to consider that just now.

I will complete the review summing up their future but, and with some focused brevity, a worth revoking the earlier points – the young talent of 2016; duos and their merits with a bit about addressing unobvious themes. I opinioned this year has been a stronger time for music than 2015: a declaration I maintain and find no burden of proof. Billie Marten – someone whose name I will flaunt like a tattered feather boa; I composed a piece dedicated to her – is a perfect example of the key pillars of a future-star talent: sustainability, originality and personability. Her music is ageless and the progeny of the guardians of legendary Folk and Pop – from John Martyn – her surname was part-inspired by him and her favourite shoes, Dr. Martens (mine too, truth be told); her real surname is Tweddle – Nick Drake and Kate Bush -  and  an apostle of inspiration for those entering music. Her agile, bird-song voice – best exemplified in her album Writing of Blues and Yellow’s standouts, Heavy Weather and Bird – is enough to tempt the Muses from the Heavens. She comes across in interviews as grounded, modest - and a juxtaposition of ideals we hold on teenage musicians. I am also in awe of solo artists like XamVolo and (band) Saints Patience – the latter I housed at The Finsbury a few days ago. While Marten is top of my ‘to-see-live’ list, MAJIK are very close in second - another hugely viable act that fulfills the trio of considerations – two men whose music will endure and evolve; likeable and fascinating with plenty of original sentiment. Real is the purest distillation of their talents so far: a song that could form the basis of a solid and variegated E.P.

I am not sure what the duo have in mind with regards an E.P./album. I would imagine Real to feature in the top-half – it seems like a perfect second track; maybe following It’s Alright – and you’d imagine a four/five-track release could make its way into the hands of international D.J.s and venues – bolstering the boys’ portfolio and raising their stock immeasurably. Until that arrives, we must note them as one of the most promising duos in the country – a nation that is top-of-the-league when it comes to the two-piece dynamic. You can hear and feel the simpatico and faith between Jamie and Marcus – two boys that have a quasi-brotherly relationship. Aside from the away-from-music revelry and play is a seriousness and focus that is already reaping dividends. Incorporating familiar threads – assessing love through a prism of Electronic and Pop sounds – and something resolutely personal has seen MAJIK overcome early hurdles and establish them as serious players. It is their approach to songwriting and lyrical palette – tender and poetic but always universal – that impresses me; the incredible interplay and seductive vocals. I’ll leave it there, only to urge those reading to listen to Real and discover a young band with a rich body of work and a busy touring schedule. If you can see them live then please do – sure to be a memorable experience. You can say what you want about their moniker: when it comes to London’s MAJIK they are…

 

HARDLY an illusion.

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Follow MAJIK

  

Official:

http://www.majiklondon.com

Facebook:

www.facebook.com/majiklondon

Twitter:

www.twitter.com/majiklondon 

Instagram:

https://www.instagram.com/majiklondon/

SoundCloud:

https://soundcloud.com/majiklondon

INTERVIEW: Megana

INTERVIEW:

 

 

Megana

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ONE of the really cool things regarding new music is…

unearthing someone making their first steps – eager and ambitious. Megana hails from Liverpool but is based in the south - preparing to release her E.P., Feel Alive. She is excited about what is to come and how her music will be received. If previous originals and covers are to be taken into consideration: the E.P. is going to be a stunner and cement her place as one of the strongest young songwriters around. With a voice that has been compared with the likes of Adele and Amy Winehouse; a broad and impressive lyrical palette and a natural live presence – be sure to watch the young musician fly. I have been fortunate enough to learn more about Megana’s past and what will go into Feel Alive; she talks about fashion and how the remainder of this year is looking.

HEADER PHOTO CREDIT: Without a Landmine

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

Yeah. Good, thanks. I have been very busy in preparation for my single and E.P. release but I’m enjoying it!

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

Yeah sure. So. I am Megana and I write Soul/Pop music with flavours of Country as well. I write songs which tell stories, of which I hope, connect and relate to others and also evoke emotions in people.

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I believe you just successfully funded a music video via Kickstarter. What was your reaction to that and can you tell us a bit about the video? 

Yes.

My incredible followers on Facebook helped my raise just over £400 for a music video (released this Sunday along with my first single What Is the Cure). I was so shocked at the willingness to help me: I feel like we really came together as a little community.

I was overwhelmed and so thankful! The video is so good: we filmed in quite a few different locations; it’s very emotional and moody that’s all I’m saying, haha.

You have spent a lot of time recording (originals and covers) at Lark Studios in Surrey. What is it like recording there and what is about the space that keeps you coming back?

It’s great. Lark' is such a great place to record. It’s only small but it’s a space which allowed me to feel very free and comfortable when recording my E.P. here (as well).

Originally from Liverpool, you are now based in Surrey. What compelled the move from Liverpool and what is the main difference between the two areas in terms of the music scene?

So. I moved to Surrey just over two years to study Vocals at the Academy of Contemporary Music. When I moved, I noticed quite a few differences to be honest.

For one, there is a lot more competition and the standard seemed to be set very high - which initially was very daunting.

However, there are more opportunities so that’s better! I’m glad I moved I am enjoying getting more engrossed in the London music scene.

PHOTO CREDIT: Lark Recordings

How was it playing the Buskers’ Stage at Always the Sun Festival recently?

So much fun. It took me out my comfort zone a bit as I decided to play acoustic versions of my tracks on my guitar - which I don’t usually do but I think it paid off. I had a great response and there was such a good vibe in the tent.

Looking at your fashion and style, it seems like you are inspired by the ‘60s. Have your parents had an influence on that and have you any particular style icons?

I would say I just love anything vintage or aged. I love the character in some old garments and so they have always interested me.

From a young teenager, I would always raid the charity shops in Liverpool for unique buys. My mum has always had a cool style as well so perhaps I got it from her, haha.

In November you’ll be releasing your first E.P. What can we expect from that and is it a mix of covers or purely originals?

So. My debut E.P. is out on the 13th November and it’s called Feel Alive. The E.P. consists of four tracks which were all written by myself. The songs explore heartbreak, romance; self-exploration as well as my spirituality.

Following on from the E.P., what does the rest of 2016 have in store?

I have a very few busy months leading up to the New Year. I want to really promote this E.P. and play live; but as well as this, I am part of a group called Urban Voices Collective and we have many exciting gigs in the pipeline leading up to Christmas. I am preparing myself for a very busy period.

Having appeared at a number of festivals this year and recorded at some great studios: what have been your fondest and proudest memories so far?

This year I was proud to play at Wembley Arena - performing a song as part of a variety show for two consecutive nights.

I was also delighted to be flown over to play an extremely fun beer festival over in Austria. And, not to forget, the hard work that went into my upcoming E.P. I am so proud of the finished music.

Of all the songs you have written, is there one that stands out as is particularly meaningful to you?

Yes. My first single What Is the Cure. It was a song written in one of my lowest moments over the past two years and it was a song that really helped me to find my feet again. I hold this song very close to my heart.

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As a musician, how do you think you have changed and grown over the last couple of years?

I have grown massively. Through studying, I have developed my vocal technique and songwriting ability; but also throughout my writing process for the E.P. it has allowed me to grow as a person. I have written down my feelings and explored my emotions way deeper than I ever thought I could.

Do you get time to switch off from music and wind down, and if so, how do you spend your free time?

It’s quite hard to switch off sometimes because so much of an artist’s success (these days) is determined by their presence online - so I feel I am forever posting.

You have to be persistent and determined. However, when I can switch off I love shopping for vintage gems, baking and sewing my own fashion pieces.

Are there any fellow local artists or mainstream artists you feel we should check out?

I really love a lady called Lissie. She inspired me a lot in my writing. She is an American Country/Rock singer, and boy, can she sing! Check out her first album Catching a Tiger.

For anyone reading that wants to follow you into music: what advice would you offer?

Please do join the Megana family: your support is so appreciated.

I tend to use Facebook as my main social media - so if you find me on there you will be fully connected to all I do in terms of live gigs, releases and any of crazy stuff on my agenda.

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…

Lissie – Loosen the Knot.

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

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Follow Megana

 

PHOTO CREDIT: Without a Landmine

Official:

http://megbirchy.wixsite.com/megana

Facebook:

https://www.facebook.com/Megana.co.uk/?fref=ts

Twitter:

https://twitter.com/meganaheart

Instagram:

https://www.instagram.com/meganaofficial/

SoundCloud:

https://soundcloud.com/meganaofficial

YouTube:

https://www.youtube.com/channel/UCx0qIwz5yrfAjQYU8IF9oMA

INTERVIEW: Shenna

INTERVIEW:

 

 

Shenna

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WHEN it comes to the solo stars performing in New York…

there are few that are as intriguing, eye-catching and vivacious as Shenna. Her current album, Made of Gold, features production from Austin Bello (singer with The Sickest Kids) and is already starting to get people talking and hooked. Since discovering a passion for music at a young age, Shenna has opened for En Vogue and is busy as a voice-over artist. It seems there are no limitations to her talent and scope, so with that in mind, I was eager to spend some time getting to know the stunning Shenna. She talks about her latest album and what it was like working with Austin Bello; plans for the coming month and a Georgia-based (U.S.) musician we should be checking out.

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

I'm great Sam! Thank you so much for interviewing me!

 For those new to your music: can you give us an introduction, please?

Of course! My name is Shenna and I am an unsigned Indie-Pop artist currently based in N.Y.C. I've been performing all over the U.S. and throughout Canada with my band The Dreamers - and have had my music and videos placed on MTV, VH1; AXS, CMT and The Bad Girls Club!

I am always fascinated by artists from New York. What is it like for a musician? How inspiring is the city and are there enough chances to perform and gig?

Yeah. New York is definitely the place to be for an aspiring artist.

I actually moved here two years ago from Virginia to have more opportunities for my music; it has definitely been a journey! I met all my bandmates here and all my friends are creatives. There are so many people from different countries and states here pursuing music but endless places to perform. If you really wanted to you could perform at an open mic. Every day!

[soundcloud url="https://api.soundcloud.com/tracks/269216672" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Made of Gold has just been released. What compelled you to write the album and what sort of themes/events influenced the songs?

I started writing Made of Gold shortly after I released my first project Dream in Color E.P. I honestly just felt that I was developing so much as an artist at that time and understand the music business in a whole new light - that a lot of the songs were influenced by my journey out here in N.Y.C. Every struggle like So Low; every funny character like Charlie Shut Up!; the music venue scene backstage when you feel glamourous (You Can't Sit With Us!) and even having to move away from my hometown to N.Y.C. (Echo).

Is there a particular song from the album that resonates hard? Any that has a particularly fond place in your heart?

The last song I wrote - So Low - resonates hard because as you grow as a person, and especially in your career field - a lot of people will try to help you make your decisions or even leave you in the dust. Sometimes you have to feel so low and go solo to rise to the top!

Austin Bello was a producer on the album. What was it like working with him?

Austin is awesome!

I must say the album isn't just about me transitioning as an artist: you can hear his style and versatility growing so much!

The first song we made off this project was actually Made of Gold and the last was So Low. His sounds and rhythmic choices are insane!

 

Image-wise, you certainly stand out from the crowd. Are there any designers/musicians that you look up to in that respect?

Thank you so much! I really love fashion and don't like to be stuck to just one style – even though I believe signatures are important. My red hair is definitely one of my signatures but I love how Rihanna always switches up her style as well as Zendaya! Top Shop and Zara are my favorite stores! I'm also a huge fan of vintage shopping in New York. That's where I find my most unique pieces!

You have performed in venues as diverse as Disney World and Webster Hall. Which has been the most memorable performance of 2016

I would say going back to my University in D.C. and performing at the Howard Theater with my band from N.Y.C. was such a great vibe! The venue was gorgeous, the sound crew was awesome and having so many familiar faces was amazing!

As part of the D.C. Pride Festival in 2015, you opened for En Vogue. Did you get to meet the girls and what was that experience like?

We didn't get to meet the girls but the overall experience was fun! We could see the monuments behind us as we performed.

 [soundcloud url="https://api.soundcloud.com/tracks/288827608" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Since your debut album, 2014’s Dream in Color, you have experienced a lot and grown. What is the biggest different – sound and theme-wise – between Dream in Color and Made of Gold?

I think the difference sound-wise is (definitely) Dream in Color being more sweet to Made of Gold (being more in your face).

The theme of Dream in Color was to pay attention to the little details of life and the theme of Made of Gold was that no matter who you there is something that makes you strong and a champion – therefore, you are “made of gold"

Some of your songs have been featured on T.V. shows. Has that led to a lot of new fans coming in and do you think that is something new musicians should think about – help to get their music to a wider audience?

Thanks to apps. like Shazam and YouTube I have gained more supporters - who heard my music on the T.V. episodes. It's always a great feeling and I think artists should definitely tap into the commercial licensing lane!

 You are quoted as saying: "I WENT TO THE VINTAGE STORE AT THE AGE OF 7 AND BOUGHT A RECORD PLAYER AND VINYLS WITH MY ALLOWANCE MONEY. I WOULD RUN TO MY ROOM FOR HOURS AND STUDY MJ AND DIANA ROSS WHILE THE KIDS PLAYED OUTSIDE" Are those artists still influencing your work? Which current acts are you particularly struck by?

Thanks for reading that quote! Yes. Definitely, I would say more there work ethic and longevity in the music industry for sure! Current artists I am looking at are (of course) Rihanna, Beyoncé; I really like DNCE - their music is so catchy and fun! I would love to open for them on tour!

 

Are there any plans to come and see us in the U.K. anytime soon?

Yes! I am planning on visiting next year: definitely one of my top goals is (actually) to tap into the U.K. music scene!

Looking ahead to 2017: what plans do you have either musically or personally?

I honestly want to tour and to gain my following by weekly cover songs on YouTube. I want to tour so I can keep pushing this project and release new singles as well.

If you could narrow it down to three albums – that have been most important to you as a musician – which would they be and why?

Yes. This is easy for me!

Definitely Corinne Bailey Rae's self-titled album from 2006 - because she is my absolute favorite artist. Her writing style, her vibe on stage and the mood her music puts you in is truly captivating.

Mariah Carey’s Emancipation of Mimi because every song was great on that and she even had bonus songs that were hot! I loved the writing on that album so much and that she actually had some dance-type such as It's Like That.

Christina Aguilera’s Back to Basics Part 1 & 2. I thought there were so many songs that showed who she truly was on these two disc - and the writing was so great. All three of these albums have timeless music!

Are there any new musicians – in New York or the U.S. - coming through you recommend we check out?

To be honest, I listen to a majority of rising artist from the U.K.! There are some very fierce amazing artist over there! One of my favorite rising artist in the U.S. is from Atlanta, Georgia - his name is Raury!

For any new musicians coming through: can you give them any advice or guidance?

Yes! There are times when nothing seems like it's going right or even a slow period but never quit - you never know when your next blessing will come!

Keep shining: you’re made of gold!

Finally, and for being a good sport, you can name any song (rather than your own as I’ll include it) and I’ll play it here.

Okay! Since I mentioned Raury (above) I would love for his song God's Whisper (to play).

[youtube https://www.youtube.com/watch?v=bPt0LkdM8Bc&w=560&h=315]

________________________

Follow Shenna

 

Official:

http://www.shennamusic.com/

Facebook:

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

Twitter:

https://twitter.com/shennamusic

Instagram:

https://www.instagram.com/shennamusic/

SoundCloud:

https://soundcloud.com/shennamusic

YouTube:

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

FEATURE: The Review Round-Up

FEATURE:

 

 

The Review Round-Up

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THERE are always those albums and singles that get overlooked...

or deserve a second look. There are a three distinct records - as part of a new thread - I feel deserve fresh ears and investigation. Either brand-new or an album/single that has caused some critical excitement in the last few weeks. In the first installment, I look at releases from Run the Jewels, The Radio Dept. and Julia Jacklin.

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SINGLE REVIEW: Run the Jewels - Talk to Me

The American hip-hop supergroup formed in New York in 2013 from the mind of rapper Killer Mike and rapper/producer El-P. Their eponymous debut album gained huge critical acclaim but it was the follow-up, Run the Jewels 2, that really put them on the map. That record showed Killer Mike and comrade El-P were worth of the hype and capable of topping a brilliant, original debut. Building the natural chemistry and simplicity of their opening salvo: that bond was solidified and found Killer Mike controlled and centered; giving room for El-P to maneuver and campaign. At the time, the album gained respect and praise but a few years down the line it is considered a pioneering hip-hop record and one of the finest (of its genre) of the time. Not only is the connection of the two stars rock-solid and combustible: the songs are uniformly splendid and nuanced.

That album laces traditional hip-hop put-downs with storytelling and personal insights. Run the Jewels spit rhymes at the rate of knots while the songwriting and lyrics are consistently spellbinding and peerless. You have to take a few days out to really enjoy the album and lets its multiple stories, diversion and ideas sink in. Not only the mark of a truly impressive musical force but two minds who knows what it takes to create the kind of music that remains in the mind – and will inspire generations to come.

Following the panicked and urgent Run the Jewels 2; the guys have been working with other artists and keeping themselves busy. They supported Jack White (at Madison Square Garden) back in 2015 and performed at events such as Bonnaroo Musical and Arts Festival. Not only that but they made a positive and huge impact to Nobody Speak – the lead single from DJ Shadow’s much-awaited album, The Mountain will Fall. It has been announced the third album from the hip-hop army will arrive before the end of the year. Talk to Me is the first single to be lifted from that album and coincides with the second anniversary of their Run the Jewels 2 record.

The song’s introduction is certainly edgy, compelling and adventurous. Squelchy electronics and jagged beats; rumbling protestations and street-level neon – all blended into something swaying and swaggered; break-neck yet restrained. Before a single word has been sung you are in the midst of another classic Run the Jewels introduction/song. Bad spray tans and toupees; wars with the Devil and gunplay – the words tumble out and you dive into a fast-flowing world of anger, violence and bizarre players.

Addressing terrorism, white-on-black racism and plane hijackings: subjects are close-to-the-bone but relevant. The guys rip the mask off fear and hesitation and let their words shoot into governments, corrupt politicians and the lesser species – those who perpetrate hatred and bigotry. You all gripped by the lyrics and stories but left dancing and head-nodding with a wave-crash combination of electronics and teasing beats. Despite a reliable attack of profanity and confidence, the song is never crude or petulant – another frantic, angry delivery and immense statement. In a time where Trump and political monsters threaten to exert influence and leadership – their music and brand of music are not only demanded but NEEDED. If Talk to Me is the typical sound of their third album: it will be another genius offering from one of the most pioneering acts in the world.

[youtube https://www.youtube.com/watch?v=1b9n0Amr9RI&w=560&h=315]

ALBUM REVIEW: The Radio Dept. - Running Out of Love

It has been some twenty-one years since Elin Almered and Johan Duncanson got The Radio Dept. started – named for a gas-station-turned-radio-repair-shop called Radioavdelningen. Following a three-year hiatus (until 1998), the duo reformed and brought Lisa Carlberg – girlfriend of new member Martin Larsson – and by 2001, Per Blomberg on drums and Daniel Tjäder on keyboards, the two-piece had swollen to an unwieldy band – skepticism as to whether there would be necessary intrigue and intensity with a five-piece. The band began modestly (in 2001) and gained positive reviews and were featured in Sweden through magazines and radio stations. Striking the ear of Labrador Records: the band was signed and their debut album, Lesser Maters, not only resonated because of its clever-clever title but the stunning music within. Many magazines (including NME) awarded it near-top marks and proclaimed it as one of the best albums of 2003. From there, the band had the momentum and critical praise – Per Blomgren and Lisa Carlberg departed the group around the time and were not on the L.P. The band opted to use digital drum tracks and decided to draft in a bass player.

The Radio Dept. progressed and blossomed into 2006 and, buoyed by the widespread recognition of 2003-singles Pulling Our Weight and Keen on Boys, took in new sounds and directions. Gone were the early-days distortion and in its place was synthesisers. Little touring and insufficient exposure meant Pet Grief didn’t get a huge reception and gained mixed reviews. A lot of sources were less-than-kind and noted how the lack of discipline, too many changes and reinvention did not favour the band – yearning for the beauty, consistency and quality. Inter-album E.P.s were released prior to Clinging to a Scheme (their third album in 2010) but perhaps with less critical nod and excitement than their debut album. This slightly deteriorated attention has not deterred the band who announced their fourth album earlier in the year.

The band connects with multiple genres – alternative-rock and shoegazing among them – and bring more innovation and structure to their current work. Rather than reclaim and retreat to their debut album sounds: the band have gone more into electronic/synth. territory on their fourth L.P. Almost dispensing entirely of rock and electronic guitars: what we have now is a slicker and more polished collection of songs. Some have noted how professional and rough-around-the-edges some of the songs appear – enough fizz, fuzz and kick to evoke images of rock and recklessness. Now a trio – the band wrote and discarded an album of guitar-based songs prior to Running Out of Love – they are back and entering a new phase in their careers.

[youtube https://www.youtube.com/watch?v=KAmhKuVg69c&w=560&h=315]

Sloboda Narodu is a confusing and hard-to-spell title (annoying when you’re reviewing) but redeems itself by being full of interesting, patterned beats and percussive clash. Blending tribal pitter-patter with rousing, sea-crash clash provides the introduction plenty of guile and fascination. The vocals do get a little weighed under the composition-production and can be hard to decipher – maybe, in small part, due to the accent and delivery. The opening track has plenty of interesting diversions but is not the rousing and all-encompassing lead-off song one would hope. Swedish Guns fares better in that respect with its syncopated electronic stutters and militaristic jump – quite intense and swaggering to start; growing and becoming bolder with time. It is a song that has elements of hip-hop and rap – the instrumental delivery – but retains its colour, youthfulness and spirited dance. Again, some of the vocals get lost but there is more emphasis on texture and sound – the vocals add extra instrumentation but are never too revealing or vital to matter (if they are lost).

Thieves of State is one of the most interesting passages from Running Out of Love and a title track, perhaps. One gets romantic, tender electronic keys – signifying something passionate and hopeful – but the racing (background) synths. portray someone fleeing and elusive – perhaps impatient and bereft. It is a brief instrumental that is a sort of mid-way point and a chance for reflection. The band blend modernism with diasporic dread; banging, rousing jungle codas alongside something elliptical and graceful without ever losing their heads and sense of direction. Occupied recalls their early work but adds new strands and threads on top – mingling clapping percussive beats with luminous, enticing backing synths. It is a long and ambitious song that seems to (in theory) unify their previous work into one moment – for the most part, it works. Sometimes beach-set and seduced; at others, it is spirited and ready for a good ol’ dance; it will appeal to those who like their electronic music spiked and lacking inhibitions and those who prefer something more intelligent, controlled and engaging. Can’t Be Guilty does not really add much to their album and is one of the forgettable cuts. The title track (the actual one) suffers a bit from being low down the pack (the penultimate number) and is another song that never fully grips the senses.

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

Running Out of Love is nowhere near the peak of the band’s debut but is stronger than their last couple of albums. It would be nice to hear the vocal higher up and some stiffer editing – take out one or two tracks – as it can feel bloated and exhaustive at times. Some of the songs sound too alike and rehash the band’s older work. What shines is plenty of promise and plenty to draw you in. Emphasis and attention should be paid to the compositional ambitions which say so much without a word being sung. More a story/concept than ten individual songs – it is one you will want to get involved with and stick with until the end.

Running Out of Love is available now via Labrador Records

ALBUM REVIEW: Julia Jacklin - Don't Let the Kids Win

Julia Jacklin considered a career in social work, as the story goes. Raised in the Blue Mountains to a teaching family: Jacklin’s exposure to music and revelation was, rather oddly, Britney Spears. In addition to being a peculiar Muse – and making many of us feel rather old – she realised Spears has achieved a lot by the age of twelve – an impressionable and ambitious youngster felt rather unaccomplished and procrastinating compared with a pre-teen Spears. That mixture of charming precociousness and instant foresight saw her take classical singing lessons. Learning voice control was a key lesson – one she brings to her music – but soon found Jacklin yearning to join a band – whereupon she would daub herself in surf clothes and rock along to Avril Lavigne covers. Luckily, Julia Jacklin has grown into a cooler and more original artist; not someone who you’ll find aping a Canadian punk wannabe.

Her unending and unerring passion to sing and perform has defined her music career: few contemporaries have that lionised, all-consuming passion to give themselves to music. Her changing music tastes – as she grew into her twenties, Fiona Apple was an inspiration – meant by the age of twenty-five (whilst residing in a garage and selling essential oils) she was mixing the headiness of Fiona Apple’s words; the spicy and cutting electric guitar of Anna Calvi; natural interpretation from Angel Olsen. Despite all the name-dropping and fellow musicians: Julia Jacklin’s debut album, Don’t Let the Kids Win, is as much about her travels, growth and backstory than anyone else’s. She is still discovering and living life; searching and probing: this curiosity, emotion and self-discovery emanates beautifully throughout the record.

Recorded at New Zealand’s legendary Sitting Room studios with Ben Edwards: Don’t Let the Kids Win unifies heart-aching alt-country with spirited indie-folk; all topped and augmented by Jacklin's distinctive, rich voice and keen wit. Critics have been seduced by her heartfelt music and star quality: the embers of Angel Olsen and Fleetwood Mac; a relatable set of lyrics performed by someone who transcends expectations and the ordinary. Latest single Leadlight – a video directed by Jacklin herself – has garnered positive reviews and gives the listener an impression of what the record is all about. Having quit her factory job to pursue music, and being excited about its imminent release, she will embark on a string of tour dates. Currently in California; she will hit Portland and Vancouver; over to Germany later in the month before reaching Brighton on November 3^rd.

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

Given all the colourful and unique road-to-now build-up; Don’t Let the Kids Win ensures it makes its impressions in the first track. Pool Party details pool-side substance abuse but is given plenty of humour and wit. A staple of the coolest and savviest stations around the U.K.: many will be familiar with the song’s swaying vocal and country-meets-indie composition. Although some of Jacklin’s words can come across slurred and lack decipherability; you are enticing and graced by a beautiful and refined voice and insightful, story-filled narrative. Although the heroine wants the love (of her drug-taking boy) her heart is heavy when he’s high; she gulps with nerves every time her man jumps into a pool. Rather than going along with the unwise lifestyle choice: she is looking from the sidelines and knows how reckless it is. Pathos and humour mix; clever wordplay and stark emotions. Leadlight best frames Jacklin’s voice and is one of the most committed, beautiful and soul-baring performances on the record. In terms of the composition; it is a softer, more restrained take on Pool Party’s waltzing drum-and-guitar combination. Once again, the voice does get a little distorted and suffers from intelligibility – the listener might need a lyric sheet at certain points. That said – and similar to the opening track – the mood, performance and delivery compensate for any short-fallings.

Wrestling with relationship qualms and the admonishment of a friend; Elizabeth deals with tough concerns. “So shaky” are the first words and the heroine promises loyalty – even if it “all falls through”. Whether that is directed at her friend or a misjudged lover; you are transported into the song and act as a spectator as the events unfold. Involving, bare-naked and fragile: a song that boasts incredible evocative and varied guitar playing; a definite album standout. More electric drive and energy is added into Motherland. It finds Jacklin working over calm-strummed blues strings and is one of the most pressing and determined performances across Don’t Let the Kids Win. L.A. Dreams documents the banality of a relationship breakdown in slow-motion: a song that asks why her man went to the grocery store on the day he planned to leave. Left with an abundance of food – she is unable to eat –there is a little humour that emerges from a sense of huge loss and confusion.

[youtube https://www.youtube.com/watch?v=fua9nrkUYew&w=560&h=315]

Although the album is quite top-heavy and the vocal clarity (unable to understand the lyrics on some songs) can be a concern: there are many positives to take from Julia Jacklin’s debut album. Conceiving it as a heartbreak album; she realised it was a retrospective investigation – someone hitting 24 and feeling nostalgic about youth. Not the planet-saving social worker she imagined: that singular decision to consecrate herself to music is under the spotlight. If Jacklin is funny and relaxed in person: her serious subject matter and frank emotions might seem at odds and disarming. The album is Jacklin freaking out a bit. With her peers settling down and knowing what they want in life: she is the confused artist reconciling with her new choices.  Don’t Let the Kids Win confronts the issue of growing old but realises things will be okay – everyone feels the same. What one gets is a consistently revelatory and personal album run-through with heart-melting vocals and sonic richness. If Jacklin is unsure whether a life as a musician was a wise choice: Don’t Let the Kids Win should ease her mind and settle that debate.

Don't Let the Kids Win is available now through Transgressive Records.

FEATURE: In the Spotlight: RKZ

FEATURE:

  

In the Spotlight:

PHOTO CREDIT: Mr. Odin

RKZ

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In addition to other monthly features; I am keen to put an artist into the forefront - someone doing great work and making waves in the world of music. In the first edition, I focus on London-based singer-songwriter-photographer-spokesperson RKZ. A true Renaissance man and one of the most exciting talents around. With new work out and more in the pipeline: a perfect time to investigate the many sides of RKZ.

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https://www.youtube.com/watch?v=KhcI6sPAedw

WHO IS HE?

RKZ (pronounced 'Ricks') is a singer, writer and visual creative from Luton - currently based in Shoreditch, London. He began dabbling in rap music in 2008 before pursuing the arts professionally the following year. Developing his craft, RKZ became known for his singing-led live performances and eventually transitioned into a singer-songwriter. A stubborn determination to further develop and fine-tune his brand, he learned the ropes of video, photography and design which culminated in RKZ creating his own visuals, plus music videos for artists from various industries.

https://www.youtube.com/watch?v=k6QITU5iuB4&list=PLIrl_sGW_fQKGgaW2n4b0SjJbICik6uEz

WHY GET EXCITED?

RKZ is not a man who takes days off or limits himself to one discipline. Latest tracks Remix of the Mack and Bad (which unite) Handbook and Supreme Sol with RKZ – are gaining huge respect since their launch. The London-based multi-disciplinarian has also been photographing at London Fashion Week and recently spoke with Impakter – I got to speak with him about his work with CALM and how he wants to bring mental health into the precipices. The below is a sample of what you get with RKZ:

https://soundcloud.com/rkzuk/sxs

Music

From the release of his first single in 2009 - whilst he studied Commercial Music at the University of Westminster, London - to date, RKZ has released fourteen records including five mixtapes and three EPs. No stranger to media, he has received radio play on BBC Radio 1/1Xtra, BBC 6 Music, BBC Radio 4, BBC Three Counties, BBC Asian Network and more. He has also performed at T In The Park, Reading + Leeds, BBC London and Manchester Mela as well as music events at The Water Rats, Ace Hotel, Boxpark and Cargo.

In August 2014, RKZ released the highly-anticipated mixtape Science X Soul with Still Oceans, Think of Me and CLASH-premiered record Favourite Song as the lead singles. Following this, he released various one-off singles through Soundcloud (predominantly produced by Handbook) before his acclaimed single with the York-based producer called Visionaries.

“Let me add that Nujabes and J Dilla are here. Somewhere in the afterbeat, looking over their legacy.”- Neonized, on Visionaries.

https://soundcloud.com/rkzuk/visionaries

Creative

After shadowing visual creative S Sid Ahmed, RKZ began editing short films and vlogs with S Sid before venturing into music videos. The first was the remix of his single Gonna Be That. This opened the doors for music video productions for artists including GV, Little Simz, Cashtastic, Preeya Kalidas, Sophia Thakur, Roach Killa and more.

Through various video projects, RKZ built on his photography skills and has freelanced for various clients spanning fashion, music, retail and FMCG industries. He is currently part of BORN SOCIAL’s Creative Team.

https://www.youtube.com/watch?v=WuI5MS8dvE4

Writing & Philanthropy

An early passion for journalism pulled RKZ into creative writing, initially through music and poetry. He expanded this, becoming a feature writer for hip-hop blog Sampleface before taking over as UK Editor.

In 2012, RKZ was announced as Ambassador for CALM. The charity aims to reduce the suicide rate with men in the UK, particularly London. Suicide catalysed by depression and stress is the single biggest killer of young men aged 20-45 in the UK. He contributes to CALM’s website and monthly CALMzine as a guest writer, focusing on depression, society and youth culture.

He has self-published an online series called Motivational Prose, which is dedicated to instilling a positive mentality and outlook for young people.

Interview snippet taken from http://impakter.com/interview-musicianmental-health-ambassador-rkz/:

RKZ: I got in touch with them not too long after they set up in London. Suffering from depression for a long while, CALM was the first movement I saw that actually spoke to young men properly—without feeling intimidating or scary. I got involved and wanted to utilize my status (as a creative and musician in the U.K.) to help raise awareness with the audience I had. I performed at CALM events, wrote for the CALMzine and the website and started giving talks to young people and local communities to raise awareness of depression in young men. I still do a lot of that whenever an opportunity arises.

CALM:

"The Campaign Against Living Miserably is a charity working to prevent male suicide, currently the single biggest killer of men aged 20-45 in the UK. Nearly 8 out of every 10 suicides in the UK in 2013 were men. We campaign to break down the cultural barriers which prevent men from speaking out in times of crisis. We believe that if men felt able to ask for, and find, timely and appropriate help then hundreds of suicides could be prevented every year.

I joined CALM as an Ambassador in 2012, where I’ve extensively focused on promoting the cause through the mediums of music, writing and social media. I have contributed to the website and CALMzine as a writer covering the stigma of depression in youth culture and the Brit-Asian community. In 2015, we were proud to announce Professor Green as our new patron, as well as partnerships with Topman and Lynx".

CALM host a free, confidential and anonymous helpline and webchat service for men, which provides support for those in need of help – open every day from 5pm – midnight; on 0800 58 58 58 (national), 0808 802 5858 (London). For further information, you can follow them on Twitter (@theCALMzone) as well as head over to their website: thecalmzone.net

https://twitter.com/RKZUK/status/785582743962910724

BIGGER ISSUES

In November 2015, CALM launched the #BiggerIssues campaign with Lynx. Through the power of Thunderclap, they created an initiative to park the small talk and discuss the bigger issues of mental health and men’s health overall. With an overwhelming amount of press coverage and online support, the campaign reached 23.4m+ people. Find out more about Bigger Issues: click here.

https://soundcloud.com/rkzuk/sogone

NEWS:

17.08.16 | Interview — RKZ talks Music, Social Media and Mental Health with Impakter

14.08.16 | Music — So Gone Challenge

30.07.16 | Photoset — #KPSheenaWedding

30.05.16 | Music — BAD Official Music Video

08.08.16 | Article — It’s Okay To Talk

03.04.16 | Article — A Passionate Discourse

02.04.16 | Photoset — Ísland

04.03.16 | Article — RKZ writes about London Fashion Week for CALM

03.03.16 | Music — RKZ releases the TRIAD EP with Handbook and Supreme Sol

01.03.16 | Feature — RKZ features in the March issue of CALMzine

22.02.16 | Editorial — London Fashion Week for The Rakish Gent

29.01.16 | Music — RKZ releases his cover of WORK by Rihanna

22.01.16 | Editorial — London Collections: Men for The Rakish Gent

18.01.16 | Article — RKZ writes about the State of Instagram for BORN SOCIAL

16.01.16 | Photoset — Sophia at London Collections: Men

09.01.16 | Feature — RKZ features in Mashable Fashion’s coverage of London Collections: Men

All biographical information taken from http://rkzuk.com/

TWEETS:

https://twitter.com/RKZUK/status/780713773774540800

https://twitter.com/RKZUK/status/777645716680441856

https://twitter.com/RKZUK/status/774684995218726912

https://soundcloud.com/wearestereofox/sets/handbook-x-rkz-x-supreme-sol

REVIEW SAMPLE:

“TRIAD is formed by York-based producer Handbook, St. Louis rapper Supreme Sol (part of thePragmatic Theory collective) and Luton singer RKZ. Handbook, a prolific representative of theROOTNOTE collective, was perhaps the catalyst for this collaboration as he has worked with the other two on previous tracks.  His production for Sol dates back long time ago and have continued throughout the years with releases like "One More Time" and "Values", while him and RKZ recently teamed up Chino XL for their collab "They Don't Know Nothing". It appears that it was only a matter of time till the universe brought them in the studio together”.

Review taken from http://www.stereofox.com/album-review-handbook-x-rkz-x-supreme-sol-triad-ep/

https://soundcloud.com/handbook/rkz-x-handbook-work

THE FUTURE:

RKZ will continue to work on new music and help campaign for CALM. He is a man who wants to highlight the plight of those who suffer mental health – a sector who often go unnoticed and overlooked. Away from his charity endeavours make sure you keep your eyes open to his SoundCloud page – new songs will be dropping. He is one of those rare musicians that seems incapable of dropping a beat and creating anything less than astonishing, imaginative music. More photoshoots and vivid portfolios will arrive and the fashion icon-cum-musician-cum-photographer is a serious credit to the music industry. His various traits, talents and personalities mean he is sure to be a mainstream proposition in years to come and is just what the music industry needs.

https://www.youtube.com/watch?v=9mGsoZkl62o

____________________

FOLLOW RKZ:

PHOTO CREDIT: Alice Cooke

Official:

http://rkzuk.com/

Facebook:

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

Twitter:

https://twitter.com/rkzuk

Instagram:

https://www.instagram.com/rkzuk/

YouTube:

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

INTERVIEW: I Am Willow

INTERVIEW:

  

I Am Willow

____________________________

MY love and respect for Maltese music is established and boundless…

in no small part due to the huge diversity and quality. Whilst Malta might not have a huge scene – something addressed in the interview – I Am Willow is someone who not only compels one to think deeply about Malta but music in general. Her debut single, Satellite, is out in December and has already gained the approval of a certain Annie Lennox. The Eurythmics legend has lauded I Am Willow and recongised her talent. It is early days but there are signs to suggest she will be a prominent and original talent of the future. I was lucky to ask her about Malta and the differences London provides; insight into Satellite and what we can expect over the coming months.

___________________________

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

I’m better than ever. My debut single is coming out in December and I’m already getting so much support. It’s been a week of preparation for my live shows and of songwriting. I’ve even had the chance to see my friends, which these days, doesn’t happen as often as I’d like. So it’s been a really good week!

For those new to your music: can you give us an introduction, please?

Of course. I consider my music Cinematic/Pop.

The concept to everything I write relates to being able to look at the world and see it through your own unique perspective.

In my opinion, this is what makes the world so interesting and so beautiful - but I don’t think we’re often encouraged to really be ourselves. I guess you could say my music represents a gentle protest to the limitations society often brings upon us.

You were born in Malta – a nation that has quite a thriving music scene. What was it like growing up there and how does the music scene differ to that of the U.K.?

Well. I wouldn’t call the Maltese music scene ‘thriving’ - although, I believe the island carries some incredibly talented singers and musicians.  I often hear people say “there must be something in the water”. However, the Maltese are extremely rooted in

However, the Maltese are extremely rooted in tradition which, I feel, limits a certain creative way of thinking.

Before I moved to London I used to feel as if I had to fit into a box in order to be understood. In fact, London was quite the culture shock. It shook me awake! I believe I truly found myself here in London.

Now based out of London, you must notice a difference. What is the city like for a young musician? Does the pace and variation of the capital help the music in any way?

Absolutely! It’s a completely different life here. I love the diversity and integration of various communities - it’s inspiring, to say the least. It’s no surprise that comparing the rush and flavour of London life to the easy going, traditional Malta has inspired the very foundation of my music. To find that special space that’s all yours (mine is under a willow tree on top of a hill) and simply watch the world the way only you can see it. There’s no right or wrong way. This process has helped me connect with myself.

There are a lot of promising female singer-songwriters emerging at the moment. How would you say you differ from them?

All I know is that I’m not trying to be someone that I’m not - and I definitely know I’m the only me around.

 [soundcloud url="https://api.soundcloud.com/tracks/289864883" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Satellite is released on December 16^th. What can you tell us about it and the inspiration behind it?

Satellite came about due to a chance encounter. In a way it was karma. I had found a phone lying alone on a café table so I took it to the café owner. He had seen the person at the table and knew who it belonged to. I was still at my table when the phone was returned and when the café owner pointed me out Jon walked up to me to say thanks. Turned out he was a songwriter and producer who lived on my block. We booked a session and wrote Satellite. This was definitely one of the most random things that has ever happened to me!

At the time I was also getting back with my boyfriend and had all sorts of mixed feelings about it.

Writing Satellite made me realise I had to break down my walls and trust that everything would work out - and that’s what the song is about.

Will we see any new material into 2017? What are your plans for the coming year?

There’s a lot more where Satellite came from. I’ll be putting out a few more singles in 2017 and planning the follow-up E.P. It’s nonstop!

Your vocals are particularly impressive and standout. Which singers and artists were you inspired by as a youngster?

I think the first artist that really woke me up was Kate Bush. I must have been around fifteen/sixteen at the time. She was doing something I had never heard before with her voice and her songs were equally unique. That’s when my journey really started.

Annie Lennox has come out as a fan of yours. How did that make you feel? Are you a fan of her music?

Of course I’m a fan. In fact, I love to cover the Eurythmics song Sweet Dreams (Are Made of This) at my live gigs - but I never thought I’d be called in to perform privately for her. That made me feel all kinds of nervous! But, after my shaky performance she gave me a hug and offered her studio space for a while. It was amazing!

The likes of Q, BBC Introducing and The Line of Best Fit have heralded and tipped you for big things. How important are accolades like that with regards your music and your development?

To be honest, I had been so focused on writing for other artists, that when that happened to me, I was kind of taken by surprise.

It’s such a big honour and it really makes me want to live up to their expectations. I’m working harder than ever not to disappoint!

Can we see you play live anywhere in the coming months?

I’ll be performing at The Hospital Club on the 12^th November; A Vin’s Night In event. It’s guest list-only so P.M. me on my Facebook page to get on the list.

Which albums, in your opinion, have been most influential with regards your music and sound?

It’s not so much albums as much as individual songs - but artists like Kevin Garrett, M83; Woodkid, Seinabo Sey and Lana Del Ray certainly played a huge part in helping me develop my own sound.

Are there any new musicians coming through you recommend we check out?

Kevin Garrett, Rotana Tarabzouni and NAO are some of my current faves.

It is Halloween. Did you get involved with it at all or avoided it?

Yeah. Actually, my housemates and I carved some wicked pumpkin faces and organised a little candlelit night with friends. Our neighbours set off some amazing fireworks so we watched from the garden. One of my favourite Halloween nights to date!

For any new musicians coming through: can you give them any advice or guidance?

The main advice is to persevere. Just trust that you’ll find where you need to be and never quit.

There’s more than one way to make it.  If one doesn’t work, try another way.

Finally, and for being a good sport, you can name any song (rather than your own as I’ll include it) and I’ll play it here.

Kevin Garrett - Coloring

[youtube https://www.youtube.com/watch?v=EGXfP9JGbqY&w=560&h=315]

________________________

Follow I Am Willow

 

Facebook:

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

Twitter:

https://twitter.com/IamWillowmusic

Instagram:

https://www.instagram.com/iamwillowmusic/

SoundCloud:

https://soundcloud.com/iamwillowmusic

LIVE REVIEW: #BLOGTOBER at The Finsbury - Meat Loving Vegans, Words & Noises; Saints Patience and SALT

LIVE REVIEW:

 

#BLOGTOBER at The Finsbury

 

 

Meat Loving Vegans, Words & Noises; Saints Patience and SALT

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THERE are few things worse than facing the rigours…

and ‘realities’ of a Monday workday having squandered and threated-away the previous evening. It (Monday) is an omnipresent, unforgiving crypt keeper that seems  to show little mercy to a single soul – and, as such, is dreaded and derided by all. It is lucky; therefore, #BLOGTOBER exists and is there to ensure Sunday night goes off with a bang. I was invited to curate the penultimate night of #BLOGTOBER: a series of October nights curated by the finest tastemakers of the media/blog world. I say it rather modestly but it is quite daunting sharing promotional space with the likes of The Line of Best Fit and the finest writers in modern British music. Disposing of any modesty (false or otherwise) it was wonderful being at The Finsbury for Lost in the Manor. You can still make your way down to the final date tonight – Temple Turtle curates – and unwind after the start of another (gruelling) week. Walking into The Finsbury – the first time I had visited – was a welcome contradiction to the sites, smells and sounds of the neighbouring streets – a rhapsody of acrid smoke, continental cuisines and a myriad of accents and conversations. Walking the streets (near the bar) is quite an experience: N4 is one of the most genuine and heartwarming parts of the capital; one of the few areas that has not been over-gentrified; some honesty and reality remains.

The bar itself was a welcoming and warm place – light around the windows and a cosy, homely feel – and one feels instantly soothed and comfortable there. Meeting Chris Sharpe – Lost in the Manor; organiser of #BLOGTOBER – and there was an instant fear – Meat Loving Vegans’ keyboard player was A.W.O.L. Despite the missing keys man; the band were first up and played to a small, if fervent crowd. The heaviest and most direct act of the night: they ran through a collection of songs and mixed it with some jamming and improvisation. Taking material from their debut album, Lost in Fiction, it was an explosive and tight set that was done and dusted in about twenty minutes – a perfect kick-start and way to get the energy levels up. Despite it being a Sunday night there were more people there than expected – quite a few turned up and the reception was good. Meat Loving Vegans certainly are a band in tune and connected: throughout their set, they had that kinship and bond that saw all three players really push themselves and bring out an exhilarating turn.

[bandcamp width=350 height=470 album=1798334013 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=1845806847]

Despite my voice going – the sheer force of the music rendering it inaudible inside the venue – it was just the way to kick off proceedings and get the place rocking. The London band will be bringing their second album out soon but, if rumours are to be believed, might be one of the last gigs they played. If that is the case – and let’s hope it isn’t – they certainly gave it their all and brought new life to their album tracks. Goodbye Granda – a personal favourite of lead/guitarist Dexter was performed with gusto and verve – a more rabbled and pugnacious interpretation than appears on the album. For those dreading the commute and hollow empathy of Monday were given a shot of tequila to the brain – a performance that is still buzzing in the brain. Despite it being a short set, the boys had their fans in and showed what incredible musicians they are. It would be nice – if they do more gigs – to do a few acoustic numbers as they have that range and ability. The lack of keyboard player limited their set possibilities but they adapted well and rose to the challenge.

After the dust had settled – and the smoke machine had billowed out its last blast – there was a brief pause to dash to the bar and get another beer in – affordable prices and a good range even for a London bar; not many continental beers and drafts but plenty of choices; the food was rather fine, too. Words & Noises are one of my favourite discoveries of the past year and their new E.P., The Collector, shows what a brilliant duo they are. Having chatted with Chris and Simon before and after the gig: the guys were saying how this was a rare London gig for them. The duo have performed a selection of gigs this year but geographical distance – Simon is based in Manchester – means they are limited to where they can perform and how much they can do. Simon’s impressive trek from Manchester was made worthwhile with a fantastic set that showed how natural they are in the live environment. Chris is a naturally assured and witty conversationalist – few bands speak between numbers; nice to find – and his voice was in top form throughout the set. Simon’s percussion duties were more stripped-back and tribal than normal (not sitting behind a full kit) but, if anything, was more effective with box-beaten jams and punchy, compressed beats.

[soundcloud url="https://api.soundcloud.com/tracks/264082977" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Following the volume and beer-scented Punk of Meat Loving Vegans: Words & Noises offered a more melodic and calmed affair. Chris Selman’s voice was record-clear and had the same quality and sound as The Collector. It is rare to find an act that can not only sound as good live as in the studio – the songs are given extra gravitas and atmosphere in a small and intimate setting. Running through a selection of their best-known tracks, they premiered an unheard song – one that was going to feature on the E.P. but never made the cut. Chris explained the song, one that looks at the state of the U.S. and the sorry state of affairs, was a gamble; maybe people would not bond with it. As it stands, it is a song that could easily have featured in The Collector. Let’s hope the guys give it a full workup and consider it for a single – it is a memorable number that fits into their catalogue and sounded great at The Finsbury. The boys went down well with the crowd and I, for one, would definitely come see them perform more. The Finsbury seems like a natural setting for them – despite it being rather hot on stage apparently – but Words & Noises were a much-needed addition and provided some of the most tender and affecting moments of the night.

Saints Patience, like Words & Noises to an extent, have modest about them. Humbleness seemed to be a connection that linked all four acts of the night. Speaking with Mudibu just before their set: he explained how excited the and were but was wondering how they would be received. It was not a fearful revelation but an assessment of a Sunday night gig – how the people would react and if they would get the bodies in. As it turns out, they were one of the biggest surprises on the night. Not because they were better than one hoped (that is true) but because of the reaction they got. Mudibu’s stage presence is heartwarming and entertaining. He has “only two moves” as guitarist Spencer joked – not too bad if I may say so! As the music kicked in, his hips shaked and he danced about the stage – making the tiny platform seem like a dancefloor; shifting and shaping; jiving and grooving. A commanding and fine singer: his soulful and powerful tones made sure every number was given huge passion and fortitude.

[soundcloud url="https://api.soundcloud.com/tracks/253140605" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Break of Dawn is their latest single and one recorded when the band were just a duo (Mudibu and Spencer). The newly-formed quartet put on a stunning display and one that got the crowd dancing and involved. Spencer’s guitar chops were evident and stunning: gaining gasps from the crowd and showing his full historic range. Taut and funky basslines held the music together and drove the entire band forward – making sure the addictive, memorable songs were even more defined and nuanced. It was drummer Amanda Dal that provided some of the biggest talking points of the night. A “lioness” as Mudibu explained to me: her rampant, pummeling stick-work cannot be ignored or overlooked. Consistently multi-limbed, staggering and immense: comparisons were made, by more than a few people, to the likes of Dave Grohl and the titans of Heavy Rock. The band’s energy, affection and talents were fantastic to watch – another band I would love to see more of. Speaking with Spencer and Amanda after the set; they explained how they want to gig more but were planning a strategy and getting new music together.  If you can see them live, I urge that as they are a sensational band to see in the flesh. They prepare to release their debut album, Weather the Storm, and that will be a much-needed additon to anyone's collection.

SALT were the headliners and certainly brought some theatre and visual arrest to the night. If Meat Loving Vegans’ green-haired lead was not striking enough: the London boys’ matching uniform approach brought some self-mocking jokes but gave them a strange synchronicity and identity. Rather than being another anodyne, faceless band: they showed presence and strange allure – sort of like a more high-minded look of A Clockwork Orange (minus the excessive eye make-up). The five-piece did not seem unwieldy or cramped on stage: they managed to transform the modest stage into a veritable arena – their music blasting from the speakers and filling the room. If Saints Patience got the room dancing and entranced in an orgy of Funk and Soul: the SALT boys got it rocking out into the night.

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

The guys have been grabbing the attention of press and bloggers over the last few months and small wonder. They are able to banter but when it comes to the music, they are serious, in-control and tight as any other band. Memories and threats of a Monday morning seemed distant when listening to the band and they managed to banish the blues and get the crowd engaged and excited. SALT brought a mini bus-full of support with them and it they went down well with the audience. The guys are also looking to gig more (I learned when speaking with lead Frankie following the gig) and will find themselves in demand as we head into 2017. They are a fairly new proposition so are just making themselves heard and trying to carve out as much real estate as they can. In a competitive and busy industry, they have the gravitas and performance chops to get regular gigs and their studio material has found its way onto radio and under the microscope of some of the most respected music writer in the country. How they develop and evolve is going to be interesting to see.

Heading back into the busy North London night, it was a great night that bore witness to four unique, fantastic bands. Each has their own merits and surprisingly – given how diverse they were – effortless shared the bill and made impressions. Sunday nights are always hard to fill and get people involved with but the people turned out and showed their support. It would be wonderful seeing the bands return on a weekday and play together again as there was shared affection and mutual respect among the ranks. The Finsbury provided a perfect space and is one of the most underrated small venues in London. In a city that is seeing so many lauded spots close their doors: bands and new musicians should be aware of fantastic little space. I will be coming back to The Finsbury and keen to curate and promote other acts – a few I have in mind and want to see on that stage. Among them would be the likes of REWS – who seem readymade for The Finsbury – but also the quartet of groups that graced the stage last night. After rolling in at 01:30 today and ‘enjoying’ a few hours’ sleep – I felt compelled to get it all onto page and document the night (apologies for any loquaciousness or typos). Congratulation to Chris Sharpe and the guys at Lost in the Manor for hosting me and allowing some of my favourite acts a chance to shine. The whole #BLOGTOBER event must have been a logistical challenge and provides its fair share of anxieties and nervy moments. Thanks go out to Meat Loving Vegans, Words & Noises; the guys of Saints Patience and SALT for a great evening that made a potentially average night...

INTO something rather special.

_____________________________

FOLLOW THE BANDS

Meat Loving Vegans

Facebook:

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

Twitter:

https://twitter.com/MeatLovinVegans

BandCamp:

https://meatlovingvegans.bandcamp.com/releases

Words & Noises

Official:

http://www.wordsandnoises.com/

Facebook:

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

Twitter:

https://twitter.com/wordsandnoises

Saints Patience

Official:

http://www.saintspatience.co.uk/

Facebook:

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

Twitter:

https://twitter.com/SaintsPatience

SALT

Facebook:

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

Twitter:

https://twitter.com/saltukband

SoundCloud:

https://soundcloud.com/saltukband

TRACK REVIEW: XamVolo - Foolish Kids

TRACK REVIEW:

 

XamVolo

 

 

Foolish Kids

9.5/10

Foolish Kids is available via:

https://soundcloud.com/xamvolo/xamvolo-foolishkids-chirality?in=xamvolo/sets/xamvolo-chirality

GENRE:

Jazz-Soul; Neo-Soul

ORIGIN:

London, U.K.

RELEASE DATE:

September 16^th, 2016

ENGINEER:

Tom Longworth

__________________________

THERE are so many great musicians bursting through with an array…

of sounds and fusions – capturing it all and putting the best of it on paper is a challenge indeed. Before I come to my feature artist, I wanted to look at Liverpool as a music hub – as XamVolo hails from here – artists that take care of every aspect of music and combinations of Jazz and Soul. I am interested in focusing on music away from London – although XamVolo is based in London – and the sort of artists that are making terrific sounds across the U.K. In the coming weeks, I will look at smaller bands and artists: musicians that are working under the radar and playing smaller venues around the country. As I traverse over the landscape of British music, one cannot help but stop in at Liverpool and the accomplished and sensational musicians emerging. If you look at the historic acts that have made Liverpool famous, you really don’t need to look far beyond The Beatles. That is a subject and dissertation that can be reserved for another day but many people, when thinking of Liverpool, instantly spring to The Fab Four. Their legacy and genius will remain in perpetuity and they have inspired generations of bands to take up music and aim high.

The sound of 2016 Liverpool sounds a little different and there are new bands to take the imagination away. Gigwise ran a poll/piece earlier this year tipping fifteen great Liverpool bands for success. If one looks at it then you will see some future stalwarts for sure. Windmill are a band that are subtle and atmospheric but are atmospheric and pensive – one of those groups that take a bit of time to get into the bloodstream but make their way there with a big hit. The Vryll Society are an intriguing proposition bulks against the jangly Pop and Psychedelia of The Zutons and The Coral and embraces something darker and more shadowy. They have been paired with Wolf Alice and Joy Division and that is a good place to start. If you like the Madchester sound and long for the days of Happy Mondays at full chat – you should investigate The Tea Street Band. The guys are fully-formed and already collecting passionate reviews and tips from critics. The Hummingbirds are proud of Liverpool and often reference the city in their songs. Reminding one fo the early-1960s Beatles: the boys even have a fanbase in Berlin and update that joyous and evocative mixture of Pop and Merseybeat. Just from a cursory list, you know there are so many different options in Liverpool. It is a city that has lost a bit of ground (compared with London) but should not be overlooked and ignored. I feel many assume Liverpool artists will make their way to the mainstream eventually so why bother following them? The thing is; if you do not support these artists from the start then they will not make their way to you to begin with.

It is fair to say there is an emphasis on bands from Liverpool but there are some fantastic solo artists and duos. XamVolo is a musician that has taken the energy and variation from the city and is putting it into his own music. Before I carry on – and raise a couple of new points – it is worth meeting him:

“I can’t really think of much else outside of music day-to-day,” says singer/songwriter and producer Sam Folorunsho a.k.a Xam Volo. “I thought that it must be possible to become a musician, so I decided to put my all into it.” At the age of 21, Xam Volo seems wise beyond his years. A true artist, he oversees every element of his music, which he describes as “a messy mind over raw, dark jazz grooves”. Since moving to Liverpool to study in 2012, the Londoner has embraced himself in the local music scene with his unique and enigmatic take on Neo-Soul and Jazz. Influences from Erykah Badu, Miguel, Frank Ocean and Maverick Sabre echo in his music, with a gospel-infused sophistication and often abstract lyrics. “I was into Grime when I was younger,” Xam Volo says. “Slowly I developed a taste for RnB through Hip Hop, before discovering Jazz and Soul and really falling in love. Neo-Soul may be a newer genre, but it captures all the elements that I love about music, and it’s home to such a distinct and timeless sound.” While studying for his degree and craving a more creative way of life, he began taking his music seriously before deciding to make it his chosen career. “An older friend gave me his copy of music software FL Studio 7 and I began making my own songs, “ he says. “I haven’t looked back since.”

He describes growing up as “hard, identity wise,” but adds that his childhood experiences have made him become a better artist today. “I lived fairly comfortably, but even as a child I was made aware that material things weren’t everything. The experiences I had growing up are a part of who I am, and for that I am grateful.” With one younger brother, he says that his family is close but “isn’t too involved” in his music. As his career began to take off, and with a number of self-penned songs under his belt, Xam Volo began playing gigs in London and Liverpool. He performed for a few gigs held at the members-only GH Bar, which saw him perform acoustically with the resident jazz band around Soho. It was live performances such as this that gave him the confidence to apply to perform alongside other local unsigned artists at the Liverpool International Music Festival (LIMF). As one of the five overall winners – chosen from thousands of hopefuls by a panel that included Grammy Award-winning producer Steve Levine – Xam Volo was deemed by the judges as ready to embark on a professional career in music. The five winners, along with 10 other finalists, performed on the LIMF Academy Stage in the Sefton Park Palm House over the 2014 August Bank Holiday weekend, in front of thousands of music lovers. Describing the event as one of his career highlights so far, he says: “It was brilliant to receive so much exposure for my music at the festival. I’m really proud to have been a part of the 2014 academy, and I’m looking forward to seeing the artists that emerge as part of the 2015 event.”

Xam Volo also released his EP Binary In Blue in 2014; something that he admits was intended as a darker project but was re-started because he wasn’t happy with the original. He chose the name for a few reasons – binary as meaning ‘two parts,’ because he viewed the EP as having “two widely relatable songs and another two calmer and artier tracks”. Despite it not being Blues in genre, he picked topics that he felt paid some level of tribute to Blues music and its culture. Described on Soundcloud as ‘alternative Hip-Hop, Soul and Jazz,’ the Binary In Blue EP can be downloaded at Xam Volo’s Bandcamp page.. As well as his growing music commitments, Folorunsho has another creative talent, as a graphic designer. “I’ve done that longer than music, but it isn’t as interesting,” he says, adding: “I guess I get to design my own album covers.” With music where his heart truly lies, he believes firmly that “there are so many musical needs to cater to – any sound will resonate and fill its own gap. There’s always someone out there who will crave your sound.” Looking to the future, Xam Volo hopes to gain more exposure, grow his team, and learn more through performance and collaboration. He says: “Ultimately, I want to create a community sharing the mindset I express through my art. Whatever happens, I’m excited to find out if the path I end up following gives me a career even more suited to my character than the one I can fathom currently. Then, who knows how much further I will be able to aim?”

XamVolo is a man who takes care of everything in music and has quite a team behind him too. You find a lot of new musicians either have to shoulder all the responsibility or have a big team working for them and taking control. The latter is rare and you do not often find an artist backed by an army or P.R. and promoters – you do get it but not often. One finds a lot of new acts have to work hard and get their voices heard with little support. Because of this, we are finding more acts becoming involved with every stage of the recording and producing process. XamVolo conceived, performs and produces his own music and, bar a few other voices, is that singular vision and determination comes out in the music. I am not sure whether it is a personal decision – someone who knows exactly how he wants the music to come across – or a circumstantial but hats go off to XamVolo. I admire any musician that has the bravery and talent to take the helm and responsibility. He has been performing for a few years now and is growing in stature and confidence. I imagine a germ and acorn would appear in his mind and that need to see it through and have it sound exactly as he imagines – that will be the reason XamVolo is a one-man writer-producer-musician. It is not down to lack of support – others would love to produce his work – but would not be able to give it the same personality and humanity he does. There is a lot to suggest we are going to see this happen in a lot more new artists – producing and writing all their own music. It used to be the case musicians would do this without thinking but so many upcoming artists have a host of writers and studioheads working on their sound and helping them get it out there. That is okay if you are not capable of doing it – makes one wonder why they are in music – but I feel a lot are being lazy and insincere. If you want to connect with the audience and get people following you: your music has to sound like it came from you and not anyone else. That is an axiomatic point but it is not resonating with a lot of musicians. It is sad to see but the likes of XamVolo are showing how it should be done and will change people’s minds – let’s hope so, at least.

PHOTO CREDIT: Robin Clewley Photography

One of the most intriguing facets of any new artist is the sound and style of their music. I always love delving into lyrics and finding out where they came from but it is the instrumentation and feelings that burst from the speakers that have the most immediate and profound effect. It is near-impossible crafting a sound that will appeal to everyone and be unstoppable. So many musicians are developing and adapting their music: looking for that alchemy and reacting to feedback and  reviews. XamVolo has experimented with his music but he sounds as fresh and natural as the day he arrived in music. The music he makes is a combination of Jazz and Soul: darker shades and some freestyle; bits of Grime in places and luminous Pop edges. One of the main reasons I latch onto certain musicians is because they are different and completely unique. That can be applied to XamVolo who has few contemporaries able to provoke such reaction and magic. It will be interesting to see how he flourishes and develops in the future, but one has to say, not a lot needs to be done. There are so many vague and generic Pop acts and artists that really do not linger in the mind. In terms of bands, you do get those that step outside of predictability but a lot that seems to follow their idols and really do not expend that much effort. I am not sure whether the band dilemma is because of their size and discipline. When you are in a band, you have to listen to the other members and it is hard having a consensus. Maybe (a band) will form after being inspired by others and have that instant need to pay tribute but injecting a similar vein. The solo artists might suffer this same fate although there are fewer voices to listen to. More singular, focused and varied – they have that room and do not get influenced by other voices and contradictions. I know XamVolo grew up listening to an array of different artists but has stepped away from them and listened to his internal monologues and instincts. The result of hard graft and inspired moments: what we hear is a young man who is solid and ready for the challenges ahead of him.

Chirality is the latest E.P. from XamVolo and one that follows from tracks like Rescue Me and Sapphires – work that arrived last year – but one of the most complete and impressive pieces from the young hero. What I find, when you compare the older work with the E.P., is how much more assured and adventurous it all sounds. A four-track E.P. brings familiar songs Down and Runner’s High into the fold and new cuts Gold Leaf and Foolish Kids. It is a sensational body of work that emanates from a mercurial musician that has seen a lot and puts that all into the E.P. Singles are a great way of hearing what an artist has in mind but are limited by time and even the finest have to work hard to really stand out. With an E.P., one has more time and options; the opportunity to create something full and complete. That is the case with Chirality. XamVolo does not overload it and make it too full or make it too short and slight. You get a solid quartet of songs and so many different contours and sides from a fascinating artist. One is left with a feeling of satisfaction and nourishment also has a lot of questions and things to think about. Chirality poses the listener look into their life and the world around them – few artists manage that with their music.

PHOTO CREDIT: Robin Clewley Photography

The Liverpudlian brings Jazz and Soul together in a blend of hypnotic beats and recalls the merits and nuance of contemporaries Anderson Paak and Kaiyote. Raw and dark Jazz grooves discipline a messy and mindful collaboration of thoughts and feelings. That is all the background one would need when it comes to Foolish Kids. The introduction is alarming, arresting and seductive. The beats are packed and tight but have certain slightness to them. Like pounding a pen against a desk or hearing a percussive jam through a single speaker – it is trippy and hollow but ample power and precision joins it. There are keys and Classic edges but one gets rawness and prowl early on. That mix off sophisticated contemplation and rude and edgy shrug opens the song up and already gets the imagination working. Foolish Kids has a vocal delivery that recalls Beat poetry and freestyling. There is a focus but no two lines are presented the same. At once accelerated and heady; the next, slinky and soothing – a compendium of speeds, angles and points of view.

The hero has nobody to blame if it all goes wrong. Opportunities may come but you/he has to grip them all. Maybe times are hard and there are obstacles in the way but there is nobody you can point the finger at. That is a mature and commendable attitude but one feels there is a lot of pressure and weight in the soul. Maybe the hero is trying to become a better man or progress in his career: perhaps love is a struggle and there is imbalance and imperfection in the bond. The vividness and drama the song presents is quite incredible. Visions of being torn apart and ripped asunder – a young man/hero whose feelings and hopes are being shredded - is balanced by a controlled and pastor-like delivery. Some of the lyrics are repeated and processed which gives echo and emotion to the song – some groove and catchiness, too. Those teasing and tense beats keep firm and create plenty of atmosphere and drive whilst you detect underground piano and electronic suggestions prod to the surface. The vocal is never too high in the mix: it sort of sits on a level plain with the composition which means some words do get buried but it means XamVolo does not deprioritise the composition and its potential. That considerate and balanced mix sees the music create its own life and work seamlessly with the vocal.

As the track develops, you get a sense of conflict and struggle. The young protagonists – when XamVolo or a fictional figure – has to grab those opportunities but is being weighed down by some fears and struggle. I am not sure whether there is a punctuality fall-out - “You know he’s going to be late” – in the sense a contact or peer is being assessed or whether the hero lacks that reliability. Before you delve too deeply into meanings and truth: a rousing, carnival-of-skeletons brass blast comes in. Being Hallowe’en; it is as though ghouls, specters and blood-seeking vampires are united in the Orchestra of the Damned. It is never too powerful or intense: quite quirky, New Orleans-tipping and intoxicating. It not only takes the song up a level but it provides more insight and emotion. That musical parable allowed me to get into the mind of XamVolo: that doubt and niggling anxiety; the urgency of grabbing opportunity and not being let down. I hear elements of Too Many Zooz – the New York collective who perform Psychedelic Jazz in the city’s subways – and some contemporary Neo-Jazz.

It is a coffee-scented passage that tees XamVolo up for another investigative confession. Women are, as it is said many times over, challenging and inscrutable at times. Perhaps there is a bit of romantic scarring and that has left the hero with some confusion and anger. Maybe it is a general rumination on love and its uncertainties: one feels the hero has had his heart damaged and is trying to collect the pieces from the roadside. When you put this all together – with what has come before – the track seems to take on new meaning. From a look at grabbing opportunity; it has developed into a reflection of the self and romance. I may be overreaching but I always look deep into a song and see what I can come up with. The words roll fast and pure and one swims inside the riptide. The composition is never too insistent: it is a perfect companion and keeps its mind level and restrained. XamVolo delivers his words almost Rap-like and ensures it flows and kicks with rhythm and poetic flair. Looking at various subjects – who tell him he will be back at square one if he falls and does not see the truth – you find the hero looking for a place to sleep and a place in life – if things fall through and he does not live for the moment. At every stage, I wonder whether Foolish Kids looks at career opportunities or the complexities of love. If the hero/XamVolo does not get on it and recognise the chances befalling him – that could lead to a downfall and spiritual capitulation. Maybe there is a lover in mind and the struggle to maintain common ground.

Those backing, repeated vocals pay dividends towards the closing moments and seem to represent a sense of questioning – the mind throwing up memories and conversation to add to that tension and confusion. There is a woman being assessed who is laying down truths and causing the hero to have some doubts. You get hooked and spellbound by the composition and wonderful Jazz-cum-Soul blends. It keeps pressing and eliciting reaction and response. You cannot listen to the song and not be involved and impressed by the sounds that burst and swoon in the ears. XamVolo ensures his voice and words are not overlooked and he continues to provide Foolish Kids plenty of intrigue and wisdom. Never wanting to give in and submit: the young man realising how you cannot let opportunities go. In the final exchanges, the momentum and fascination is kept firm. When you think the song has ended; there is sort of ‘hidden track’ or moment – a lo-fi recording of XamVolo speaking and delivering a sort of impromptu song. It is a sobering and calm creation after the drama and cinema of Foolish Kids. It is another incredible song from XamVolo and the perfect way to end his E.P. It is a fine example of an artist who keeps growing and improving with every release. Chirality is a fine and exceptional E.P. yet I feel Foolish Kids the jewel in the crown.

XamVolo is a musician that already has gathered a lot of critical respect and acclaim. Looked after by a great P.R. company and performing across the country: Chirality is an E.P. full of story, plot progression and personality. You are invested in the songs and dive into the lyrics and scenes being projected. There is redemption and wisdom; questions and answers; passion and pride and confessions from a musician that digs deep into the soul. You would be forgiven for thinking XamVolo has been around for decades and releasing just a regular E.P. – such is the confidence and ease in which he manages to impress and resound. The truth is a lot different: his best days are still ahead, but what we have now, is an E.P. bursting with sensational songs and incredible talent. I will wrap things up shortly but it is worth looking at my initial points – Liverpool music and taking control; the combination of sounds one can make – and declaring XamVolo’s future.

With that in mind; one can see him becoming a mainstream star and someone able to shake the charts up. I am seeing a lot of similar musicians already celebrated and playing some huge stages. I can imagine XamVolo playing a live set on ‘6Music (if not already) and making his way to their attentions. He has that cool and wonderfully rich sound that is impossible to ignore and will strike a chord with everyone. Chirality is an E.P. solid and focused: it has so many different strands and colours; a range of emotions and lyrics that stick in the mind. That is a rare thing to see in music and certainly from one so young and new. I have already reviewed XamVolo before – a song from the same E.P. – and was keen to come back to him and one of the newer tracks from Chirality. The swansong is both epic and inspiring; touching and urgent – a track, once you taste it once, will want to come back to. It only leaves me to advise people to investigate artists outside of London. Although XamVolo is taken care of by a London-based P.R. company, one feels Liverpool will always run through the blood. I opened by looking at a few bands that will define the next year and already making waves. It is well-worth following them and the solo acts that are coming out of the city.

In so much as Liverpool is an area we should all keep an eye on - those that command dominance and faith in their own music should be celebrated. I opinioned so many artists are letting others into their music and is taking some of that control away. It is okay for one to bring in a producer or engineer: that can give new light and voice to a song and it is good to have another opinion on something. When it comes to writing and that side of things: I am never keen seeing a band or musician shell out that chore to someone else. XamVolo would not consider that and is a bright and talented writer who puts his heart and soul into every song. A writer whose voice and ideas are like no other – a real treat for the senses and wonderful revelation. I love the sounds he makes and the genres he teases together. Little Jazz and Soul touches; some little bit of Pop and other elements in there. It is a real treasure listening to a track like Foolish Kids and all the components that go into making it. Deconstruct the track and you can see the thought process and how it all came to be. Essentially, a song that looks at a man/person not getting the respect they deserve. Whether it is autobiographical or based around XamVolo one is not too sure. I assume there is a little bit of self in the song but it is a message to the world and those who have that same struggle and lack of acknowledgment. What one gets - from the song and E.P. – is a masterful musician that has a lot of years still left in him. I have been following XamVolo for a little while and can see that development and growth. It is wonderful to witness and something that is likely to continue. In a turbulent time where there is little certainty – not just in society but in music – XamVolo is…

A man you can always rely on.

[soundcloud url="https://api.soundcloud.com/tracks/282995590" 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 XamVolo

 

Official:

http://www.xamvolo.com/

Facebook:

https://www.facebook.com/Xamvolo

Twitter:

https://twitter.com/Xamvolo

Instagram:

https://www.instagram.com/xamvolo/

SoundCloud:

https://soundcloud.com/xamvolo

YouTube:

https://www.youtube.com/watch?v=zDglc3xX1jE

INTERVIEW: Amy Allen of Amy & the Engine

INTERVIEW:

 

Amy Allen of Amy & the Engine

__________________________

FROM reviews and interviews with British-based artists…

it is back to the U.S. and a wonderful New York band. Amy Allen fronts Amy & the Engine alongside Vinny DaSilva (lead guitar) and Manuel Ruiz. The trio has an incredible bond and has taken their music all across America. Previous E.P., TandeMania, represents their talents at a blistering peak  - a deeply personal work that announced the arrival or a very special trio. Since then (last year) the guys are putting together new work and performing across the country. I got the chance to learn more about Amy & the Engine’s lead and how the guys came together; the importance Fleetwood Mac are to her and how the new E.P. is coming along.

________________________________

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

Hey Sam! I just got back from L.A. a few days ago. Was there for some writing sessions so that was good fun - but I'm glad to be back in N.Y. so I can do some writing on my bed

For those new to your music: can you give us an introduction, please?

We are called Amy & the Engine and we formed in Boston, MA at Berklee College of Music. I write the tunes and have always drawn inspiration from music my dad raised me on - a la Classic Rock and any/all girl groups from the ‘50s/’60s. Right now, we are recording a new record which is more rock-influenced than the first, and I'd say, it sounds like the Cranberries-meet-The-Cure.

Vinny DaSilva and Manuel Ruiz are part of the band. How did you meet them?

We all met at Berklee two years ago through a mutual friend and they've become my best friends and brothers. Vinny is a phenomenal guitarist from Londrina, Brazil and Mano is a killer drummer from Lima, Peru. They're my Rock'n'Roll stud muffins... and will, for sure, be annoyed I just called them that in an interview.

I know there is new E.P. coming up. What can you tell us about it and the songs/themes that will appear on it?

Yes! I started writing the new E.P. last January and it's actually pretty different than TandeMania - which was our debut record. This new one (still untitled) is a bit darker and heavier than the first. I've been referring to the record as the ‘Chasing Jenny E.P.’ because out of the fifty-or-so songs I wrote for it; I'd say probably one-third of them had this Jenny character somehow finding her way to the surface. I was a little weirded-out by it at first (who is she and why do I keep coming back to her?), and then, the more I thought about it, I realized she was symbolising this idea of a person I always felt I should be - whether it's just on my own or in a relationship. It all started making complete sense to me about halfway through my writing process, so now, looking back on the group of seven-or-so songs I picked to actually track; it's pretty cool to see how the whole record developed around this one character, Jenny. (To be clear: I don't even know a Jenny, but if I meet one, I'll be happy to play one of these songs at her wedding or something... for free - just so I have an actual tangible person to connect it all with)

Having heard a few cuts; your voice is at its most soulful and funkiest. How do you think you have developed as a singer in the last year or so?

We started recording the first record before we were even playing shows as a band (really) so I think having two solid years of gigging as a (Pop) Rock band has helped me heaps. I've also grown into my songwriting over the last couple of years so I connect more with my songs now

TandeMania is an E.P. I love and have been listening to in preparation for this interview. It has gained a lot of love and great reviews. Are you surprised by the reaction is gained and how do you feel about the E.P. looking back?

TandeMania will always be one of the most meaningful projects I've ever worked on for so many reasons. It showcases the first time I ever stepped into a studio with Mano and Vinny - back when we were still getting to know each other and figure out our sound together. It also captures the first time I ever worked with two of my closest friends in the world (and insanely talented producers) Andrew Seltzer and Griffin Emerson. They produced the record with me; helped me navigate ‘the Engine's sound and got me through a LOT of shit, haha. The morning we started tracking Patience (my personal favorite song off the record) I had just gone through such a terribly bad breakup only a few hours before we started tracking - pretty funny to look back on now, haha. I was legitimately on the verge of tears that entire day of tracking vocals and I think Griff and Andy were probably terrified to ask me to sing another take - fearing I'd have some crazy breakdown or something, haha. And now, when I hear that song, I'm immediately taken back to Andy's bedroom we were recording in and a song I wrote about growing up takes on a completely new, wonderful meaning to me.

[soundcloud url="https://api.soundcloud.com/tracks/213847394" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

A lot of media sources feature all-male bands and male-led bands. Do you feel female-fronted acts have to struggle harder? Have you had to face any obstacles as a female musician?

I think it's pretty funny actually because we are still in that age where if it's an all-girl band or even just a female-fronted band: a lot of people/press will hyper focus on that aspect, saying ‘FEMALE-FRONTED Rock group Amy & the Engine’; as if ‘female-fronted’ is some type of music genre or something, haha. I've never read an article or heard someone say "oh yeah, this ALL-MALE group is fucking awesome; I love them", haha. I think there are still FAR fewer women in the music industry as a whole but someday - not too far off I hope - there will be just as many female producers, engineers; managers, etc. as (there are) male.

Your guitar skills are particularly impressive and varied. How long have you been playing and which guitarists are especially influential to you?

Ah, thank you! I started playing in 4th grade so that I could join the Jazz band and I faked my way through rehearsals for about three weeks before they realised I wasn't actually reading the sheet music (because I had no idea what I was looking at) - so then I got booted. BUT later that year I took up electric bass so I could join my older sister's Rock band (no sheet music needed there...) and then eventually found my way back to guitar (when I started writing songs)   As for my favorite guitarist: I think probably Lindsey Buckingham. My life changed the first time my dad put on the Rumours record in the car.

Over the years, you (and the band) have been labelled as one of the finest new bands to watch; you have gained award nods and achieved a lot. Which accolades have meant the most or has it all been a bit dizzying?

Hmm. I think for me there are two standout experiences we've had:

1) Opening for one of my all-time FAVORITE bands, Guster. I've known every word to every song of theirs for as long as I can remember and we got to play with them in this beautiful theatre in Massachusetts with our family and friends there.

2) Our Sofar Sounds Midwest tour last spring. We had so many insanely funny, eye-opening bonding moments on that trip... Oy.

You are based in New York but hail from Boston. How does the music scene differ (between the cities) and what is New York like for a young, ambitious musician?

Boston was very kind to us and we will always be a Boston band at heart but New York has a lot more of a scene for us at the moment. Very happy to be here and still just a short drive away from our O.G.s in Boston The music scene is obviously just much bigger in N.Y., and of course, with more people comes more diversity; so there's more of a thriving Pop-scene which is great for us. In addition, I also do a lot of writing sessions for other artists so that is much more accessible here as well.

I notice Fleetwood Mac are big in your life. I am a huge fan of Rumours and Tusk. When did you first discover the band and have you any favourite albums/songs of theirs?

I have two older sisters and my dad raised us all on Classic Rock. He started playing Fleetwood Mac, The (Rolling) Stones; The Who, The Guess Who; Rush etc. - on our long drives home from figure skating and ballet lessons.

Rumours will always take the cake for me. I could listen to that record for the rest of my life on repeat, haha. I saw Fleetwood Mac live two years ago and my hands legitimately seized when they played The Chain. I'm aware that sounds a little aggressive but it was clearly very impactful on my body, haha.

In that vein: which musicians and albums were important you growing up?

Dionne Warwick; The Guess Who; (Bruce) Springsteen; George Harrison; ABBA and Everclear, haha. Mixed bag! What can ya do?!

[youtube https://www.youtube.com/watch?v=9jDDmOXrzs8&w=560&h=315]

Going a bit off music for a bit, I see you have run half-marathons are quite sporty – I have run a few marathons myself. What is it about running that attracts you and have you run for any charities?

Haha, woah! This has never come up in an interview before! Props to you for doing your research, hahah. I love running because I can clear my mind from my own writing and listen to new music that inspires me.

My oldest sister and her husband are professional runners (she was in the Olympic trials for the Marathon last winter!) and the rest of my family is really athletic as well – so, by default, I find myself agreeing to sign up for marathons, half-marathons - though I can't say I particularly enjoy them while I'm running them; I do love the feeling after, haha. And, yes, I have done races for charities! The one that's particularly important to me is called Team Kroot!

Back to music and you have been performing a lot of great gigs lately. Which ones stand out in the mind and which cities/states do you love playing the most?

I love getting back to Maine (my home state) for shows because I get to see family and stay at home! We also had some pretty memorable shows in Toronto and Nashville

You’d get a lot of love in London. Have you been to the city before and can we expect to see you here in the coming months?

I have been before for writing sessions but never for shows! We are hoping to get over there for a run of shows in 2017!

For any new musicians coming through: can you give them any advice or guidance?

Make music that YOU love. Don't give a shit about what's hot right now . Great songs last forever. Finally, and for being a good sport, you can name any song (rather than your own as I’ll include it) and I’ll play it here.

Woo! Ok. My friend Luke just turned me onto this group from the late-‘80s/’90s called the Cocteau Twins. I'm 100% late to this party but I LOVE it. All their records are a good listen, but if I have to pick one song, probably Heaven or Las Vegas.

[youtube https://www.youtube.com/watch?v=6KnYw4EwYGc&w=560&h=315]

________________________

Follow Amy & the Engine

PHOTO CREDIT: Shervin Lainez

Official:

http://www.amyandtheengine.com/

Facebook:

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

Twitter:

https://twitter.com/AmyAndTheEngine

Instagram:

https://www.instagram.com/amyandtheengine/

SoundCloud:

https://soundcloud.com/amyandtheengine

YouTube:

https://www.youtube.com/channel/UCdoIhztkQYovFM4K4-moDCQ

TRACK REVIEW: EBSON - Adapt to Thrive

TRACK REVIEW:

 

EBSON

 

 

Adapt to Thrive

9.4/10

Adapt to Thrive is available via:

https://soundcloud.com/ebsonmusic/adapt-to-thrive

GENRE:

Alternative-Soul

ORIGIN:

London

RELEASE DATE:

July 2016

PRODUCER:

Charlie J. Perry

__________________________

THIS will be one of the last times I’ll be….

looking at brand-new artists and their first single. There is a slew of hopeful and bright musicians that are laying down their marker and taking that all-important first step into music. As far as I can tell, there are no real definite standouts – those that are so far ahead of the pack others have to catch up. There is an immense amount of competition and variation in music right now. Before I come to my featured artist, I will look at brand-new artists emerging in London right now; the blue-eyed, modern-day Soul artists around and the importance of visibility and connection – another gripe/theme that I shall air for the final time. I’ll start with that point, actually, as it is something that irks me about modern artists. Being a reviewer who often uses fourteen/fifteen photos in a review: it is galling and sweat-making fleshing out a review for artists who only have a couple of snaps on their social media pages. That point is applied to today’s featured artist as he has immense potential but needs to get himself out there more. It is not a big issue but one yearns to connect with an artist straight out the traps. As there are so many people playing, it is imperative those entering music do so hard and meaningful. It is all well and good having a song or two but photos and personal revelation are paramount in order for the prospective fan to gain an understanding of the artist. My featured act does have a firm and full biography but is a little anonymous when it comes to visuals and photography. I often speculate as to why certain acts call time and others struggle to get off the blocks. I am not suggesting a lack of photos will end a career but I like to discover a musician and actually see them – how they come across on camera and gain more knowledge of what they look like. For a journalist, I am always leaning on visuals in order to make reviews more illuminative, stylish and less wordy – at least punctuating sentences and blocks with photos. Anyone hoping to make early breaks in the industry needs to get that side of thing sorted. In addition to this, a full and respectable social media portfolio needs to be cemented.

It is not good enough ignoring outlets like Twitter and Facebook – they are there for a reason and will help gain support and followers. Maybe it is me moaning, but get those photos and images sorted and you are already overcoming hurdles and potential problems early on. Photoshoots cost a bit of money but there is always the space and need for a few candid, personal snaps – maybe the odd fan shot or gig photo. I wanted to raise this point; not just to gripe about something but highlight a vital thing. I do wonder whether music is affordable at the moment and what new artists have to endure. One of the reasons so many bands and acts have short lives in the industry is the financial imbalance and struggle. It is a challenge generating funds and enough money to continue to perform but the audacious costs of getting music together is, quite frankly, astonishing. I have mentioned photos but wonder: how expensive would it be getting a set of professional shots together? Even if you have a P.R. company behind you, you will still have to fork out some serious money for promotional shots and a website. From there, you have to think about the recording and production of songs. We have reached a stage in music where the cost is starting to outweigh the benefits and profits. With so many venues closing down, it is getting harder for new musicians to perform and find opportunities. Alas, I shall leave this for now but just wanted to talk about that issue – it is something that gets to me and needs to be addressed.

Before I come to my next point – and raise another one – I shall introduce my featured artist:

“EBSON is a new Alternative Soul artist drawing on deep rooted soul sensibilities that resonate through blues infused vocals and a fearless engagement to grand themes of power, struggle and the journey of realisation.

An ear for multi-layered arrangements and the insight of a storyteller, EBSON takes inspiration from the world around him, combining to create a distinctive sound that is as much a product of the environment we live in as it is the personal experiences and insights of one man. Over the last four years EBSON has patiently dedicated himself to his craft, defining and honing the vision for his sound leading to the release of his first single Adapt to Thrive. In that time EBSON has worked alongside and collaborated with award winning creatives not only from the music industry, but also the worlds of British film and visual art. Musically, EBSON cites a broad range of influences from both sides of the Atlantic; from D’Angelo, Anthony Hamilton and Gil Scott-Heron, to James Blake, The XX and Hans Zimmer”.  

There is enough in that biography to suggest a young man that has the drive and passion to see if through. Aside from the word ‘journey’ being used – the most overused and nauseating word any musician can employ in their lexicon – I have a lot of faith in EBSON. He is a bit hard to find on Twitter – there may be an account but I can’t track him – and there is only a single shot of him on Facebook – a few other photos to go alongside it. When that side of things is rectified and expanded; one can only imagine how far he will go. I’ll come to talk about Soul music, but right now, it is interesting examining all the shades and colours coming from London. The capital is at its busiest and most productive right now. I am struggling to keep a track of all the artists coming through and making sure London is in the public forefront. Maybe there is a sense of quantity over absolute quality but some definite future talent showing their wares. What stands EBSON apart from the throng of musicians coming out is the subjects he is addressing and the way he is going about things. London is seeing a lot of like-minded artists – in terms of sounds and dynamic – yet EBSON is someone I wanted to look at because his subject matter and production sound ensures his debut single gets right into the memory. If you had to compile a list of the top -fifty London musicians of the minute – something I might try to do at some point – where would you start and what would your parameters be? For my money, you have to look at the originality and urgency of the music. From there, one considers the vocal sound and how soulful or stunning it is.

Take it a bit further and look at the words being sung – just how distinct are they and do they stray beyond the familiar? Again, you need to look at the overall package and truly unearth a unique talent – rather than someone who sounds like everyone else. I love the music coming out of London but feel there are too many sound-alikes and indistinguishable musicians. What I love about EBSON is his themes and lyrical ideas. He is a man that triumphs over adversity and compels others to do so. Among the zeitgeist of young, ambitious British Soul artists right now – eyes will surely turn to EBSON and one feels there is ample room for him to nestle into the mainstream. London is the best place for a new musician to grow up and get their voice heard. I fear for those that stay outside the capital and try to make strides. Perhaps bigger cities – Manchester, Leeds and Liverpool – have more chances and are less harsh on the new musician but the towns and villages seem rather limited and empty. I have mentioned the dwindling venues and club scene in London but there are still ample destinations the young artist can cut their teeth. Aside from bars and venues, there are enough spots about London you can get yourself out there. There is also a community spirit and a shared love among musicians – eschewing and subverting social ideals about the capital – and there is no place like it. In that sense, EBSON has started off in the best place and has worked hard to get where he is already.

Before I get to EBSON (and his debut single) it is worth taking a closer look at the Soul artists emerging. I mentioned them, in rather ironic terms, as ‘blue-eyed’ but there is some truth in it. That term – blue-eyed Soul – was employed during the 1960s to artists who has the flair of Stax and Motown to their music without being what one would expect. There was a time when a majority of Soul artists were black but there has been a shift the last couple of decades especially. It is not a racial stereotype to say black artists – when it comes to Soul – have richer and more astonishing voices. Maybe it is their upbringing and musical tastes; something hard to describe, but I always think you cannot beat voices like Sam Cooke, Otis Redding and Smokey Robinson. There have been some British, white versions of these acts – Paolo Nutini and Sam Smith – but they lack the authenticity, command and presence of those artists. Perhaps those that go for direct Stax-like Soul sounds are always going to struggle. It is not perhaps the voices we should highlight - the greats of the genre will always outrank the newcomers – but those established themes and dimensions. I am hearing so many great Soul voices that are adding other genres together to produce something sparkling and pioneering. Maybe it will be a fusion of Electronic or Pop cores; some Rock edges or something in the way of Indie. What EBSON does is take the groundwork of Soul and updates the sound. He is being compared to the likes of James Blake and The xx because of his vivid and luscious compositions and striking vocals. I proffered how few white soul voices there used to be – it is a genre that is reserved for the finest voices and most alluring artists. For that reason, it is quite challenging coming into Soul and simply throwing something average together. You will be found out and your day will be limited. EBSON is not a man who is in for the short haul and has, not only the determination and talent to see it through, but embers of great Soul artists and D.N.A. that will draw in multiple generations and music fans.

Before arriving at Adapt to Thrive, I usually would look at an artist’s back catalogue and how they have come along. That is hard for a young man who has just released his debut yet one can predict his future and what direction it will take; the artists that go into his music perhaps. I have mooted artists like James Blake and The xx: they are two names you will hear in Adapt to Thrive. Jamie Woon is someone else who one hears but, to be fair, EBSON is his own man and only uses these artists briefly and as a guide. It is positive finding a musician that has that quality and comparison early – you never feel like EBSON is a second-rate version of any of these acts; always committed, assured and incredible throughout. If you are a fan of the cinematic, atmospheric Soul of Woon and Blake then you will love EBSON and what he is producing. Similarly, anyone who favours their Soul genuine and emotive will find much to love about Adapt to Thrive. You get a touch of the ‘60s and ‘70s legends but something very modern and 2016 with it. I feel EBSON will be producing a few E.P.s and albums in the future and every new release will expand and develop from the other. In the early stages, one can hear a lot of confidence and bravery in the music. He has not gone in with limited sounds and a rather cliché song – what you get is plenty of scope and vision; a song that has positive messages and does not stray to the well-worn themes of relationships and love.

Adapt to Thrive is a song that starts with echoed and haunting vocals – wordless and trance-like in their delivery. In a sense, one gets little hints of artists from Faithless and Roots Manuva from those notes. They are quite dark and urban but have soulfulness and coolness to them. You get hooked into a very luscious and intriguing sound that soon mutates into a concentrated vocal and thought-provoking lyric. Addressing the need to survive and the struggle one faces: the hero has no room for his voice to be heard but has “so much to say”. That message and thought could apply to EBSON or society in general. Having been inspired by London and the rabble one faces: you feel it is hard, in a modern city, to get yourself heard and find room. Backed by sparse piano notes and a general aura of shadows and darkness: the hero is fighting through the mist and trying to reach the light. EBSON is not someone who will take ‘no’ for answer and simply watch someone surrender. There are a lot of challenges and struggles we face on a daily basis. It can be hard finding resolve and strength but that is the point of the song: finding that courage and dispensing with the weaknesses. In fact, that idea – shifting the weak side of us – is almost emphasised and becomes a mantra. We often get bogged down by our hang-ups and doubts; the feeling we cannot carry on against the pressure and hardships. You are compelled by EBSON’s voice and what he is laying down. That deep and striking voice gives the words gravitas and strength; you close your eyes and picture the Soul greats and how they could grip you with their voices. I have mentioned the legends of Soul and how engaging and entrancing their voices are – that same label can be applied to EBSON. He might take some time to ascend to their heights but you hear plenty of promise in Adapt to Thrive. While you get an unmistakable reflection and sound of the capital: one also can hear embers of the U.S. and the greats that emerged from the country.

Combining these contrasts with the relentlessly impressive production sound and (bare but haunting) composition and the song keeps on igniting sparks and getting into the soul. EBSON’s voice is multiplied and creates a humming, twilight choir that gives a smoky allure to the positive messages of fight and hope. Our hero wants fear abandoned and the causal listener to think carefully. Those timid or unsure sure reevaluate and extinguish that in them that causes trepidation and doubts. Not only does Adapt to Thrive have and inherent survival mechanism and rebellious streak: it is a universal message we can all abide by and take heart from. Many of us feel trapped and doubtful; never sure of our worth and potential. In that sense, the song has multiple facets and can be applied to so many different feelings and scenarios. As those vocals layer and climb: you feel the chills come but also something warming, romantic and graceful. It is easy to hear shades of Jamie Woon and James Blake: that same resonance and timbre; the coffee-rich sound and low-sounding tones. The song gets faster and more street-level as it progresses. Unlike artists like James Blake: EBSON seems to cast his stories directly to the London streets and the commuter population. That distinct accent and affection for the people is balanced with a scepticism and unnerving fear of the wider world. The hero actually asks what has happened to the world, and one feels, that is a reaction to recent atrocities and terrorist attacks; the fact humanity seems to be slipping. All the composition does is provide chimes and the odd note: effectively, the vocal is king and the most dominant instrumental in the emotional orchestra. By the half-way stage, you get a sense of EBSON and his abilities; what he is trying to say and the music he produces. It ensures the final two minutes find the hero pondering and striking against meekness and fear. Those that kneel should not do so through fear but gratitude: overthrow those negative thoughts and embrace something more positive. EBSON’s voice simultaneously could have been found in The Tabernacle (from the Hebrew Bible) but is very much at home at London’s The Tabernacle – in the sense you get something old-world and profound but modern and British.

As the song ticks, it grows in stature and sound. The vocals and more prescient and that general combination of beauty and fear becomes evident and inescapable. It is the beauty that resounds and will leave indelible impressions. EBSON is a man who wants the world to castigate the hatred and violence and discover something purer and more human – a preacher fighting against the smog and anxieties of the modern world. Adapt to Thrive is local and universal; personal and everyman; haunted but transcendent. As the hero points the finger at the world – not having learnt from mistakes and growing – the beats come in thick and fast and add new layers. You get caught into the bellicose slams and the pastor-at-the-pulpit declarations of the hero – a man that stands atop spirituality and is not passing judgement but trying to decipher humanity and mankind. You never get the sense EBSON thinks life is too short and time is waning – always the feeling there is so much to do and enough time to affect change. Few artists, especially on their debut, present something as deep and embracing as this. Usually, they address heartache and sorrow and it can feed into that pandemic of doe-eyes musicians who are too keen to jump on the psychiatrist’s sofa – a little selfish in a way. Those that reserve those complaints for future releases are to be applauded. Because of that, Adapt to Thrive is a more relatable song and has positivity in every note. You never feel suffocated, bored or awkward as you hear it: constantly uplifted and made to ponder life and the self. By the time the song ends, you are urged to repeat it and reinvestigate. Not only is this because of the clear nuances that can be found – not just in the lyrics but the subtle yet accomplished composition – but the instantaneous quality. Adapt to Thrive is a confident and solid song from a bright talent who impresses right from the very start.

I have put a great many words together to try and explain the talent and abilities of EBSON. It is rather evident, from listening to Adapt to Thrive that he will do fine without my words. The young London-based artist is already getting into the vision of some rather prominent stations and reviewer. It is always a huge challenge making yourself known from the debut single and that is putting a lot of talent off. They see the realities and hardships involved with promotion and it can be rather upsetting and sobering. EBSON has been lucky to get the attention of Brick (a P.R. company in London) and is being looked after and taken under their wing. It cannot be too long until he is being played prominently on the big stations and getting some rather hefty gigs under his belt. Before I wrap things up – and assess the future of EBSON – I wanted to come back to the original points of exposure and transparency; the Soul singers coming about and the importance of London. The capital is a thriving and boiling pot of cultures, sounds and wondrous musicians. I have never seen a time when the city is so alive and bright as it is now. I am not sure what has caused this explosion but maybe it is a reaction to the dwindling club scene. The musicians are, maybe, feeling a sense of disconnection and separation and are coming together strongly. There is a definite desire to prove the Government wrong and show how needed the small venues and clubs are. They (Government) are negligent and naïve with regards this point and do not understand how vital that side of music is. Aside from some drug-related deaths besmirching the good name of fabric: there have not been many other issues that could rationlise closing a club. Perhaps finances and a lack of support are condemning some venues but there is a bigger problem that must be addressed. I know it is a complex issue but it is courageous the musicians of London – and the U.K. as a whole – are banding together and showing common strength and unity.

EBSON has arrived, in many respects, at a rather peculiar time. Never has the scene been as busy and varied as it is now but never has it been as fraught and uncertain. One of the ways music will continue to overcome and inspire is the talent and commitment of the young generation emerging. Some genres are suffering strains – the purity and survival of Rock can be questioned; mainstream Pop is rather stagnant and commercial – but there are others that are blossoming and evolving. 'British' 'Soul' are two words that one could not have placed together at a certain time – almost like foreign counterparts with no shared history or relevance. Over the past few years, the promulgation of artists like James Blake has ensured British Soul is not to be sniffed at and overlooked. Not purely connected to the forefathers of the genres: the new presentation of the genre is modernised and of-the-moment. Not reliant of heavy strings and emotive palettes: there seems to be a preference for dark and cinematic swathes; something a little edgier and twenty-first-century, one could barter. Adapt to Thrive is a rallying cry from a young man that has put an anthem for unity and defiance on the page. The cinematic landscape and fight-against-the-odds strength is something that will connect and resonate with many. Those layered harmonies and Gothic elements; the cinema-screen width and raw emotions all go together wonderfully. Charlie J. Perry has joined with Grammy-nominated Alex Evans, and between them, helped produce and mix a track that announced a sensational new talent. The ascending melodies and themes were inspired by a trip (EBSON took) whilst negotiating the bustling streets of London. I have stated London is heaving and busy but that has a couple of different sides to it. In terms of productivity, you cannot fault it and there is a huge and ambitious music scene developing. On the other foot, there are so many people crammed into a city which can provoke the need for survival and keeping your breath. Perhaps suffocated and struggling against the sheer number of bodies in his path:  a song has been born that is one man’s assessment of this – creating something inspiring that will get into the listeners’ hearts and bring some raw emotions to the surface.

It is a wonderful song that one hopes will form the part of an E.P. That might be at the back of his mind, but as we head into 2017, one feels that will be a concern. Arriving hot with a song like Adapt to Thrive and there has been a lot of attention put the way of EBSON. Maybe a four-track E.P. or similar is in his thoughts or maybe something full-length and album-like. After that, there will be the considerations of touring and taking the next steps. These are all things to ponder, but for now, the attention for the debut single is strong and continuing. Let’s just wrap things up by saying EBSON has navigated early hurdles and has come out strong and defiant. Here is an artist that is unlikely to struggle and find it tough getting focus from the media and radio. The music is already established, confident and authoritative and you get the sense he will be around for a very long time to come. What form that takes will be interesting to see but one assumes the Alternative-Soul route is one with a lot more juice left in it. I hope EBSON gets a few photos taken and puts them up as it would be good, not only for a reviewer or interviewer; but give the public a chance to put a face to the music. That is almost as important as making terrific music: creating a persona and putting a human element behind the songs. If you cannot get a sense of what the artist looks like it can be hard bonding and finding any real connection to them. For now, and before all those considerations are debated, enjoy a song from a London artist who is one to watch. His song might look for strength in the face of adversity but it seems…

THERE will be no struggle for EBSON.

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_______________________________

Follow EBSON

 

Official:

http://www.ebsonmusic.com/

Facebook:

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

Instagram:

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

SoundCloud:

https://soundcloud.com/ebsonmusic

FEATURE: The October Playlist: Vol. 5

FEATURE:

 

The October Playlist: Vol. 5

______________________

THIS will be one of the first of the multi-song selections…

not to feature that many older/established artists. It is very much a case of putting the emphasis on the new clan of artists coming through – with a bit of Leonard Cohen thrown in to keep it poetic and authoritative! If you are a fan of Pop, Metal or Soul, you are covered – same goes for those who prefer their music on the credible side of the radio dial. Sit back and indulge in a slew of hot-off-the-press songs for your delectation.

__________________

Charli XCX – After the Afterparty

[youtube https://www.youtube.com/watch?v=2yrJ1VkNZ48&w=560&h=315]

Run the Jewels – Talk to Me

[youtube https://www.youtube.com/watch?v=1b9n0Amr9RI&w=560&h=315]

Formation – Drugs

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

 Blink-182 - She's Out of Her Mind

[youtube https://www.youtube.com/watch?v=prvp53uUJEU&w=560&h=315]

The Shins – Dead Alive

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

Bon Jovi – This House Is Not for Sale

[youtube https://www.youtube.com/watch?v=_Ri2KEiXlNk&w=560&h=315]

Jim James – Here in Spirit

[youtube https://www.youtube.com/watch?v=nPkde09L2ng&w=560&h=315]

Pussy Riot (ft. Desi Mo & Leikeli47) – Straight Outta Vagina

[youtube https://www.youtube.com/watch?v=Bp-KeVBNz0A&w=560&h=315]

Deap Vally - Little Baby Beauty Queen

[youtube https://www.youtube.com/watch?v=ZI08BQ1SufU&w=560&h=315]

Skott – Lack of Emotion

[youtube https://www.youtube.com/watch?v=me66tJ69C0Q&w=560&h=315]

Alicia Keys (ft. A$AP Rocky) - Blended Family (What You Do For Love)

[youtube https://www.youtube.com/watch?v=DWACsH1f2So&w=560&h=315]

Hinds – Holograma

[soundcloud url="https://api.soundcloud.com/tracks/289935588" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Frank Carter & the Rattlesnakes – Lullaby

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

Kenny Chesney - Rich and Miserable

[youtube https://www.youtube.com/watch?v=-Ec-nEUAj4A&w=560&h=315]

Becky Hill - Warm

[youtube https://www.youtube.com/watch?v=jkuWlu3elAY&w=560&h=315]

The Pop Group – Zipperface

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

Jaws – Just a Boy

[youtube https://www.youtube.com/watch?v=jB1NR6XBB-8&w=560&h=315]

 

American Wrestlers – Give Up

[bandcamp width=350 height=470 album=1355637228 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=2606962134]

Common (ft. Stevie Wonder) – Black American Again

[youtube https://www.youtube.com/watch?v=nPOxEo7NtpQ&w=560&h=315]

Hope Sandoval & the Warm Inventions (ft. Kurt Vile) - Let Me Get There

[youtube https://www.youtube.com/watch?v=pyRJYnAndT0&w=560&h=315]

Lambchop – NIV

[youtube https://www.youtube.com/watch?v=XsYY6xdJ8Bk&w=560&h=315]

Empire of the Sun – High and Low

[youtube https://www.youtube.com/watch?v=ntlpTad3PLM&w=560&h=315]

FREAK – Nowhere

[youtube https://www.youtube.com/watch?v=rANBZhu8FCY&w=560&h=315]

Darcys – Lip Service

[youtube https://www.youtube.com/watch?v=t8QWqjF39gg&w=560&h=315]

TOY – We Will Disperse

[youtube https://www.youtube.com/watch?v=zN6Fk8vilMc&w=560&h=315]

Lovestarrs – WTF (Pop Culture)

[youtube https://www.youtube.com/watch?v=uZGWsSOGyg0&w=560&h=315]

Summer Moon – With You Tonight

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

Soft Hair – Relaxed Lizards

[youtube https://www.youtube.com/watch?v=WiUQTFKPIp8&w=560&h=315]

Guard – Die Online

[youtube https://www.youtube.com/watch?v=6qbOc5fElHg&w=560&h=315]

Loop – Losing My Mind

[youtube https://www.youtube.com/watch?v=GUHzH_uhR6I&w=560&h=315]

Melanie C – Anymore

[youtube https://www.youtube.com/watch?v=vK8b7uXm8ss&w=560&h=315]

Tove Lo (ft. Wiz Khalifa ) - Influence  

[youtube https://www.youtube.com/watch?v=G1rrHrLKi7o&w=560&h=315]

Icona Pop - Brightside

[youtube https://www.youtube.com/watch?v=SC5GBIErMV4&w=560&h=315]

Sleigh Bells – I Can Only Stare

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

The Avalanches – Because I’m Me

[youtube https://www.youtube.com/watch?v=eu0KsZ_MVBc&w=560&h=315]

Eminem – Campaign Speech

[youtube https://www.youtube.com/watch?v=ZvqYabGI6HQ&w=560&h=315]

Telegram – You Said You Saw Us

[youtube https://www.youtube.com/watch?v=DXlg12k1fOg&w=560&h=315]

Bizzle – We Here Now

[youtube https://www.youtube.com/watch?v=UotPEE0flW8&w=560&h=315]

Alesso – Take My Breath Away

[youtube https://www.youtube.com/watch?v=6tG3RcAuDZQ&w=560&h=315]

Dami Im – Fighting for Love

[youtube https://www.youtube.com/watch?v=uR2BJNFZmdQ&w=560&h=315]

GT & Wildfire – Not Alone

[youtube https://www.youtube.com/watch?v=UNsO4swTWKQ&w=560&h=315]

INNA - Cum Ar Fi?

[youtube https://www.youtube.com/watch?v=J1hNZPPwm4s&w=560&h=315]

Robbie Williams – Love My Life

[youtube https://www.youtube.com/watch?v=v7YVEUhEW2w&w=560&h=315]

David Crosby (feat. Becca Stevens and Michelle Willis) - By the Light of Common Day

[youtube https://www.youtube.com/watch?v=5t_XlNbg3u0&w=560&h=315]

Agnes Obel – Citizen of Glass

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

Dee Snider – We Are the Ones

[youtube https://www.youtube.com/watch?v=tRLLHYN2vMM&w=560&h=315]

 The Blind Shake – I Shot All the Birds

[youtube https://www.youtube.com/watch?v=jGRJe7nYUpk&w=560&h=315]

Joan As Police Woman & Benjamin Lazar Davis - Broke Me In Two

[youtube https://www.youtube.com/watch?v=Tt5L1goRkcE&w=560&h=315]

Crystal Fighters – Good Girls

[youtube https://www.youtube.com/watch?v=73N2bXt58WU&w=560&h=315]

I Prevail – Lifelines

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

Leonard Cohen – Traveling Light

[youtube https://www.youtube.com/watch?v=ceRdaptR8Hg&w=560&h=315]

Skyliner – Condition Black

[youtube https://www.youtube.com/watch?v=5P6qlBMjj2Y&w=560&h=315]

Little Mix – Shout Out to My Ex

[youtube https://www.youtube.com/watch?v=bFDzhKdrN9M&w=560&h=315]

Quite a busy and jam-packed selection. I am always amazed by how busy and full a week of music can be – albeit with a few older songs thrown in. Next week’s selection takes us into November: that will be a good one, for sure. If you are in need of some pre-Hallowe’en song suggestions – not sure how many spook-themed jams there are – then you have enough resource and kindle.

INTERVIEW: Sonitus

INTERVIEW:

 

 

Sonitus

_________________________

IN terms of bands that really capture the eye and motivate the brain…

PHOTO CREDIT: Hannah Anketell

your options might be limited, at best. Among the knuckle-bleeding Rock gods and the generic, image-conscious Indie luvvies: where does one go for something both intense and intelligent? Well, one option would be to embrace Classic music but that can be a hard and unenviable chore – some grand moments but a lot of forgettable compositions. What one should do, instead, is to have a look at the boys of Sonitus. They are based in East London but are not, as they wittily and fearfully suspect, in an area that has been gentrified to the nth degree. The guys chat about their new single, Alleviate, and why London’s dwindling club scene will cause problems; how their future E.P. is shaping and the nicknames assigned to one another – the hardcore, tougher Spice Girls, if you will!

____________________________

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

Dein: Really great. Loving the positive reviews we've had on the tracks so far. Aside from that, I started a new job with a tech. firm - learned lots of great things.

Nate: Iit was half-term so had some welcomed time off to see Doctor Strange.

Dein: Went to a couple gigs; wrote some music. You know: regular shit.

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

Nate: If R. Kelly and Alice in Chains had a baby and the crew from A Perfect Circle (were) its godparents.

Dein: ...with a little-black-mirror-attitude to keep the themes modern.

Can you tell us about how you chaps came together? Was it an instant connection or did it take a while for things to fuse?

Dein: Through previous girlfriends…

Nate: …and at a speed dating event for killer clowns: it was love and first fright.

Dein: Dad jokes aside: my ex introduced me to Russell who was working with Nate and brought him in; who then brought in our drummer Romulo; who then brought in our current bass player, Scott - who is overdue on introducing us to someone new. This is a pretty good way of letting him know that, passively-aggressive...

PHOTO CREDIT: Hannah Anketell

You are from a part of East London that has not succumb to posh coffee shops and designer outlets. Do you think that helps your creative process and do you fear too much of the capital is becoming gentrified?

Nate: Really great. We're dreading the day that Cereal Killer Cafe pops up next to a Punjabi bridal store…

Dein: …or another vape shop. Actually, how do you know where we live? (*Grabs tinfoil hat*). Yeah, we've been lucky, especially with our neighbours too,  who happen to be producers when we moved in; love at first sight I suppose. Actually, we'll be moving next week. I miss my fancy coffee shops.

How important is London with regards music in general? Do you think there is anywhere on Earth like it and what does it mean to you?

Dein: London, to me, is a very important part of my current life as a musician. My family has a history with music. My sister, most notably, has been doing quite well in music and quite a lot of my current friends ended up being associated with music - as I grew more confident this could work for me as a lifestyle.

I know it seems like the city is fighting music - especially live - but the hunger for music is there. If you keep your ear to the ground you'll sense the movement.

Nate: Pretty important. I'm no demographicalologist (sic.) but being in London is really great. The people here are really great.

I know you have brought a lot of influences and artists into your music. Which bands and acts were important to you guys growing up?

The Wiggles.

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Alleviate is your current single. It is quite an angry song. Who brought the idea to the table or does it represent a shared feeling within the band?

Nate/Dein: When Jeff Fatt (the purple Wiggle) left the band, I got angry. We all got angry...

The track urges the listener to break out of an everyday funk and societal ruts. Do you feel we are too comfortable in our daily lives and not motivated to better ourselves? What do you think the reason behind this is?

It’s more that it’s become too easy to settle in or trapped in your daily life.

Dein: Yeah I did; brought the concept to the table. My role (at least for this E.P.) has been to write the songs.

I wouldn't say Alleviate is angry: it is, however, very passionate about driving a very specific message - of looking at reality and realising that it's 'just a ride'.

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Your music has political messages and carries a lot of rage. Are there any particular issues and problems that are compelling your new music or just a general anger?

Dein: Yes and no. I think we have a decent mix of political entropy and empathy - especially for the leaders of the world. In my mind, their role is too complex to comprehend but there certainly is a fire within us to show the madness and mess they have created - simply by putting a signature to yet another deal or partnership. We've, however, also touched on many subjects in the songwriting itself too with a very broad range stretching from racism, sexism; challenging power and, of course, sex. We are a product of our time though and it's hard not to be politically challenging in a world of ‘Trumps’. The last thing I wanted was for us to be was another sedated music act speaking about nothing. The Internet is already full of that (but we're also aware enough not to stray too far into pretentious waters). All the lyrics (I feel anyway) are written to be challenging and challenged.

PHOTO CREDIT: Hannah Anketell

Kleptocracy is your seven-track, forthcoming E.P. What can you say about what we can expect from the E.P. – in terms of themes, ideas and genres?

Dein: I wouldn't know what to tell someone to expect. It would be too easy to say the unexpected but it certainly is a testament to what we stand for - and a seven-track E.P. is the first step, and somewhat ballsy, if I do say so myself.

How do songs form for the band? Do you set time aside to write specifically?

Nate: Sometimes, but not really.

Sometimes the best stuff comes when you're not sitting down with a guitar, pen and notebook.

Quite often we'll just be noodling along on the guitar the ideas introduce themselves to you.

Are there any new acts or bands you have been impressed by and suggest we check out?

Nate: Rootwork and Blueyes.

Dein: My good friend Sample Answer;  Leyendekker too. I've been really impressed with them. They have a really good thing going on there.

Looking at the band, it seems like there are a lot of different characters and personalities – like a male, hardcore version of Spice Girls. What nicknames would you give to each member?

We already have. Russell took the privilege of naming us: Skittles; Mulan; Coco; Bam-Bam; Bacon. Guess who's who?!

On a more serious note – and a question I ask London-based musicians - is how do you feel about the recent club closures and shrinking venue scene? Is it a concern for bands like yourself and do you think the government should be more proactive?

Dein: It's heartbreaking, for sure. If new and better venues are to be built in place then great, but that doesn't seem to be the case - and a part of me is devastated by the notion that music will be quarantined to certain zones. If you're big enough to fill them great and to the rest of you good luck or better yet, don't play at all. There is still hope in like-minded people though and it will always find a way but not just the Government. All people who have interest in music should be proactive. Every voice fuels the fire. We don't all like silent discos: some of us like to be social in music. It's already hard to 'make' it in music for a new act/brand with no budget and no funds. Don't make it impossible.

 

What does your gig schedule look like? Have you got any dates coming up people can come see you play?

We're really focused on getting this heard so everything right now is focused on the 18th November.

We will have more dates announced soon as we have a lot of excitement bubbling around us - that we can't really speak of yet. It’s there and it's coming, but for now, the focus is on launch.

There will be those inspired to follow you into music. What advice would you provide them?

“No comment”

Finally, and for being a good sport, you can name a song (not your single as I’ll include that) and I’ll play it here.

Dein: For me: Leyendekker- Salt is what I'd suggest. Brilliant tune. I've recommended my sister enough so this will do

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Follow Sonitus

 

Official:

https://www.sonitusband.com/

Facebook:

https://www.facebook.com/sonitusmusic/

Twitter:

https://twitter.com/_sonitus

Instagram:

https://www.instagram.com/_sonitus/

SoundCloud:

https://soundcloud.com/sonitusmusic

INTERVIEW: Luk

INTERVIEW:

 

Luk

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LUK is Lukas Beynon: an up-and-coming Electronic singer/song-writer…

from South Wales. The curly hair and bright eyes front a talent that is like nothing else. Part-D.I.Y., part-abstract; always laced with tropical, engaging lyrics; stunning, bubbling synths. and bass-heavy beats. Take in that warm and delirious aural delirium and you have an artist that is able to regale and seduce through his music. Movement is Luk’s single and one that is daring, warm and nuanced – few new artists come out of the stalls so solid and intriguing. I have been posing some questions to Luk in the hope of learning more about a fantastic young talent. He talks about battling dyslexia and how he got into music; the growth of South Wales’ music and the festivals he yearns to play.

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

Hi. Good, thank you! I’ve been freelancing some for Ministry of Sound and Project Forte -unapologetically rinsing BANKS’ The Altar as I go.

For anyone who has not encountered your music: can you introduce yourself, please?

I am Lukas. My mates call me Luke and text it as ‘Luk’. I’m 21-years-old from Merthyr Tydfil (South Wales valleys) and I make Electro-Pop. music - in hope to invite the sun out as it’s not too common here!

How did you first get into music? Was there a particular artist or moment that inspired you to take music up?

My father has always been very musical. He’s a beautiful singer (as is my mother) but that was inherited by my older sister, Leah, who has also been in bands and performed (and) stuff on the side.

My dad plays the guitar, drums; ukulele, harmonica and a variety of abstract world musical instruments he’s picked up over the years. However, as hard as I tried and persisted I could never pick any of that up! My other sister and I were always very visual but like a lot of us working-class valleys folk, there came a point in her maturity where it wasn’t realistic to be creative. I too felt the grip of such a common misconception during my adolescence and totally disconnected from that side of myself in public - so that I didn’t defy the norm.

It was always a very different story behind closed doors, though: I had mountains of artwork and libraries of ideas. To this day, our attic is full of my used paper and memories of a time where my body would run on imagination alone - until, of course, I would have to leave the house. I was still playing with sticks in the back garden until my early-teens. I just couldn’t shut it off, and for some stupid reason, I was deeply ashamed about that.

I felt like an anomaly amongst a family pedigree of netball and rugby captains; bare-knuckle fighters, tradesmen and every other stereotypical traditional Welsh family cliché.

Short answer: It’s hilariously personal. I immersed myself in music when I finally found a way to make it. I was inspired to pursue it by the prospect of connecting to others as well as finding a happier version of myself through it.

Long answer: I’ve retyped this answer so many times now because it’s SO long (and I’m very dyslexic, haha) but to summarise: there’s no real pinnacle or defining point where I got into music; I’ve always loved ‘creating’ and longed for some kind of approval from my father. I guess the moment that I found a way to make music (the relief!); I still kept it to myself. I did that right up until the first week of university where I was surrounded by like-minded creative people for the first time in my life and they encouraged me to share it with the world. The response I had from B.B.C. Introducing and the internet in general, as small as it was, gave me exactly what I needed to carry on - and ignited a spark in me that continues to burn and surprise even me with its intensity.

Azealia Bank & M.I.A.’s commitments to bending genres and being these ultra-creative artists - without actually singing at the time - made me take a step back and think: ‘if they can do it so can I’, so I did. Up until then, I was producing my own amateur fruity loops demos with no intention of singing; I still had absolutely no confidence and felt as though the only way I could put my voice to my music was by rapping, and to save time (like Azealia did) I wrote to instrumentals of songs and songs I liked - but even then, I didn’t have the confidence to talk in key. After getting a great response every time that I put something new out there; I began to chase the euphoria it gave me, knowing I was making someone, somewhere feel the same way about my music as I do. Now, I’m continually meeting people that build my confidence from what was initially a black pit of self-loathing. So, I guess, it’s how my music has helped me that keeps me focused on building my future around it. All I know is I love my music: it makes me happy and I want to carry-on making it so I will make it happen. I don’t see a future in which I’m not making music.

I imagine there was a lot of music played in your household growing up? Who were their artists and musicians you were exposed to as a child?

Christy Moore, Garth Brooks (Thunder Road used to scare shit out of me!); Celine Dion and Boyz II Men - but my sisters made sure to teach me that ‘cool kids’ listened to Britney Spears, Christina Aguilera and Spice Girls (not forgetting S Club 7 and Steps of course!). I literally only ever listened to what was put in front of me from Linkin Park to Abba: The Gold Edition - until my mid-teens where my musical sense of self exploded like The Big Bang. These artists had left a huge impression on me, though. I would listen to something super-weird because it wasn’t what I was used to. I was like some kind of prototype hipster, but thankfully, this attitude went on to introduce me to music that inspires me deeply and summons my inner artistic self.

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Movement is your new single. What was the reason behind writing the song?  It is lighter and less heavy than some of your other work. Is that a sign of things to come?

The track itself is open for interpretation: some people see it quite literally - as the colours being the lights on the dancefloor - and the 'close your eyes' lyric translating as an order to let loose and forget your worries (and enjoy the music).

It was written and demoed incredibly quickly with one session - which lasted no more than four/five hours. The reason for this was its importance to me at the time. It is, of course, pressurising trying to pursue your passion and it's obvious that the creation of music itself is crucial to the reason why you love it. It's easy to forget that (sometimes) when colossal mountains of admin. work like P.R., label contact and gigging crush you. When it peaks, you find yourself facing this tsunami-like wall of water of thought and worry. It’s completely overwhelming. This song was (written) to remind me that it would always be alright as long as the music 'moves' me. It is a message to myself during the heavy storytelling in the rest of my music.

Lee House co-produced the track. How did you come to work with him and what did he bring to your music?

I was introduced to Lee via a Welsh artist development scheme called Project Forte. They helped fund our time together and release both Movement and Magnetic You. I had heard of his work with HVNTER and I couldn’t be more excited. Up until working with him, I felt my demos. were misunderstood; mostly because of my underdeveloped producing skills - but Lee saw what I saw straight away when nobody else could and we were in each other’s heads from there. It was so easy and natural and also a massive relief.

Movement changed a lot during its development. Initially sounding much darker (think in the vein of an OSWLA artist). We managed to nail the sound for Magnetic You straight away taking influence from Mura Masa, Hot Natured and Jungle. So, we used that track as a reference when deciding how the final version of Movement would sound. He brought professionalism, pure skill and everything else I needed to take a giant step forward.

 [youtube https://www.youtube.com/watch?v=VqaTC18TudA&w=560&h=315]

Looking back at your time in music so far: how would you say you’ve developed and changed since your earliest moments?

I think my most obvious improvement is my confidence. I started off too scared to rap into my phone - under the covers with my door locked and the light off - and now I’ve performed at festivals and supported artists like Man Without Country and Money.

I’ve found that self-belief is EVERYTHING. Like my voice and live skills: even writing and the process of conceiving ideas - and feeling inspired - improve ten-fold when you can kind of realise and believe in even the smallest bit of potential you have. It opens up so much opportunity for you. Contentment and happiness is an end goal of mine and creating music lets me taste that.

With a new single out: can we expect to see an E.P. or album arriving soon?

Of course! I’ve got complete tunnel vision for that at the moment. I love making music (admittedly a lot more than I love performing) so I’ve written and continue to write a ton of songs for an E.P. which hopefully could turn into an album eventually - if I’m fortunate enough to capture the right attention from the right people! At the moment, I’m very independent but I’m learning as much as I can as I go.

Hotlove has been the E.P.’s working-title the entire time because I feel it’s what best describes this body of work. It tells the story of a quick burning love for someone that starts off explosive - hot and bright - before fading (not without a fight) into something cold and dark. There are two mid-tempos called Fireblue and Starkiller that I’m not too sure I want out there - because they are like super personal, haha.

Your songs – Movement certainty – blend tropical lyrics, hard beats and bubbling synths. This style of music and compositional sound is being favoured by a lot of new artists. Why do you think that is?

I’m not sure but I think it’s great! I’ve always been attracted to that sound and the visuals - and emotion - I see and feel when I listen to it. Maybe it’s because it sonically feels good and carefree regardless of the subject or context - and people see it as an escape - given that the world is a pretty uninviting place at the moment. To be honest, I have absolutely no idea, haha. I hope it lasts, but trends never do.

Wales is a part of the U.K. that boasts many great musicians but is often overlooked. It may be an all-sweeping question but what is the music scene like in Wales?

It is stronger than ever. I’m not sure if that’s because I am more aware of it now that I’ve become a part of it, but I feel as though, in general, Welsh artists are finally finding their way to national and international territories. Most recently, Betsy, Estrons; Pretty Vicious and Catfish and the Bottlemen.

Thankfully, opportunities and possibilities continue to open themselves up to all kinds of artists in Wales - as our government has upped investments in our creative sectors in a bid for us to strengthen our colourful and unique culture.

It can be easy for Welsh musicians to stay Welsh musicians their entire career, however, and it’s very easy for Welsh language artists to do so successfully - which puts them in danger of staying within the local Welsh bubble. But, with a new online, globally-connected generation emerging; bigger ambitions and a broader spectrum of sounds are being discovered which will hopefully continue to turn heads our way - to recognise what it is that has given us the name ‘The Land of Song’.

Are there any artist – either locally or mainstream – you recommend we check out?

O.M.G., yes! I was housemates with Tom from Tibet. Watching them progress last year was hard because everything they do is so fucking awesome. Their latest video for There Is a Place is wicked! X&YO and Hvnter are killing it at the moment too. I’ve heard Hvnter’s E.P.: be prepared to see him everywhere when it drops!

It seems like you are an artist that wants to take your songs around the world and transcend from the smaller venues and gigs. Would this be a fair assessment and which countries/venues do you dream of playing?

Totally fair! I’m still pretty shy on stage but the idea of performing at events like Burning Man, SXSW or Coachella instantly pop to mind. It’s pretty ambitious, I guess, but it just seems right. They are always jam-packed with exciting Electronic artists past, present and future (plus they’re sunny, haha).

In terms of where around the world, I would love to take my music everywhere, to be honest - especially if there’s anybody there that wants to hear it.

There’s nowhere I don’t want to see: I’d  absolutely love to go to Japan, though.

Looking over your career so far: which memories and gigs stand out?

My debut gig supporting Man Without Country at the Norwegian Church in Cardiff Bay. I like jumped off stage (nearly fell) and got in people’s faces with my visuals beaming behind me; everything felt so right. My latest gig at HUB festival was a real stand-out, though. It was the last gig with my old bandmate Manon and half-way through the first song everything but the mic. and the metronome switched off - and wouldn’t come back on for the rest of the set until the last song, haha. The audience evaporated before the first song was up. We spent the rest of the set dancing to metronome and performing what we could in an empty room whilst rearranging all the wires to our equipment. It was the biggest laugh and a real showcase at how far we had both come confidence-wise. Other highlights include the radio support I’ve received and all the support in general - and being introduced to Lee House and, of course, releasing Movement.

For those musicians that want to follow in your footsteps: what advice and guidance would you offer?

Make music because it makes you happy and you enjoy it. Always be nice.

Don’t give up if you want to make a go of it and believe in yourself and your music. There’s a reason why these phrases have become clichéd: if they weren’t true nobody would be saying them :)

Finally, and for being a good sport, I’ll play any song you want (not your own as I’ll put one in)…

Haha. The impossible question! I woke up with Hot Natured by Isis in my head so why not listen to the universe on this one?!

[youtube https://www.youtube.com/watch?v=9qMQkQG9-U0&w=560&h=315]

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Follow Luk

 

Facebook:

https://www.facebook.com/00000Luk

Twitter:

https://twitter.com/00000luk

YouTube:

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

INTERVIEW: Oh Malô

INTERVIEW:

 

Oh Malô

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AFTER spending a lot of time assessing/interviewing British acts it is refreshing…

finding a great U.S. band in Oh Malô (oh muh-low). They are masterful at slinging shape-shifting sounds with delicate, cobweb-light vocals. Combining influences of Bombay Bicycle Club and Jeff Buckley – through The Beatles and Patrick Watson - the Boston-based band has picked up award nominations and made a name for themselves with the local crowds. Their debut L.P., As We Were, puts all their influences and styles into one record and blend colours and emotions together – from vengefulness and tear-jerking outpouring to reflectiveness and melancholy. Recorded over the past two years at various homes across Boston, L.A. and Nashville (Providence too) – the boys are making a name for themselves in the U.S. and have the potential to transcend into the U.K. and Europe. I quizzed the band about their debut album and their rise to prominence; the background behind Miss You (whose video is out now) and what they hope to achieve in the coming months.

HEADER PHOTO CREDIT: Ryan Song

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Hey guys. How are you? How has your week been shaping up?

Hey! Our week has been great. We're currently on tour in the Northeast and have a day off to catch up on things.

For those new to the band: can you give us a quick introduction, please?

We're an Indie-Rock band named Oh Malô - out of Boston, MA. We just released a new music video for Miss You : the single off of our twelve-song debut L.P. As We Were that we self-released back in April.

Apologies if (one suspects) you have been asked this relentlessly: what is the origin of the band name?

The band is named after Saint-Malo, France. I (Brandon) visited there back in high school and wrote the very beginnings of the material for the band when I was there. It's a special little place.

[youtube https://www.youtube.com/watch?v=NZu7vqCxlaw&w=560&h=315]

The video for Miss You has just arrived. Was it fun shooting the video and who usually comes up with concepts for your videos?

It definitely was a lot of fun making the video. We had our good friend Amy Allen from the Boston band Amy & the Engine do a cameo - and also our long-time collaborator Sam Harchik film and direct it.

The whole band got to contribute to the concepts and locations for the shoot this time around which was a cool way to collaborate outside of our music.

What is the inspiration behind the song? Did one member come in with the idea fully-formed or was it meted out over a few jams/sessions?

That song was the final song we wrote for the record so it came fairly easy. We'd been recording most of the summer and put that together in just a few days. It felt great to add some levity to the record, at least musically, after working on many (of the more) intense tracks on the record. I wrote the foundation for the song on a morning when the rest of the band was dead asleep so I was trying to be particularly quiet. I think that's why the verses, in particular, came out so gentle sounding.

As We Were is the album and has gained a lot of positive feedback. How does it make you feel to receive kudos and appreciation? Were you expecting such a reaction?

We couldn't be more grateful for all of the positive feedback we've received since putting out the record.

We worked two long and hard years writing and recording it, and at times, it felt like it would never get finished or released - but it's been incredibly rewarding to have it out and have new people all over the world getting their ears on it.

You are about to leave for a tour of the U.S. East Coast. Is it your first time there and how excited are you as a band?

We've been based out of Boston since we started (in 2014) and have done a full East Coast tour as well as several weekend mini-tours over the past year - so we're starting to get into a groove in this region. We're also excited to tour around this area since many of our families live nearby and we get to stop through to hang out and have a home cooked meal.

Being based out of Boston, you must hear a lot of other great acts in the city. What is Boston like for bands/great music – how does it vary to the rest of Massachusetts?

Boston certainly has a lot of incredible bands. We're super excited to see some of our favorite locals such as Bent Knee, Animal Flag and Bat House (recently) start picking up a lot of much-deserved attention. The Boston scene seems to extend out towards Worcester and Western Mass. with its thriving D.I.Y. scene especially. We've had our fair share of basement shows over the past few years that have turned out being some of our favorite shows.

Are there any local bands you advise we check out?

Bent Knee, Animal Flag; Bat House, Amy & the Engine and The Western Den are some of our favorites.

Your music has shape-shifting sounds and boasts gorgeous vocals. Has the band’s sound always been defined as such or as the result of experimentation and change?

Thank you!

We definitely took a lot of risks and experimented all over the place on As We Were, so yes, our sound is rooted by that.

We all come from very different musical backgrounds and have probably the most diverse taste in music that you'll ever hear of from four people in the same band.

The vocals have been compared with that of falsetto kings Patrick Watson and Jeff Buckley. Is it humbling or scary hearing that sort of name-dropping?

It's certainly humbling. Those two artists especially I think have done pretty ground-breaking things with both their voices and the arrangements that accompany them.

In terms of the compositions and sound in general: which bands and artists have been most influential to you?

Radiohead, Patrick Watson; Grizzly Bear, Young the Giant and Bombay Bicycle Club

You have a lot of great U.S. tour dates in the pipeline. Which are you most excited by and any plans (for the band) to come to the U.K.?

We always love playing N.Y.C. and Boston of course. It's really cool to see people come back to shows after visiting a city a few times.

We'd love to come to the U.K. and will visit and soon as we can get a solid amount of shows booked!

[soundcloud url="https://api.soundcloud.com/tracks/250735523" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

If each of you had to choose an album that has been most important to you: which would they be and why?

Jack:  Abbey Road – The Beatles. That was the album that inspired me to play guitar. 

Isaac: For Emma, Forever Ago - Bon Iver. It shows how music can be therapeutic.

Brandon:  Grace - Jeff Buckley. This record really just woke me up. I learned about who he was pretty late into playing music and I was stopped cold when I heard it for the first time. It was incredible to me the things he was able to do with his voice and the several personalities he could switch between.

Jordan: Carrie & Lowell - Sufjan Stevens . That record taught me how to listen to a full album front to back.

Any bands/artists wanting to follow in your footsteps: what advice would you offer them?

Patience is everything.

This is the most up-and-down career to get involved in and you really just need to prepare yourself mentally and physically for how demanding it is.

Don't forget to enjoy the whole process because that's what really counts at the end of the day.

________________________

Follow Oh Malô

Official:

http://www.ohmalo.com/

Facebook:

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

Twitter:

https://twitter.com/OhMaloMusic

Instagram:

https://www.instagram.com/ohmalo/

SoundCloud:

https://soundcloud.com/ohmalo

YouTube:

https://www.youtube.com/channel/UC3HUCjD2VM6luB3OMA6QXWA

INTERVIEW: Night Wolf

INTERVIEW:

 

 

Night Wolf

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I have been following Night Wolf’s creator Ryan Wilcox for…

a long time and he always provides sensational, immersive music full of atmosphere, beauty and mysticism. Having released a couple of songs recently, he is making steps and plans for the coming months. After traveling around the world – continuing to do so – there is no stopping the Night Wolf juggernaut. Not only travelogues and music but a lot of great news and unveilings are afoot - which is what the music world needs. Rather than try to describe and assess it all myself: it would be much more fitting the man himself explain it. Night Wolf looks at the artists that mean most to him – there is a LONG list – and why travel is so important.

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Hey Ryan. How has your week been? What have you been getting up to? For those who are new to your work: can you introduce yourself to us?

My name is Ryan Wilcox. I produce under the name of Night Wolf and I am from Luton, U.K. (born In Milton Keynes). Currently working with The Music Jar (www.themusicjar.co.uk ) under a non-exclusive deal: I stock a selection of music for use in T.V./game/film & radio (opportunities). I have produced music for film trailer The Essex Boys Retribution - which was released to Netflix - music for the U.K. government and officially remixed Mark Morrison. I have also had my work used at other synch libraries such as Sky Rocket Records, Gung Ho Music; SumSerious Music and The Cutting Edge.

Having collaborated with many up-and-coming artists I have released 5 E.P.s (Watts the Time Mr. Wolf, Moonlight E.P.; The Co Lab Vol. 1, Nightmare Before Christmas and soon-to-be-released: Learning Pace of Travel. I have featured on a wide range of single releases and compilations.

You play around Hip-Hop and Electronica but incorporate so many genres. How would you define your music? What attracted you to this eclectic style and range? Do you think it allows you more creative freedom and possibility?

I started out in music playing the drums and piano: I was in various local Rock bands and produced the majority of the work. I moved into singing/songwriting from the age of twelve and have continued (to try to) enhance my skills in music production - all being self-learned.

I use little more than a laptop, a midi keyboard and headphones to produce the majority of my work - as I am not settled in one place for very long.

I would say and hope it catches different stages of my personality and feelings, in turn (hopefully) allowing others to reflect on their own. I like to think that you can either sit and think to some tracks whilst you can just have it as backing music for others. I like to experiment with many styles but it is really down to how I am feeling at the time when I create a new track and my surroundings. I would say my style is mainly Electronic - based on to how I produce the music - but it has elements of Ambient, Classical, Pop and Hip-Hop. It is always aimed more towards the use for film/game or T.V. projects - rather than trying to appeal to a more commercial use. I would like to continue to collaborate with new artists and musicians to be able to further produce new styles and influences.

I do like to work with artists with the intention of getting radio play and being commercially friendly but this is not what I am striving for in the long run. To be able to see my music alongside a story being told is by far more rewarding for me. But, of course, I will continue to try and balance my styles to be able to have commercial releases alongside stocking my tracks. I do enjoy trying to switch the main style influence with each new track I release after releasing a certain style.

I believe no one should settle for what sells and stop testing their abilities.

I love to experiment but this may also be my Achilles heel as It does not prove as easy to focus on one specific route to promoting and trying to build a fanbase in just one area. It certainly gives me my own freedom to make a track how I would like to hear it but maybe restricts its possibilities in other ways. I grew up listening to and continue to listen to - a very wide range of styles from other artists. My dad, mum and sisters all had very different tastes in music that influenced me growing up. I would like to say that I listen to and support anything that is good music; that has passion or breaks from the norm.; music that does not sound like it has been produced to a set format - just to sell to the majority of sheep who are willing to buy it. I do not have much time for clear fame-hungry, egotistical same olds who bring no originality to their art at all - other than rebranding an already -proven method someone else had success with as their own (just music that shows the artists' personality). I am not saying that everything I produce is completely original - like it has never been heard before - but I do like to pride myself in knowing I am producing music I understand myself in better. I am trying to capture how I feel at that time so I am able to listen to it again most likely cringing in five years’ time and remember how I was feeling and where I was at that point in my life.

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Good for Me is the latest track from you. Can you tell us about its creation and how you came to work with Elsadie?

Good for Me was originally a track titled The Tailsman. It was just an instrumental that I had already completed this year: I was interested to hear what it may sound like with a female singer. I have previously worked with Elsadie on track Move It On ft. J.A (video available here)

I wanted to see if she would be interested in writing to this track so I emailed her in regards and she sent me back a rough version. I think her voice goes so well with this track and she made it her own. I really enjoy how you can almost relate to the first track we worked on within Good for Me as it is like a sequel or prequel to Move It On - depending on how you want to see the glass! The track was completed in a small town in Hungary and vocals were recorded back home in Luton, England. This track will be released on upcoming E.P., Learning Pace of Travel.

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Low Supply is another new song. What was the inspiration behind that and what does the song mean to you?

Low Supply is a song of frustration. I had been working with a company as a programme coordinator; traveling back and forth from Budapest to parts of Poland. I sadly lost my role due to a still unbeknown complaint about me to the Polish office by a volunteer! I am still working together with Hungary in these programmes but it was a shock to find out I no longer would work in Poland - as I had pretty much planned the rest of my year around these events; even planning on potentially moving there next year to continue the role. After a couple of days of feeling sorry for myself, I wanted to produce a track to reflect how I was feeling and for some kind of temporary escape from my own thoughts. It's a mixture of depression and anger with an overwhelming feeling of failure whilst not knowing what the near-future now had in store. It has ominous undertones to it going along with my own thoughts! Again this song was created in hopes of it playing out to a certain scene and is now available for project download from The Music Jar.

 Learning Pace of Travel is your forthcoming E.P. What tracks can we expect to find on it and what was the idea behind its title?

I titled the E.P. Learning Pace of Travel as it relates to my last year’s experiences.  Learning Pace of Travel is a far more personal release that I have put out so far.

Its songs and lyrical content is a reflection of everything I have experienced during my travels and being away from ‘home’ for so long. From love to heartbreak; finding my own space and travel to money worries: it has tracks that are meant to uplift and remind you to keep your head up whilst others are more realistic in not always being a clear path to where you want to be in life. I love how I am not involved in the lyric-writing process for other artists. I send them instrumental ideas with my pre-existing own idea of what the song is about and what the subject would be. They seem to always be able to capture the underlying feel for the track: for instance, one of the tracks with AMRA being Bleeding Out Your Love was a song written by AMRA after I had sent her another instrumental that I created after a bad time in a relationship. She then sent me lyrics and we created a brand new song from it but she was able to capture what I was feeling without many words between us. The E.P. hosts eight tracks, being three extra than I usually (have released) on my previous E.P.s – with a good mix-up of styles. This is also the first of my releases where I have not only produced the music but I also have written the lyrics and sang on them too! The tracklist and artists are as follows:

1. Take a Hit - Charles X – produced by Night Wolf
2. Good for Me - Elsadie - produced by Night Wolf
3. Bleeding Out Your Love - AMRA - produced by Night Wolf
4. If I Were Too - Night Wolf
5. Need That Money - MillZilla - produced by Night Wolf
6. Music Is the Cure - Night Wolf
7. Cindolina - AMRA - produced by Night Wolf
8. Bitterness - Kite - produced by Night Wolf

[soundcloud url="https://api.soundcloud.com/tracks/284196175" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

(Would love for people to review this E.P.: my E.P.K. can be found one my website below. Whilst it is not ready for release just yet it is set to be released this year. You are able to stream and listen to the release on my website or you can watch and listen to a preview mix on my YouTube channel):

Night Wolf Website:

http://nightwolfuk.wixsite.com/nightwolf

E.P. Preview Mix :

https://www.youtube.com/watch?v=Eemq2YHuFq4

I truly hope that there is something for everyone on this E.P. and any fans of my previous releases will enjoy it whilst gaining new followers through this release.

I know you have been traveling and recording a song for each country you visited. Which country was especially memorable and what have you learned from your travels?

I have learned a lot from traveling and living away from home.

I have become a more open, more optimistic and certainly a less possession-orientated person! The more that I move about and have no solid base of my own the fewer belongings I have.

I have learned the importance of budgeting but have not mastered the balance yet of saving and enjoying - but this is down to my lifestyle maybe. I have enjoyed every place I have been: each has their own unique charm and each I have many fond memories of. I have learned that the world really is an amazing place to explore and I have learned that I will never end up in a nine-five desk job again. I want to continue to travel and see the world and meet new people and have new experiences.

I hate to feel uncomfortable in my surroundings but this is what makes it special (and what makes it a new experience) as you only find those once you step out of your comfort zone. I heard a saying but cannot remember the name of the person who quoted it: “Get comfortable being uncomfortable and find happiness in yourself”. I have been up to a lot since we last caught up properly. As you know, I set off last year with the idea to start recording a documentary called the Song of Travel. I have visited several countries in Europe - filming and recording for the project. It is still undergoing and I am not sure if It will have an end but the idea is to record people I meet; to a set tempo, 125B.P.M. on my little travel midi keyboard - at the end of the journey I will attempt to make one song out of all I have recorded. You can watch the completed film for England and France on my YouTube channel and can read what I get up to in my blog - which gives you a more in-depth insight to my experiences over the filming. It may be a long process to complete the full project and achieve what I would like but I am determined to complete what I set out to do. Even if there are long delays I will always come back to where I left off - this being a prime time example of needing to catch up right now! The blog will be updated A.S.A.P.! Hungary will be next and is in the editing process!

Song of Travel Blog:

https://songoftravelblog.wordpress.com/

YouTube:

https://www.youtube.com/channel/UC049NduiQYhIW7tbHzsddzA

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How do songs come together? Do you start with a beat or tune or does it take a while for songs to coalesce?

I change the way I approach making a new track each time: sometimes starting with a beat and building from there and sometimes creating a melody and arranging before adding in other elements. If I have a good idea it usually starts to come together within the first session and I take a couple of days to go back and listen to it with fresh ears and work on it further. I tend to not mess around with a track once it has been completed - how I had hoped it to sound original and is full. I believe it to be like painting a picture: once the brush hits canvass and dries the outline for the idea cannot be changed easily. I like the feeling of knowing a track has been completed even if it has flaws. I can listen to my development through going back a few years.

I will usually create an instrumental before having lyrics and then send them to those I work with - to further the idea into a song - but I do have many songs completed the opposite way: creating around lyrics already sent to me.

I can usually hear which direction I would like to push the song within the first couple of hours and most tracks I have released commercially have been produced in one-two days - not because I am rushing them but I feel I would destroy the idea and feeling behind the song if I continue to alter and adjust after getting the main idea down. I am striving for a better sound quality for the next release. I have not had my works mastered professionally before (on my previous releases) so I would like to try and take it to the next level with sound quality. I would like the opportunity to compose with an orchestra and further my composing skills by working with other musicians; building more intense and full-bodied productions. This is something I am aiming towards for next year. I produce using only my midi keyboard, laptop and headphones whilst on the move but have produced the majority of my work like this. I had a home studio whilst living in the U.K. but sold nearly all my equipment when I decided to leave to travel again last year. I produce using Fruity Loops Studio as it is what I grew to learn and use from the revamp of my producing career in around 2012.

 

Which artists and musicians were important to you growing up and prominent with regards your upbringing?

My family had great taste in music and listened to their own individual taste. I grew up listening to Classical music, Rock & Roll; early Trip-Hop/Electronic music; Swing and Jazz. We grew up in the 1990s and I lived with my two slightly older sisters so this meant Backstreet Boys and Boyzone were being blasted from the walls over yonder - but they did have some good taste! I was influenced by a lot of different artists and genres of music growing up but it was not only the artists and musicians that inspired me but T.V. adverts; film scores, radio adverts and jingles caught my interest. I grew up listening to, and still listen to, many of the following artists (this will include some modern artists I listen to now as well!)

Jefferson Airplane, James Brown; Frank Sinatra, The Ink Spots; Edvard Grieg, Enya; Massive Attack, Enigma; Elvis Presley, Limp Bizkit; The Rolling Stones, Huns + Dr Beeker; Wu Tang Clan, Percy Sledge; Ike and Tina Turner; Whitesnake, Big Pun; Linkin Park, Ray Charles; Cab Calloway, Benny Goodman; Sheep Dog and Wolf, Halse; Jimi Hendrix, Nat King Cole; Joe Cocker, David Arnold; Mozart, Ferenc; Chopin, Brahms; Bach, Beethoven; Handel, Clint Mansell; Akira Yamaoka, Jeremy Soule; Hans Zimmer, Cypress Hill; Leftfield, Jim Johnston; Ohio Players, Cherry Poppin Daddies; Aphex Twin, Dizzie Rascal; Lana Del Rey; Etta James, Rage Against the Machine; Outkast, Roots Manuva; Sworn Enemy, Jurrasic 5; Andre Rieu, Del The Funky Homosapien; Peggy Lee, David Bowie; Slipknot, The Who; Underworld, Diplo; Skrillex, Knife Party; Daft Punk, Chemical Brothers; Beastie Boys, Dr. Dre…

Method Man, Redman; Depeche Mode, Pantera; Metallica, Guns N’ Roses, Queen; Union Underground, Orbital; Bjork, Kate Bush; Kings of Leon, Stereophonics; Motorhead; Royce Da 59, Necro; Nas, The Verve; Carl Orff, Leon McAuliff; Primal Scream, The Jezabels; Faithless, Action Bronson; Aerosmith, Iron Maiden; Tenacious D, TroyBoi; Fatboy Slim; Destiny’s Child; En Vogue; Timberland; Gorillaz; Biggie Smalls, Tupac; The Beatles, Son Lux; Johnny Cash, Mos Def; N.W.A.; A Tribe Called Quest, Danger Doom; The Prodigy, ASAP Rocky; Jedi Mind Tricks, Damian Marley; Run-D.M.C., Wiley; BT, Ivan Torrent; The Raveonettes, Busta Rhymes; Mobb Deep, Snoop Dogg; Woody Herman, Hashfinger; Pendulum, Portishead; Radiohead, Utah Saints; Compton’s Most Wanted; Torae, Moby; Freestylers, Blur, Rakim; J. Doe, Bob Marley; KRS One, Desert Eagle Discs; (hed) PE, Arto Guthrie; Phaeleh, Michael Jackson; Yonderboi, C2C; NERD, System of  a Down; Cannibal Ox, Bobby Franklins Insanity; Richie Havens, Canned Heat; Unicorn Kid, Basement Jaxx; The Fugees, Sway; Nirvana, The Righteous Brothers; Missy Elliott, Evael; Chuck Berry, The Communards; Hurts, Rob Zombie; Van Morrison, The Yardbirds; The Mamas & the Papas; Rob D., Sam Baker; AWOLNATION, Osanha; Apollyon Sun, Pilot; Guns of Navarone, Foreign Beggars; Nina Simone, Colin Towns; Gramatik, Foo Fighters; Garnet Mimms, The Specials; Bee Gees, Toots and the Maytals; Kay Kyser, Tyler the Creator; Ahmad, Ben E. King; Marlena Ernman, Rudimental; John Lee Hooker, Aqualung; Scissor Sisters, The Luniz; Das EFX, Craig Grey;  Kasabian, Feist; Lung, Alanis Morissette and Al'Tarba.

I could go on for some time here: to be honest, this is the first time I have tried to get a mixture of what I listen to in one list - hence why I have always tried to avoid the question of influences and what kind of music I listen to/grew up with.

What more does 2016 for Night Wolf? Touring or any big plans ahead? Aside from touring and promotional duties: what does the rest of 2016 hold for you?

I have a couple of confirmed projects for a betting commercial and a film trailer completed.

I am just waiting to be sent the links to the completed project: hopefully, there will be more and more opportunities like this. I will just be working on making new material; working on a better sound quality for future releases and contacting new artists who have shown interest. Not too much on the release side this year. I am releasing Learning Pace of Travel and then will start to build for the next E.P. for next year and maybe a single release here or there. I will continue to complete projects and have them stocked at The Music Jar. I am actually seeking management and a record label to work with for future projects. I finished my contract with my previous label and would like to work with someone who is interested in promoting the music in the right way for commercial releases.

I will continue to add and complete The Song of Travel and continue to create music which I will release for streaming on SoundCloud and other various free streaming sites. I am now back in Budapest and am working on unfinished projects. I may be going to China for a year to teach, if so, I will use this time to gain influence from Asian instruments and music. The journey will continue either way. There is a lot to see in this world and I don't like the thought of staying still too long allowing things to become stale. The rest of this year is set for promotion to a new audience and to further my name across the power of the Internet, radio and synch. libraries. I would like more feedback from people on my music so this is an area I will be working on - getting it in front of the ears and eyes that could further enhance it or promote it.

<iframe width="560" height="315" src="https://www.youtube.com/embed/lo2ha1UlJM8" frameborder="0" allowfullscreen></iframe

I am just taking each day at a time and not rushing projects: taking my time to better research and develop my craft and sound for future releases. More traveling, more new experiences and friends around the world. It is unknown to us all how much time you have left on this planet and with the way tension is building between the West and the East - who knows how much longer our world will hold the illusion of sanity. I will complete Hungary Song of Travel soon and then there is plenty to catch up with on the blog! Promote, promote, promote!

If you had to select only three albums from music to take to a desert island (becoming a staple question for me) which would they be?

This is a very hard question and I am sure I would change this many times over - with more time to think about this question - giving it the proper attention it would deserve in such a crisis!

Leftfield: Rhythm and Stealth

Massive Attack: Mezzanine

Cypress Hill: Temples of Boom

Last, but certainly not least - and not technically an album - but I hope you forgive this for being included:

Fallout 3/New Vegas /Fallout 4 soundtracks and other gaming soundtracks such as the Silent Hill franchise (produced by Akira Yamaoka and Skyrims; soundtrack produced by Jeremy Soule) - and a host of film soundtracks would also be included from David Arnold to Clint Mansell and Hans Zimmer.

I would also have to include my own compilation album to sneak with me, packed with a broad range of styles and genres ;) But I guess this is cheating and not really three, so I avoided answering this question properly! Sorry.

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I am always impressed by your collaborations and the artists you join together with. Might be a hard question but is there a singer you have worked with you just know will go on to huge things?

I have watched Charles X grow in popularity over the past couple of years. He has warmed up for Method Man and Redman and has just been successful raising nearly 10,000 Euro to promote his upcoming album - which will also feature Take a Hit on release. I see him doing bigger and better things for sure:  he is 100/% committed. AMRA is also a very talented songwriter and I can see our music relationship only strengthening and the music becoming more in depth. I would like to start to put together a live show for next year; bringing all those that I have worked alongside with me - hence why I would like and am seeking management to be able to get the right crowds and the right promotion for our music. I think everyone I have worked with will get to where they want to be if they keep on working on their art and craft it to what they see themselves a - minus the exception of working with Mark Morrison and Devlin, of course, in this question as they have already maybe reached their peak in their music careers.

Have you any advice for any new bands coming through - those looking to follow in your footsteps?

Just be original and yourself; promote like crazy; create a fan-base utilising social media and online platforms.

Contact radio stations and consider stock libraries where potential clients can search for a specific genre for their own projects. Create an E.P.K. and update it for promotional use and base. I would also suggest getting in touch with this blog and asking for a review as it is by far the best review I have ever had from a reviewer!

Keep on grinding and crafting!

Finally, and for being a good sport, you can select any song (other than your own) and I’ll play it here…

Son Lux: Lost It to Trying (Mouths Only Lying):

[youtube https://www.youtube.com/watch?v=uJzxPxGo-54&w=560&h=315]

________________________

Follow Night Wolf/Songs of Travel

 

Official:

http://nightwolfuk.wixsite.com/nightwolf

Songs of Travel:

https://songoftravelblog.wordpress.com/

Facebook:

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

Twitter:

https://twitter.com/SongOfTravel

Instagram:

https://www.instagram.com/songoftravelblog/

SoundCloud:

https://soundcloud.com/nightwolfuk

YouTube:

https://www.youtube.com/channel/UC049NduiQYhIW7tbHzsddzA

INTERVIEW: Jasmine Branca

INTERVIEW:

 

 

Jasmine Branca

____________________________

THE quest to discover the finest female singer-songwriters…

PHOTO CREDIT: Overbury Photography

around is a constant, if albeit specialised, pursuit of mine. I look for those who push against the mainstream’s worst traits: the artists who document late-night regrets, drunken revelry and relationship Mexican standoffs with very little wit, intelligence and originality. We need those acts that offer something rather disposal and flimsy – it may sound like a shot but they provide something instant, relatable and common. Musicians who seek inspiration in deeper realms and sources are those who should be applauded. I have been following Jasmine Branca’s work since her E.P. Into My Heart and, at the time of my review (of the E.P.), tipped her for big things. In the studio at the moment - the groundwork for new material is being laid – it is an opportune moment to catch up with Jasmine and see how her year has been; the plans she has in store and (she) goes deeper. Jasmine discusses mental illness – the importance of addressing it and how few reference it – and provides advice to up-and-coming artists; she looks back at Into My Heart and how a newly-acquired Gretsch guitar is not only a vital acquisition – it will add new dimensions and possibilities to her music.

HEADER PHOTO CREDIT: Overbury Photography

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

Hi Sam. My week has been pretty hectic (at A.C.M.) but good, thank you! I’ve been working hard with a new producer called Harrison Perks as well as preparing for upcoming exams at university.

For those who are new to your work: can you introduce yourself to us?

I am a very unique artist who wants to create a beautiful fantasyland where everyone can come together and forget the harshness of reality. My music is a mixture of Pop, Rock; Grunge and Country. I write honest and meaningful music and perform with great power and emotion.

Can you remember the first time you realised you wanted to be a musician? Was there an event or artist that sparked that passion in you?

The first time I really fell in love with music was when I was around five - taking regular dance classes.

I had a real passion for listening to and enjoying Classical music. It grew from there really as I listened to Popular music and felt a great desire to sing and make my own music for the rest of my life.

Fantasy figures and fairies seem to be a key influence in terms of style and stage design. What fostered this love of fairies and what is the reaction like when playing live (with these elements incorporated)?

Yay! I’m glad you noticed. I’ve loved fairies since I was very small. I’m not sure where it came from but my mum used to write little notes from the fairies and I really believed it was them. I’ve always loved this kind of style – anything sparkly, fairy-tale/princess-like always resonated with me and caught my eye. I think it’s so beautiful. I love the innocence and beauty within this theme and I hope one day, reality will become the same.

I try to promote the theme in my gigs - especially where there is a younger audience. I played the New Forest Fairy Festival for the second time this year and it was the most beautiful and magical experience I’ve ever had. I’ve also had reactions from adults in pub gig settings saying my performance took them to a “dream land” (which I loved). That kind of reaction is definitely what I am going for in terms of my music and image.

Looking back at your last E.P. (Into My Heart) and the reception it garnered: are you amazed by how many people connected with it and were touched by the music?

I find it surreal and so heartwarming that people connect with my music and enjoy it!

I write from the heart and absolutely adore what I do: so for people to share that love and enjoyment with me means everything. I hope my new music will create even more love and excitement with existing fans as well as new ones!

Your songs (on that E.P.) tackled stigma around mental health and laid your soul out – very personal and revealing at times. Do you think that honesty and openness is something missing in modern music? Was it quite challenging writing songs so emotional?

I never find it difficult writing honest, deep, and emotional lyrics because I am a very open person and I like to share what I go through. I like to share because I find it therapeutic getting my feelings out into the open and I like to let other sufferers know they are never alone. Writing my own songs and performing them is my therapy. I hope other people can relate and know that hard times can creatively manifest into something beautiful and successful.

I am definitely disappointed by some modern music – especially chart music. The lyrics are very meaningless: not well thought-out and mainly aimed at clubs. This is fine and it’s nice - that some people can get enjoyment from it. However, I feel that real music is meaningful and comes from the heart. Repeating the word ‘work’ doesn’t show someone pouring their heart and soul into the music they are creating - and that’s a shame.

Mental health and psychological illnesses are areas that are not addressed a lot in society, let alone music. What is your view on this and do you feel more needs to be done by the Government to tackle the problem?

It’s so sad and heartbreaking that so many people can’t even recognise that mental illnesses are a very real and serious thing. It pains me that there is hardly any recognition or help for sufferers.

I have waited nine months to get therapy for my borderline personally disorder - which I personally feel is disgusting. Someone suffering from an illness such as cancer would never be left untreated for that long. I wish there were more charities and activities to support mental illnesses such as sponsored runs and bake sales, etc. I hope to be an inspiring figure that will change this horrendous stigma against mental illnesses and actually start making positive movements – in order to help the enormous amount of sufferers around the world.

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Which song from Into My Heart means the most to you and is most personal?

Definitely Never Belong. That is the song I completely poured my heart and soul into and I wrote it at one of my lowest points. I was feeling so much and I wanted to end my life. I shared all my feelings and thoughts with a friend and they kept telling me: “You have to put this into a song!” At first, I struggled to write my feelings in a way that truly expressed how I was feeling, but I did it.

Looking at social media, I see you have recently acquired a new Gretsch guitar – it looks pretty fine. What is it about the guitar – and that one especially – that attracted you and will we be hearing its dulcet tones in future recordings?

I originally had my heart set on the look of the beautiful G5191TMS Tim Armstrong Gretsch in salmon but when I tried it in-store I just didn’t like the sound! I had a look at a few others and my dad pointed out the sparkly one that I have now. I played it and fell in love: I knew that was the one I had to have. It’s always been my dream to own a Gretsch guitar so it’s really amazing to have one. I want my music to come across heavier and rockier (from now on) so my Gretsch is helping me do that.

PHOTO CREDIT: Overbury Photography

On that note: I understand new material is being written. What can you tell us about the songs and ideas that will go into your new E.P.?

There will definitely be new material as well as a few old tracks re-done in a style that is more me – seeing as my last E.P. was my first I didn’t quite capture all the genres and sounds I wanted to.

Now I have a new producer who really understands the sound, genre and atmosphere I want to create around my music - which I am really grateful for. I’m really excited about the new material and I don’t want to reveal too much just yet!

A bit of time has passed since your last E.P. Has your writing process changed or do you set yourself time to get songs on paper? How do songs come together for you?

My writing process is pretty much the same. I create my songs from experiences I’ve had with people and emotions I feel towards certain things. My ideas come in different forms: sometimes I will start by messing around on the guitar and coming up with a chord sequence I love - with lyrics and melody following soon after. Other times, I will get short melody and lyric ideas and try to find chords that fit around them.

 [youtube https://www.youtube.com/watch?v=r65JxPHaXek&w=560&h=315]

You attend A.C.M. (Surrey) but hail from Bournemouth. How do the crowds differ and which gigs have been particularly memorable from 2016?

A.C.M. is great and I am really thankful for the incredible tutors who teach me so much.

I am also thankful to be working around beautiful and talented people within the Academy who I learn a lot from. I’ve never really gigged much in Guildford/Surrey! I hope to branch out with my music when I’m not so busy with my studies.

In addition to new material and performances before 2017: have you got any plans or ambitions for the coming months?

My main goals are just to get the new material recorded and get it out there! I also have a few upcoming projects in mind such as an official website and possibly regular vlogs.

PHOTO CREDIT: Overbury Photography

We are both fans of the band Nothing but Thieves. Are they are a big influence for you and what is it about the band that speaks to you?

I absolutely adore their music! I have seen them live and also met them a few times. They are lovely, down-to-earth guys who really care about the music and work hard to produce something they feel is amazing. I just really love their music! I’d love to incorporate their Alternative-Rock sounds into my upcoming music. They are extremely talented and the music they put out is perfect in my opinion.

In terms of influences and idols: which musicians have been most important and inspiring with regards your career?

I’ve always loved such a huge variety of music and genres! There are so many bands and artists who have continuously influenced my music and image. The artists I look up to most are Katy Perry, Miranda Lambert; Brantley Gilbert, Lana Del Rey; Taylor Swift, Envy (a rapper from Manchester) and most influential bands would be Paramore, Coheed & Cambria; Limp Bizkit and Nothing but Thieves.

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Are there any new musicians coming through – local or otherwise – you feel we should be checking out?

Brantley Gilbert is someone I discovered recently and I absolutely love his music! It’s a real mix of Country and Rock and it sounds so awesome. I also really love Sia – her mysterious image and her incredible, powerful vocals are really inspiring.

I’ve also been getting more into Rock and Metal recently and my friend showed me a female-fronted metal band called In this Moment. They are awesome.

Music is very demanding and time-consuming. Do you find the time to decompress and what do you do in your spare time?

Sometimes it is like you want a little break from it. I love baking - mainly sweet things like cakes and brownies. I find it quite therapeutic. I also love fancy dress and socialising with my friends. I’m really close with my parents so I like to chill out at home with them and sometimes go for walks to the beach - or somewhere in The New Forest. I also like shopping (what girl doesn’t!?)

PHOTO CREDIT: Overbury Photography

Reports and articles have come out (in the music press) that look at the gender imbalance in music – not many women in top music jobs and getting fair respect. Do you think there is truth in the argument that women are often overlooked? Have you encountered any obstacles and discrimination as a woman in music?

I’ve actually had music business lectures about this very subject recently. What I think is terrible it is how much more sexualised women are than men!

Women are made to stand there and look pretty: they have so much more to give than that and we should respect and promote that more.

I’d love to hear women writing songs about important subjects and some of the terrible things happening in the world right now - rather than just writing about men or going out to a club on the weekend.

For those young bands looking to follow you into music: what advice and tips would you offer them?

Be yourself! One small idea you have could differentiate you from so many others and make you the successful ones. Love what you do and promote what you love. Work hard and never give up; also try not to compare yourself to anyone else.

You are you for a reason and you bring something great to this world and the music industry!

Keep at it and maybe I’ll see you on the red carpet one day.

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

[youtube https://www.youtube.com/watch?v=m7r1IctCR_A&w=560&h=315]

_______________________

Follow Jasmine Branca

 

PHOTO CREDIT: Overbury Photography

Facebook:

https://www.facebook.com/JasmineBrancaMusicUK/

Twitter:

https://twitter.com/jasminebrancauk

SoundCloud:

https://soundcloud.com/jasmine-branca

YouTube:

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

TRACK REVIEW: Bull Funk Zoo - Hangover

TRACK REVIEW:

 

Bull Funk Zoo

 

 

Hangover

9.2/10

Hangover is available at:

https://www.youtube.com/watch?v=Isi64V-XYPQ

RELEASED: 9^th October, 2016

GENRES: Rock; Indie

ORIGIN:

Dubai, U.E.A.

The album, Dangerous Radio, is available here:

https://bullfunkzoo.bandcamp.com/album/dangerous-radio

HEADER PHOTO CREDIT:

Sasha Maddah

____________________________________

ONE of the most important things about modern music...

PHOTO CREDIT: Sasha Maddah

is the diversity and variation that can be found. I know this is a point I raise a lot to the point of exhaustion – it seems like a lot of musicians are not really paying much attention. Before I come to look at my featured act, I wanted to touch on that point; discover musicians coming out of Dubai/U.A.E. and the excitement one gets when genres like Funk and Rock are given modern twists and spliced together. I am finding musicians that are more than happy coming into the scene ambling along on what they feel comfortable with. There is a lot of room and space for maneuver and I am always galled by artists that do not exploit this. It may seem like an odd point to raise but one I feel compelled to. It is understandable new musicians have reticence and nerves about what they do. It is such a crowded industry and completive: making your voice heard and gaining some recognition is challenging and often takes months/years. Because of this, too many new artists are being safe and playing music they think record labels want to hear. It might be chart replicas or something very mainstream: whatever the music; there is a general temptation towards something rather tepid and neutered. I am sorting edging towards the general question: why can’t musicians put a bit more grunt and excitement into their work? I do love a musician that is contemplative and soulful; those that are tender and introspective. They all have their places but one yearns for, every now and then, music that sticks its hand down the front of your shorts and has a bit of a rummage.

PHOTO CREDIT: Sasha Maddah

I do not mean Hardcore/Thrash or something explosive and demented – just music that has some flair and captivation. Maybe I am being a bit harsh it just seems like, if you want to earn your place in music, you have to separate yourself from the masses and originate something unique. There are few that would argue against Bull Funk Zoo being anything other than stonewall originals – the man behind the music – and that is why I have jumped on this review. Before I go into more detail, let me introduce my featured artist:

“The birth of Bull Funk Zoo made a strong impact in the Dubai music scene, playing non-stop shows all over the country and internationally. In March 2013 Bull Funk Zoo opened for Sting with all his original material played in front of an audience of 10,000 people and the response was incredible!!! Bull Funk Zoo played almost every venue in the region ofUAE and toured internationally. Concerts with audiences from 5,000 to 30,000 people. The debut self titled album got the highest rating for unsigned band in Rolling Stone, also the album got entered into the IMA Awards USA, he has been on numerous publications, radio shows & TV features. The album can also be found worldwide online through iTunes and many other sites. It was also a best seller in Virgin Megastores in the UAE. The album is also featured on all Emirates Airlines entertainment with an exclusive interview that will be heard by over 50 million passengers a year. He is currently touring the region with numerous gigs on hand, he is considered one of the hardest working musicians/producer in the UAE, with best act nomination for Time Out awards. He also has major support from Red Bull.

 

Bull Funk Zoo developed his talent for music in the US where he lived and studied for a number of years. During his time there, he played with practically every conceivable kind of musician and band. He continued his music journey in 2000 when he moved back to Dubai and was involved in projects like Abstrakt Collision (3 albums recorded), Stroobiya, Abstrakt Roots and performing as a session guitarist with various acts throughout region. Things started to get exciting again when he formed Bull Funk Zoo band in 2011. The first showcase of the band was in collaboration with Hamdan Al-Abri. To open for Sade at Abu Dhabi’s Yas Island, Bull Funk Zoo played Hamdan Al Abri’s music. The response was overwhelming! Sade personally said Hamdan Al-Abri featuring Bull Funk Zoo were amazing and they were the best opening act she had had during her 2011 world tour! He produced a music video with Adnan Mryhij (CTG productions) & Hadi Sarieddine for one of his tracks "Shit House Blues" from the self titled album, which was released in February 2015”.

 

Although Bull Funk Zoo is a fully-fledged band: there is a lot of emphasis on Assaad Lakkis. He works with a range of musicians but he is the brains and man behind the songs. After releasing Would You and Burnin’: Bull Funk Zoo is ready to take the Rock industry hostage and lay down its/his demands. There is a bit of Jimi Hendrix, Rage Against the Machine and Frank Zappa in Lakkis’ creations and a blend of older sounds and new technology. I shall come to his home nation and why we should be looking there, but just looking at that biography, and you have an artist who is very strange – in the sense he is so far ahead of his peers. Lakkis has been in music for a couple of decades now and has been growing as an artist and performer. You have a young man that is one of the hardest-working people in the industry and always looking to push himself. As he says it himself: creativity is his drug and one he is not willing to give up. I find there are a lot of musicians that become fatigued and jaded by the working hours and demands of the industry. Such dedicated and fastidious commitment to the art can cause relationships to split and cracks to form – some very strong acts have called it time because of the stress. I am impressed Bull Funk Zoo continues to grow and develop. The band has played to upwards of 30,000 people and it is that love and support that keeps the focus very much in their direction. I was also interested in focusing Bull Funk Zoo because they are based out of Dubai. This is a nation that is not really synonymous with bands and great new acts.  I raised this point – looking at foreign nations for new talent – when reviewing Yotam Mahler yesterday. The Israeli musician is based in a nation that is overflowing with fantastic acts and brilliant young talent. When it comes to Dubai: there are fewer musicians and artists one can bring it. If you extend the point to the U.A.E. and there is a bit more on offer. Hamdan Al Abri and Empty Yard Experiment are two artists that have been making waves in the U.A.E. for a while now. Ahlam is another singer that has been playing for many years, but the truth is, one has to dig hard to find many contemporary acts out of the country.

Maybe there is a problem with the international press or laws in Dubai/U.A.E. They are areas that are very stringent when it comes to rules/decency and sexualisation. The U.K. and U.S. have their fair share of flesh-showing artists that seems to tick the commercial and public boxes – artists that can generate a lot of attention and money; get into the charts and gain a lot of radio play. Dubai is a lot more stringent and ‘pure’ one could argue. For that reasons, I guess there are limitations not only with how much one can reveal – the subjects and areas that are being addressed. Religion is a big part so certain subjects and topics will be off limits and banned. You hear of cases when U.A.E. nationals are subjected to imprisonment and punishment for blasphemy, sexual indecencies – what the country would deem as such – and various other crimes. You wonder how many chances there are for new musicians there and whether Western artists are being played and promoted. Bull Funk Zoo exist because they avoid dangerous areas and have captured the public’s hearts. It is an interesting point and one I shall explore more in the conclusion. It is impressive to see Lakkis’ outfit going from strength-to-strength. Bringing in collaborators and various other musicians into the fold – each album and creation has a different sound and new light. The reason behind this survival and popularity is the invention and talent of Lakkis and the artists that have inspired him. I mooted whether British and American music made their way to Dubai, and there are a few that have. The fact Lakkis spent a lot of time in the U.S. is why he has an affinity for musicians like Jimi Hendrix, Rage Against the Machine and Red Hot Chili Peppers. That blend of Funk, Metal and Rock struck his ear and compelled him to push his own music and make it as wide-ranging as it can be. With Bull Funk Zoo you get little touches of Rage Against the Machine, especially. The guitar sounds and pioneering string work is to be commended. You get dashes of other genres and so many different ideas in the music. The musicians that are surviving and impressing are those that put their all into it and push the boundaries of what is possible. Many artists try and throw multiple genres into their work but can come off muddled and confused. Bull Funk Zoo has that cohesion, authority and commitment that ensures the songs are gelled and perfectly-formed.

The biggest difference one notices between the eponymous debut and Dangerous Radio is the confidence and control exerted by its frontman. Lakkis co-wrote all of the ten songs on the debut album and showed immense promise and exceptional musicianship. The songs (on that album) show the influence of bands like Sex Pistols and Soundgarden but have ample funkiness and drive to them. Never one-dimensional or boring: fireworks, scintillation and drama reigned in the music and captivated critics and reviewers around the world. The production was exceptional (on the debut) and so much confidence and variation was in there. Funky, Hendrix-esque strings could be found on tracks like Junk. Lyrics can often be a downfall for many acts but Bull Funk Zoo mix personal insights with witty asides and social commentary. The entire album is tight and stunning and one you come back to again and again. Dangerous Radio is perhaps tighter and more focused than the debut. The number of tracks has been narrowed to eight and it is a shorter album all round. This does not merit a lack of creativity and inspiration: it trims away any edges and fat and is a more explosive and concentrated effort. The funkiness and looseness are still there but there is more attack and intensity throughout the record. In terms of lyrics, the songs address anger, regret and drunken haze. Because of this, there is more wit and humour to be found; more nods to Hendrix and Psychedelic elements than the debut. Lakkis exerts more influence on the songs and more of his mind and talent goes into them. There are still other bodies in the mix but Dangerous Radio is almost like a solo album in terms of the themes and concepts. What one notices – the differences between the two – is how much more confident and arresting the music is. Dangerous Radio is an octet of tracks that will get into the heart and release memories and impressions long after you have finished listening.

I was going to review Whiskey but decided, given its video has just come out, to go for Hangover. Instead of the alcohol -cause I have gone with the effect: embracing the ‘after’ rather than the ‘before’. It might seem like, from that comparison, Dangerous Radio is full of booze and drunken numbers. Those two tracks are an exception in a record that has plenty of diversity and range. Hangover is the closing track and one that has been noted by many fans and reviewers – a favourite and perfect swansong. The opening to the song has commentary and narrative from Lakkis as he recalls a hazy night and wakes up next to a girl. The video shows a tattooed man arises and feels the effects of last night. The blonde next to him is face-down and a bit of a stranger. Trying to piece together the strands of last night: there is that urgency and need to figure it out before she regains consciousness. Lakkis’ delivery is laconic and weary; scratched vocals and whiskey-soaked notes resonate and resound in their confusion and fatigue. The hero is wondering who the girl is and his head is pounding. Unable to remember what happened and how he got to this stage – a theme and story that many artists have portrayed; many people can relate to this conundrum. Fear and loathing is in the mind and there is that regret and sense of self-disgust. Perhaps it was a great night but alcohol has rendered his mind cloudy and short-term. The bass is funky and taut. It acts like a headache and poke in the chest: bouncing and pressing; throbbing and searching. Not only do you get an intriguing kick-off, but the sense of impending explosion and breakdown. There is something definitely eccentric and bizarre about the song – in the very best way. You get little notes of Tom Waits’ quirk and humour and the video continues to reveal pieces of the puzzle. The composition throws in warped and strident electronics and teasing, compact beats – going into Trip-Hop/Hip-Hop territory. By keeping the music light but propulsive, it ensures you focus on the lyrics and vocals and letting them work. The hero is “two hours late for work” and his ‘date’ is puking all over the place. The house is a scene of carnage and it seems like something epic unfolded the night before. It is not a hard song to dissect and one that has quite a simple and obvious origin and explanation. Despite our man smelling of beer and tasting of God-knows-what; he still yearns for a Stella Artois and hair of the dog, it seems.

PHOTO CREDIT: Sasha Maddah

Perhaps functionality and cohesion are out of the question and he is resigned to spending the day cleaning things up. After a wordless, monosyllabic chorus line – a number of voices joining with la-la-las – it is into work and the repercussions from the boss. Having missed over a dozen calls from his workplace; the hero goes into the office and faces his “jerk” of a boss – one who is not letting him off the hook easily. The song never really breaks into all-out singing: it is more a collection of spoken lines and storytelling. Perhaps a sore head or tiredness means vocalisation and volume are not really a reality. As things progress, you get more indebted to the composition and all the notes and ideas being exchanged. Delivering (almost Rap-like) his words: the hero is in the workplace and trying to feign attention. The boss is chewing him out and all the hero wants to do is sleep and crawl back into bed. You get that sense of weariness and dizziness in a track that throws that la-la repetition to highlight the lack of interest and attention being paid. The drone-like delivery of the ‘chorus’ – the one-worded mantra – gains new meaning and relevance after each verse. The hero is being advised to have a drink and learn some lessons – try reading between the lines – and taking heart. Throughout Hangover, there is that need to keep on partying and just embrace something more fun and irresponsible – rather than the boring work life and rules. In a way, in terms of lyrics and ideas, there is a definite Punk spirit and rebellion. Never as full-throttle and ballistic as Sex Pistols and Ramones – you feel a bit of their spirit in the attitude and anti-authoritarian zeal of the song. Lakkis spits his words in a Hip-Hop/Funk style and seems not to care for rules and discipline. It is nice to see that sort of youthful spirit and rebellion in music and something you do not hear enough of. The remainder of Hangover is a series of la-la-las that enforces that lack of caring and need to sing and keep on partying. Heavy and funky beats get the feet moving whilst the vocal delivery pushes that coda into the brain like a shot of whiskey – it will buzz around the mind for a long time and create smiles (or annoyance in some). By the end, you root for the hero and hope that he keeps on living that alcohol-filled life – perhaps not the best course but one he is destined to take.

Dangerous Radio is a bold and brash second album from an act that continues to impress and gain adulation. It is hard to say just how far they can go, but with a huge army behind them, it looks like the future is very secure and golden. There is a great many stations and venues across Europe and the U.S. that could support Lakkis and his musicians but it seems like Dubai and the U.A.E. are providing ample support. I opened by proffering the point about the U.A.E. and how much freedom there are for musicians growing up there. One wonders whether Lakkis could have gained experience and got exposure if he did not send time in the U.S. I am sure Dubai is fairly relaxed with regards themes and lyrics – what can be considered offensive – but you feel there are limitations and drawbacks for some musicians. Female artists that have that more provocative edge are unlikely to gain much headway and respect. It is a thorny issue but not one explored much. I have been searching for bands and artists emerging from Dubai but it is pretty slim pickings. Maybe that is just the limitations of the media: it is impossible to represent every country and some will fall through the gaps. Perhaps Dubai does have a lot of local bands but you get the feeling Bull Funk Zoo are in the minority. I shall leave that point for now, only to recommend everyone check out Dangerous Radio. I am a little late to the party – it has been out a while but I’ve been busy with other work – but glad I turned up. I decided to focus on Whisky because it is the newest single release and shows the depth of creative talent in Dubai. Not only is the song one of the finest on the album but one that seems to represent the themes and ideas of the album. I mentioned how sex and modesty are issues in many nations of the U.A.E. but there is enough room and leverage to not only present risqué lyrics but film some rather racy scenes. The video to Hangover was conceived and directed by Lakkis but burrows actors and creative talent from around the nations. Some of them have arrived from Europe whilst others are native. Not only is the video humour and memorable: it has all the hallmarks and ideas you’d get from a British or American band. In that sense, there is little difference between Bull Funk Zoo and his/their Western counterparts. I have put a lot of emphasis on morals and laws in Dubai but it is just things one hears – a theory as to why there is not the same Pop market there is here.

Dispensing with my grand theories and attempts at social dissection and you cannot ignore the talent and continued rise of Assaad Lakkis. It is not often I get to review an Asian artist – aside from yesterday, of course – so it is good to be back in the continent. Dubai is a rich and prosperous nation that is a tempting haven and home for many people. The clement temperatures, prosperity and wonderful scenery are only a few reason why many are emigrating here and setting up home. I feel Lakkis is rooted here and vibing from the community of artists and the crowds that adore his music. He has commanded huge audiences and that will continue unabated following the release of Dangerous Radio. Its cover art very much has that feeling of Rage Against the Machine and you get the anger and edginess of the U.S. band but Lakkis digs deeper. The songs have humour and wit; they speed by and are so full of colour, adventure and mesmeric sounds. As a performer and producer, there are few out there like him. There is a parable floating around which best describes Dangerous Radio. If you imagine Hendrix having a drink with Tom Waits – via a séance of sense of imagination – and shooting the breeze. Hendrix has his guitar sitting by the snooker table – maybe on fire or smashed into a million pieces – and is sipping on a rather psychedelic cocktail – lots of colours and ingredients in there. Waits, one imagines, prefers stiffer bourbon and the gravel-voiced legend would probably be wearing a hat and is pensive mood. As the two icons exchange stories and boasts, the jukebox goes out. In rocks Tom Morello and his Rage Against the Machine brothers and the patrons all look stunned. Expecting an imminent showdown, the three different acts all come together in a Mexican standoff. Instead of engaging in violence, they are grab their instruments and combine in an across-the-genres-and-ages performance of the highest order. That is what you get with Bull Funk Zoo and the music throughout Dangerous Radio. There are a lot of other artists in the mix but the overruling sound of Lakkis tearing it up and doing his own thing.

It will be interesting seeing where Bull Funk Zoo goes from here and what the future holds. I would expect more tour dates and records to follow. There are not many acts/bands that command such huge audiences so early in a career. That can only be down to a set of songs that gets into the mind and releases seriously heady hits. I have listened to Dangerous Radio and there is a consistency and brilliance that runs right through it. The pace never drops and that sense of adventure, drama and innovation never relents. Although it has been out for a little while, there are still many keen to lend their ears to the album and pay tribute to its central star. Lakkis was raised on a collection of great artists and music was always playing in the family household. The Dubai-born musician grew up listening to the likes of James Brown and Kiss and was drawn to the theatrics and flair of these musicians. Bands like Soundgarden and Sex Pistols soon came to his attention: mixing rawness and rebellion into the flair and stage presence. A man who always craves new music and experiences: this hungry and restlessness is what you hear in an album filled with fantastic songs. I would like to think Bull Funk Zoo will come play the U.K. as there are plenty of chances and crowds that would pay good money to come out. Even with venues closing in London, there are enough remaining that could support the band and welcome them in. It seems like many nations would support Bull Funk Zoo and will be exciting seeing just how the future pans out. Dangerous Radio is a step up for the Dubai band/act and shows how restless and evolving Lakkis is. One of the most accomplished musicians around right now: the next few years should be very busy and memorable. I have enjoyed diving into the album and would recommend people check it out and spend a bit of money on it. Hangover, and is its striking video, has already gained a lot of feedback and shows what love there is out there for Bull Funk Zoo. In a sea of rather vague and generic Rock bands, I am thankful a kick in the crotch has arrived in the form of the Dubai outfit. We need to see more like them in music in order to inspire new generations and musicians. Be certain to investigate Bull Funk Zoo and let the sensational, multifarious music seep into the mind and elicit all manner of reactions and sensations. They may be treasured and revered in the U.A.E. but, as the new album proves, they are in demand…

PHOTO CREDIT: Life is Pixels

ALL around the world.

[youtube https://www.youtube.com/watch?v=Isi64V-XYPQ&w=560&h=315]

_______________________________

Follow Bull Funk Zoo

 

Official:

http://www.bullfunkzoo.com/

Facebook:

https://www.facebook.com/bullfunkzoo

Twitter:

https://twitter.com/bullfunkzoo

Instagram:

https://www.instagram.com/bullfunkzoo/

SoundCloud:

https://soundcloud.com/bullfunkzoo

YouTube:

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

FEATURE: Billie Marten: Lionhearted

FEATURE:

 

Billie Marten:

 

 Lionhearted

_________________________

 YESTERDAY, I was lucky enough to be in the...

right place at the right time, as it were. I was tuned into BBC6 Music - during Sean Keaveny’s show – experiencing a live version of Kate Bush’s track, King of the Mountain. It was played to commemorate and celebrate the upcoming three-disc live album, Before the Dawn. If you were lucky enough to catch Bush perform during her 2014 shows at London’s Hammersmith Apollo you would have witnessed it for the first time. The sound and scope of the song is mind-blowing. Cinematic and dramatic in conception: funky-ass guitars with electricity bubbling; bellicose, tribal drums and an overall air of mountain air, mysticism and unholy drama. Scoring and guiding the tale of high-summit royalty was Kate Bush – sounding like she did in 1979. It is startling, not only hearing a performance of such magnitude, command and resonance but the fact Bush has not aged in the past thirty-seven years. I listened to that song and – after hearing it a couple of times during Mary Ann Hobbs’ afternoon show – was left speechless and blown away. There is something completely entrancing about Kate Bush; no matter how many times you hear her sing. Those live shows will be brought to disc next month and distill the finest moments of her London shows. It is debatable how many more gigs Bush has in her but one thing is for sure: make sure you buy Before the Dawn when it is released on 25^th November.

[youtube https://www.youtube.com/watch?v=smX6xCPDbrE&w=560&h=315]

It was whilst listening to the radio yesterday – coincidentally, 6Music again – I was not only treated to a rarified performance and breathtaking moment but a modern-day connection of two like-minded artists. Billie Marten is someone I have interviewed and reviewed - coinciding with the release of her debut album, Writing of Blues and Yellows. The reason for this comparison – and this piece as a whole – is how unerringly similar the two singers are. Kent-born, Devon-based Kate Bush first came to prominence with the release of her debut album, The Kick Inside. That album featured the groundbreaking, career-defining (to many, at least) Wuthering Heights. Such a voice has never really excited: not one with such eccentricity, fairy-like agility and beguiling majesty. In retrospect, The Kick Inside might not make many people’s list of top-three Kate Bush albums – one suspects Lionheart and The Dreaming would edge it for a spot. Many would contest Hounds of Love is the incontestable granddaddy of Bush genius: a two-part, sweeping epic that, once heard, is never forgotten. When people heard Kate Bush in 1979, they were not quite sure what to make of her. One saw a phenomenally beautiful and striking young woman but one whose head was intelligent, mature and down-to-earth. A young star that knew her talents but came across in interviews as relatable, charming and sweet – small wonder she would be taken into the critical bosom. I get that same impression when listening to Billie Marten.

Circling back to my 6Music anecdote: Marten was performing on Lauren Laverne’s show from a library in Rochdale – as part of a campaign to get people into libraries and celebrating literature. It was a short and sweet interview but one that showed how down-to-earth and warm Marten is as a conversationalist. Her performance – of album track Emily – was typically transcendent and hushed (more on that side of things later). It is not often you are hooked into someone by mere conversation: hanging on their words and completely engrossed. It was not necessarily the tone of voice – although it is soothing and expressive – but what was being said. Marten, is, a seventeen-year-old musician that SHOULD, one thinks, fall into the traps and clichés of her similar-aged peers. Having come away from that interview, it was clear as crystal: Billie Marten is someone who differs from her contemporaries and belongs to another time.

PHOTO CREDIT: Victor De Jesus

She reminds me of Kate Bush, who, when The Kick Inside was released, would be the darling of the interview circuits. Interviewers would try to crack down to her soul and figure what makes her tick; why she was so fascinated and obsessed with dance and how she remained grounded and modest. Of course, back in 1979, social morals and interview topics differ from one expects in 2016 – laced with a bit more controversy, relationship angles and less on an artist’s background and personality. In a disposal, sell-your-product-and-get-to-the-point-quick society: Marten is someone who seems to float above it all and has that Bush-esque air of humbleness and confidence. The main reason I wanted to compare the two artists – and highlight Marten as a very rare and special artist – is because of the arresting music and absolute ageless wisdom both possess.

[youtube https://www.youtube.com/watch?v=ZsaPm4RyExw&w=560&h=315]

I look at Kate Bush belt out her classics (from two years ago) and how in love she is with music still – someone who is as eager and determined as when she first arrived. Marten is embarking on her first steps but I see similarities between Bush’s 1979 debut The Kick Inside and Billie Marten’s 2016 offering, Writing of Blues and Yellows. Bush, on her debut, had that standout song (Wuthering Heights) but ran through genres, ideas and moves – that enticing, spectacular voice making everything sound completely essential and magical. Marten may not be as wide-ranging in terms of genres on her debut but you cannot deny the similarities. One is buckled by her velvet-smooth; kitten-sooth sensuality and the raw power that comes from someone who could make anything sound life-affirming in its beautiful. Hearing The Kick Inside and I am always brought to the point of shivers by the pin-sharp delivery and wonderful sweetness of the voice.

The Man with the Child in His Eyes is, perhaps, the finest example of the young talent daunted by the music industry. Written when she was just thirteen: Bush went into the studio – backed by an orchestra – and was nervous and felt very odd in that surrounding. Billie Marten records with guitar (and very few other elements) but you feel a prodigious young woman in her own world and in her comfort zone – someone who feels the anxieties and pressures that expectations and the music industry provides. I shall step away from the Bush-Marten comparisons – until the final segment – and want to embrace Marten on her own. Writing of Blues and Yellows is not the first offering from the Rippon-based teenager. She has been performing music for years – sending YouTube videos to her grandparents years ago; a way of connecting and demonstrating her talent – but has really hit her stride now. Over the past two years, Marten has released two E.P.s on two different labels (2014’s Ribbon on Split Milk Records and last year’s As Long As through Chess Club Records) but showed a keen and brilliant talent and remarkable voice.

The thing that really strikes me about Marten’s music is the lyrical intelligence and that singular voice. Given the fact she is seventeen; one would imagine songs of broken relationships, jerk-ass guys and plenty of anxiety. It may sound like a generalisation and all-sweeping statement – applied to the boys too, you understand – but there is some truth in that. I love young stars like Dua Lipa but feel there is too much emphasis – even from her own mind or record executives – to go straight to the crotch. Overtly sexual, primal and ‘grown-up’; it makes you wonder whether musicians are being forced to become women/men too soon – or are too open and explicit with their music. There are a lot of artists like Lipa – who I genuinely feel has a great future – perhaps inspired by the chart acts of the U.S. – Rhianna perhaps the most fervent inspiration. I am not pointing fingers or moralising – a little, maybe – but feel a more sanitised, wise approach to song-writing is needed. Not only do many of these young stars have an army of writers and producers behind them: their subject matter and lyrics book is full of clichés, sexual come-on and teenage tropes.

Billie Marten took her surname from the British Folk legend John Martyn – her real name is Isabella Tweddle – but that nine-year-old (whose grandparents lived in France and would get to witness a bright singer interpret other people’s songs) has blossomed into a bit of a national sweetheart. Before I get to her voice and songs; it is worth applauding and commending her words. Having heard her discussion with Lauren Laverne yesterday: literature and words are vital to Marten. She is someone, I would envisage, happy to ensconce herself in a quite nook and digest a chapter of classic literature and immerse herself in a novel for the afternoon. She seems like a human from another time – you could not see her glued to an iPhone or on Snapchat all night – but she is a very mature and smart young woman who brings this to her music. Like Bush in the ‘70s (last mention): Marten fuses literary references – Emily was inspired by Marten’s love of the second-most-famous Brontë sister; that connection with Bush once more – and you feel like you are involved in a story when you hear her sing.

[youtube https://www.youtube.com/watch?v=Cq-O35yGVNg&w=560&h=315]

Too many modern songwriters are either devoted to their own prurient, salacious desires or reflecting on inner-woes and engrossed in hyperbolic first-world moaning. Again, it is a generalisation, but there are few writers that break away from that parable and actually offer something vintage and modern at the same time. Marten is a woman who is still studying and school-age but brings her education and a quest for knowledge into her rich, nuanced songbooks. I will investigate her album tracks fully, but you just have to listen to a song like Emily or Lionhearted to know this is no ordinary musician. Addressing mental health struggles and the vicissitudes of the world: the desire for courage, resolve and sanctuary – the album’s title seems to reflect sadness (blue; depression and unhappiness) and courage (yellow; yellow-bellied). Billie Marten does not bring you down with deeply personal and open-souled professions; every line and song is ethereal and utterly sensual. Even when she is talking about walking away from home or looking into herself – the choice of words and turn of phrase is immaculate. Writers twice her age are barely capable of creating such novelistic, poetic sentiments – you just know she is only revealing half her true potential. Going hand-in-hand with her fine lyrics is a voice that is, many would proffer, her strongest asset.

[youtube https://www.youtube.com/watch?v=zy6e1D4yDEQ&w=560&h=315]

There are few things more bird-like an angelic than hearing a Billie Marten song. The moment that gets me is during Heavy Weather and its chorus. Maybe it is the melody or the subtle fingerpicking; the build-up or emotional catharsis of its author – my heart seems to skip a beat and the breath goes. Marten’s delivery and cadence is unbelievably gentle, soft and engrossing. It is like you are in a room with her by the microphone: she is singing the song directly at you with her lips pressed to the mic.; eyes closed and her hands clasped around the stand. I would imagine there was a sense of intimacy and blocking-away-the-world when that song was recorded but is remains (in my heart) her prime vocal turn. Milk & Honey, La Lune and Lionhearted are the three singles released this year – Heavy Weather was out last year. Lionhearted is a song that is grabbing most critics because of its vocal: one that blends fragility, sorrow and the desire for fortitude, answers and a psychic hug from the universe.

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

The reason I entitled this piece in honour of that song is to show just how lion-hearted and brave Marten is. In today’s music, there is such instancy and a conveyer-belt-style of promotion and production. Artists are revealed, revered and rescinded without a breath being taken – the fickleness of record bosses and the general public is quite bracing at times. Too many young musicians boast little variation, individual talent and anything that distinguishes them from the crowds. If Marten’s voice and music were not as insatiable as they are – would she survive in the modern industry? Marten is someone I adore in the sense she is humble and modest. She is happy to live at the family home and occasionally visit the city – she is not a fan of the bustle and throng of commuter bodies. I said Marten is someone who would love to curl with a good book and you get that throughout Writing of Blues and Yellows. Certain songs are so intense and passionate; you are practically inches from Marten’s tongue: there is that live-sounding quality and such an intimacy that radiates from each number. Writing of Blues and Yellows has been gaining a plethora of four and five-star reviews. Critics have been seduced and entranced by Billie Marten and the way she operates. She is a woman without ego or pretense and that all comes through in her music. Teeth deals with the realities and suffocation of anxiety; Milk & Honey is lullaby-like and transportive; Bird, perhaps the most nimble and gossamer song she has ever put her voice to. Compared with artists like Lucy Rose and Laura Marling: Marten is someone who you cannot compare to anyone vocally; her lyrics are very much her own and she is an artist with very few equals.

Before wrapping things up – and coming back to the Kate Bush parables – I would advise everyone spend some time getting to know Billie Marten and her music. Just hearing her in interviews – there are few out there but each is memorable – there is a shyness and reluctant but the words and outpouring or a very mature soul who wants her voice and words to be heard, understood and appreciated. She is not someone that will be engaged in Twitter wars with Azealia Banks or rolling out of a pub at 4am. That was one of the fears I had when hearing her album in full: where will Billie Marten be in several years to come? I am not saying she would have grown into a twenty-something hell-raiser that is courting tabloid inches and snapped with a string of famous boyfriends – what a gaudy and repulsive life that would be. I was just concerned record labels and the realities of modern-day music/life would take that home-based, shy quality and force Marten to become more outgoing and exposed – having her face on magazines and selling a bit of her soul. I hope that does not happen and I hope Marten is preserved just as she is for decades to come.

PHOTO CREDIT: Victor De Jesus

I am sure she has an honest and fulfilling relationship – or will do in years – and is not concerned with publicisng it and making it a point of conversation. Similarly, she does not wish to be embroiled in social media controversy or appear on various chat shows and being what we think of as a ‘celebrity’. Perhaps the greatest thing about Billie Marten is she has no hidden wiles and unexplored tensions; no harsh outer skin or desire to embrace the late-night lifestyle – someone the music world desperately needs to appreciate and promote as an advertisement for the better way of living. She loves her books and loves performing to new faces – despite nerves still being an issue – and a life-long desire to purchase an alpaca – you can imagine she’d have it next to her bed or watch it eat her parents’ plants whilst they were away at work! It is those quirky edges and smile-inducing biographical revelations that make her a true one-of-a-kind. The beautiful, intelligent Yorkshire lass is as striking as she is modest. The teenager has just released her debut album, but one must realise, she will be making albums for decades to come.

Writing of Blues and Yellows is an album you cannot imagine anyone else was involved with. It would seem odd to have a producer or engineer calling shots or being involved. The songs were all penned by Marten – except for It’s a Fine Day which is the sparsest, most curious song on the album – and her voice and guitar are the only things you hear for the most part. There is the odd bird sample and other strands but, by and large, it is the seventeen-year-old and her soul. Maybe she will embrace piano sounds on her next record – an instrument I feel will add flesh and majesty to her songs – and perhaps orchestral swathes. I often see her as a Nick Drake-esque typewriter. Deeply poetic, brilliant and quotable – someone whose lines and thoughts are superior and vastly fascinating. If Writing of Blues and Yellows is her Pink Moon – Drake sat alone with guitar recording the tracks at night – then future record might be more Bryter Later and Five Leaves Left – strings and pianos and more percussive expressions. That is all for future consideration but Marten appeals to the heart because the music sounds like it was recorded in her bedroom with nobody else around. Maybe the sun is streaming in but there are no distractions and technicians; a young woman surrendering herself to the moment and producing the most personal and immediate music she possibly can. Even if she does expand her sound and employ more edge and rouse in follow-up records; you feel the recording method and production sounds will all remain the same.

[youtube https://www.youtube.com/watch?v=gTWz-zy3re4&w=560&h=315]

I’ll end by bringing things back to Kate Bush and the reason this all started. It is hard to say whether Billie Marten will be packing them into venues in her 50s but one suspect she has a long and fruitful road ahead of her. Watching her blossom and be heralded this early is pleasing and her artistic maturation is going to be one you will not want to miss. The last time I heard a voice and set of songs affect me profoundly was when I was a child and listening to The Kick Inside. During the late’80s and early-‘90s, I was started to discover music and Bush’s bewitching voice and incredibly ageless songs – from someone who was a teenager when she recorded the album. Kate Bush has endured because of that debut album and the path she took after it. Not wanting to be thrust into the limelight and record her music the way she wanted to – choosing a more home-set, honest methodology and having creative control right from the start. Billie Marten recorded her debut album even younger than Kate Bush and one feels has been writing songs/poetry from an early age, too. Play the albums in tandem and those similarities and subtle difference really do start to come through. I am not saying Billie Marten’s career trajectory will be exactly the same as Kate Bush. Marten might not choose to create her own Hounds of Love – although that will be something to see! – but you know there are many more albums ahead and decades-long duties and demands.

She (Marten) has a list of influences but one wonders whether Bush is among them? It would be interesting to find out more as I can see Billie Marten enjoying sell-out gigs and having a huge legacy. The first steps are vital and she has already proved she is one of the finest young songwriters in the world. That voice will only improve and expand as the years go by - not only meaning her music can step into new genres but fresh nuance and emotional sides can emerge. The same way Kate Bush stunned people with her demonic, animalistic vocal on Get Out of My House (the closing track to 1982’s The Dreaming); Marten has that same potential and talent. There are so many young singers and musicians out there but Marten stands out because of who she is as a person – not what the charts mandate and fitting into critical moulds. If you have not discovered the multiple sides, joys and pleasures of Billie Marten’s music I would urge you all to do it and discover a sensational young talent. Writing of Blues and Yellows might be the start of things but is certainly…

NOT the end of things.

[youtube https://www.youtube.com/watch?v=7sUHI9Ec4jM&w=560&h=315]

__________________________

 Follow Billie Marten

 PHOTO CREDIT: Victor De Jesus

Official:

http://www.billiemarten.com/

Facebook:

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

Twitter:

https://twitter.com/BillieMarten

Instagram:

https://www.instagram.com/billiemarten/

VEVO:

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

____________________________

Live Dates

http://www.billiemarten.com/#live

INTERVIEW: Mowbeck

INTERVIEW:

  

Mowbeck

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IT has long been my assertion that some of the most interesting bands…

in the country are emerging from outside the capital. This is true of Nottingham’s four-piece sensation, Mowbeck. The guys have just released the gripping ballad, Vaseline. Taken from the recent debut E.P. Talkabout: it is a bold and bright statement from a band with plenty more left to say. Recorded in a dark and dingy studio deep in an industrial estate; it allowed the boys chance to get down to the core and create some gritty, edgy sounds. Stepping away from their early Pop roots: the new material finds Mowbeck stepping into new realms and coming up with some sensational results. I have been chatting to Andy, Lee and Phil from the band about their recent material and what went into the E.P.; advice they would give to new artists and how important their hometown is to them.

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

Andy: Hello! Thanks for having us. It’s been good - we’ve spent the past few nights writing and tracking demos which is always pretty exciting. Our drummer, Finn, is currently in America so we’re gonna bombard him with new tracks when he gets back.

For those who are new to your work: can you introduce yourself to us?

Lee: We’re a band called Mowbeck from Notts. and we play moody, gritty, Pop music - that we hope you enjoy.

[youtube https://www.youtube.com/watch?v=vMwOcO1o3Gk&w=560&h=315]

Vaseline is your new track. It continues on from your previous sound but is your (in my view) finest track yet. Can you tell us about the track and where the idea came from?

Andy: Vaseline is the song in the set that puts us all in a trance during the set. We tried to create a certain vibe during the writing process and make the lyrics really come to life as much as possible. I think every band tries to write a song that is instantly recognisable and that fans (and new listeners) both love. The lyrics are quite hitting and we’ve had some really great feedback so far from it.

A lot of bands/musicians love music videos whilst others hate shooting them. Do you like shooting then? It seemed like Vaseline’s shoot would have been pretty fun.

Lee: Music videos are really fun but always risky because they cost a lot of money and can quite easily look average - unless you find a really passionate and talented director. Vaseline is the first video we’ve been a part of that we’re not actually in - and relinquishing that control to someone to paint the visuals over your track is always a big risk. Luckily, George Maguire (who shot the video) did such a great job and has got such a cool knack for the kind of visuals we wanted. Big kudos!

[youtube https://www.youtube.com/watch?v=c98xxkZd8wM&w=560&h=315]

Talkabout is the latest E.P. and has been met with acclaim. What has the reaction been like when playing the tracks live?

Andy: I remember when we first recorded the initial demo. for Talkabout. There’s this bit at the start of the last chorus where the instruments cut out and the phrase “We’ve got something to talk about” comes back in - and we really hoped that the crowd would latch onto that and scream it back to us (if we ever get a big enough crowd to do it). Luckily, at our London headline show last month, that happened. The electricity during that whole song was insane. Likewise, with the whole E.P. just the idea that people have sat at home learning all the words to your tunes - and then come to your shows and sing them all louder than you do - is so magical. The live versions of those songs have ten-times the energy and we never get tired of playing any of them.

The E.P. was recorded in a dark and dingy space on an industrial estate. That seems like an extreme way to work. What was the reason behind that decision and did it help with regards recording/creativity?

Phil: We didn’t really have any other choice in all honesty. We found a cool practice space in a town called Sleaford that we fell in love with pretty early on; the songs just came to life in there. There’s something really special about that space and our sound just developed every week while we were there. It was magic.

You have pushed away from your Pop roots to embrace something darker and gritty. What compelled that creative transformation?

Andy: I think, naturally, as musicians we were always going to develop our sound at some point. Our earliest songs were recorded and released before our lineup was even completed. They just didn’t sound like we did anymore if that makes sense? We’d outgrown it. Also, lyrically, I didn’t like what I had written about back then as it wasn’t what was on my mind and anymore. I didn’t want people to hear Mowbeck and think 'Oh this guy is really cheesy; he’s never experienced anything bad'. We’d started listening to rockier music too and more ‘60s/’70s influences started to peek into the songs we were playing. It’s been a really exciting transition and we’ve all really grown as people during the process as well.

Over the course of your career, the band has played Reading & Leeds and (had your music) played on Radio 1 and Radio X – among other stations. Has it been quite surprising getting this acclaim or has it been a lot of hard graft?

Andy: I think a lot of bands don’t really mention all the late nights, shitty jobs and compromised relationships you have to accept as a norm. even at this stage. So, it’s always really gratifying to get opportunities such as Reading & Leeds and airplay on Radio 1. BBC is such a great support mechanism for bands like us and we can’t thank them enough for their support. We’re very far from ‘making it’ but it still feels pretty insane to hear ourselves played on stations like that.

 You hail from Nottingham. What is the local scene like there and are you still there at the moment?

Phil: Nottingham is sick! We fall more and more in love with the place the more we’re there. It’s got such an exciting music scene in as well. We went along to a charity music event last week called Hockley Hustle where loads of local artists play loads of music venues around the city centre for charity. It was such a good day. The bands and artists here are so talented as well - we wouldn’t want to be anywhere else.

Mowbeck have been championed due to their D.I.Y. approach and homemade sound. Do you feel too many bands are keen to rush into the studio and over-polish their sounds?

Lee: Yeah. I think there was a time a few years ago when bands were all trying to sound as polished as possible and spend all their money in these big studios - but independent and unsigned artists just don’t have the money to do that every time they want to get tracks laid down. We love doing it ourselves because it means we can tweak or edit everything whenever we want it. Plus, it’s was more fun this way!

 [soundcloud url="https://api.soundcloud.com/tracks/255766901" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Music-making is becoming expensive (in the studio) so more or turning to cheaper spaces and technology to record their sounds. Do you think this is a sign of the future?

Lee: 100%, yeah. A lot of people complain that there’s no money in the music industry anymore and it’s really hard to get anywhere, but I think, if you make good music and write good things then you’re going to eventually be recognised even if your tracks aren’t recorded at the best studio in the world. We recorded the whole of our E.P. in Phil’s house with Phil on the desk - as we all grew as musicians; he grows as a producer as well. Money isn’t always the key to it and you learn so much more in a situation like that.

Every band has that prankster or messy member; the one that causes a bit of chaos. Is there anyone like that in Mowbeck?

Andy: Haha. I think we all have our moments, although Phil can be a bit of a wildcard at times. After our first show in Newcastle - just over a year ago - he had one too many shandys and ended up passed-out in a graveyard. It took me the best part of an hour to find him. Luckily, we didn’t have a show the next day or you’d have seen a very fragile bassist on stage.

Phil: No comment.

Looking to the future: what plans have you guys got for the coming months?

Phil: We’re currently building a team around to help take everything to the next stage. We’re also really keen to better everything we did on the Talkabout E.P. so we’re going to lock ourselves away for a bit and make sure what we put out next is bigger and better. We’ve got a headline show booked on the 19th November at the Nottingham Bodega - where we’ll be playing our longest and biggest headline set yet; so we’ll hopefully see a bunch of our supporter there before we head back to the studio.

 

PHOTO CREDIT: Georgia Richards

Are there any particular acts or albums that have been influential to the band? Who are the musical heroes/heroines that have had the biggest effect on you

Andy: The first album I bought was T-Rex & Marc Bolan’s greatest hits. I remember watching Billy Elliot when I was really young and becoming obsessed with the soundtrack - which was probably why guitar music has always had a special place in my heart. As a band, we take a lot of influence from bands such as the Killers and Kings of Leon. Everything we hear influences us in some way. The more music you listen to, the more open you are to create something unique and original.

Which new bands/artists coming through would you recommend we check out?

Andy: VANT IS a band we’re really excited about right now: 2017 should be pretty huge for them. We checked them out at Reading Festival and you can tell it’s only a matter of time before they blow up. We saw a guy called Youngr the other day too who is ridiculously talented and we’ll all be hearing a lot more from soon.

For those young bands looking to follow you into music: what advice and tips would you offer them?

Andy: Don’t do it, it’s a trap. Ha. But, seriously, it’s a lot of hard work so make sure you’re willing to work your balls off even if it’s just for a little reward. Be original too: we’ve still got a lot to learn but all the bands that become massive always do something that nobody else is.

Finally, and for being good sports, you can select any song (other than your own as I’ll include one) and I’ll play it here…

Phil: Mystery Jets – Bubblegum. It’s been our favourite song of the year so far!

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

________________________

Follow Mowbeck

 

Facebook:

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

Twitter:

https://twitter.com/mowbeck

Instagram:

https://www.instagram.com/mowbeck/

SoundCloud:

https://soundcloud.com/mowbeck

YouTube:

https://www.youtube.com/channel/UC4Hc7lfsQOKEjdnw8sONKZA/videos

FEATURE: The October Playlist: Vol. 4

FEATURE:

 

The October Playlist: Vol. 4

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THIS must be one of the most packed and busy…

playlists since its inception. I have included some special songs for those who prefer the older, finer sounds. Stevie Wonder’s Songs in the Key of Life is forty years old – included a classic cut from that – while Kate Bush will release a three-disc live album, Before the Dawn (25^th November). Radiohead have just been announced as the first headliners for Glastonbury 2017 – any excuse to play one of their songs. While there are some fantastic established artists sharing big news: let’s not forget the slew of brand-new acts unveiling new tracks and albums over the next couple of weeks. I have been busy collating the newborn singles and forthcoming-album-examples from the buffet of variety that is modern music.

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Radiohead – Karma Police (Live at Glastonbury '97)

[youtube https://www.youtube.com/watch?v=IYnBoHjtYP8&w=560&h=315]

EL VY – Are These My Jets?

[youtube https://www.youtube.com/watch?v=PX5h2wp0dj4&w=560&h=315]

The Last Shadow Puppets – Is This What You Wanted

[youtube https://www.youtube.com/watch?v=s8LtrwbEUow&w=560&h=315]

Yak – Semi-Automatic

[youtube https://www.youtube.com/watch?v=cm19KZBaBeA&w=560&h=315]

Devendra Banhart – Fancy Man

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

Justice – Alakazam!

[youtube https://www.youtube.com/watch?v=oAJzF8QIlQQ&w=560&h=315]

Lady Gaga – A-Yo

[youtube https://www.youtube.com/watch?v=-l5G5BT8-fQ&w=560&h=315]

Toothless (ft. Flyte) - The Sirens (Live and Poolside on a Plastic Lilo)

[youtube https://www.youtube.com/watch?v=6xG5C7H7wQg&w=560&h=315]

Stevie Wonder - Sir Duke

[youtube https://www.youtube.com/watch?v=s6fPN5aQVDI&w=560&h=315]

Alex Vargas - Higher Love

[youtube https://www.youtube.com/watch?v=zEkVBz7qxcw&w=560&h=315]

Kate Bush – King of the Mountain

[youtube https://www.youtube.com/watch?v=TPW4DdGo2Z0&w=560&h=315]

Árni – Bore You with My Melody

[soundcloud url="https://api.soundcloud.com/tracks/288896603" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Honeyblood – Sea Hearts

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

Crystal Fighters – All Night

[youtube https://www.youtube.com/watch?v=KN_pRsq8C2A&w=560&h=315]

Young Legionnaire – Heart Attack

[youtube https://www.youtube.com/watch?v=6x0cBp1ebVw&w=560&h=315]

Deaf Havana – Trigger

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

Alex Clare - Gotta Get Up

[youtube https://www.youtube.com/watch?v=9CyWaOTA-x0&w=560&h=315]

sarasara – Supernova

[soundcloud url="https://api.soundcloud.com/tracks/289285837" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Moby & the Void Pacific Choir – Are You Lost in the World Like Me

[youtube https://www.youtube.com/watch?v=VASywEuqFd8&w=560&h=315]

VANT – Peace & Love

[youtube https://www.youtube.com/watch?v=coeO8HWHjoc&w=560&h=315]

Le Tigre – I’m With Her

[youtube https://www.youtube.com/watch?v=vLGFyxAP0QE&w=560&h=315]

Concrete Jungle - Au/Ra

[youtube https://www.youtube.com/watch?v=1lExqI4_VUQ&w=560&h=315]

Sage the Gemini – Now and Later

[youtube https://www.youtube.com/watch?v=dOo9Xqw3HMk&w=560&h=315]

The Radio Dept. – We Got Game

[youtube https://www.youtube.com/watch?v=e1zvxueZtTg&w=560&h=315]

 

The Game – However Do You Want It

[youtube https://www.youtube.com/watch?v=ua1h05ERRz8&w=560&h=315]

Emeli Sandé - Garden

[youtube https://www.youtube.com/watch?v=garBZwVW2K8&w=560&h=315]

Grace Lightman – Repair Repair

[youtube https://www.youtube.com/watch?v=1sFU5_zmA5U&w=560&h=315]

Enter Shikari – Hoodwinker

[youtube https://www.youtube.com/watch?v=1qCpoH4VO9Y&w=560&h=315]

Parson James – Sad Song

[youtube https://www.youtube.com/watch?v=aKTJwvL2rxA&w=560&h=315]

GLADES – Skylines

[youtube https://www.youtube.com/watch?v=EBhj1YHaYkA&w=560&h=315]

King Charles – Find a Way

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

Michael C. Hall/Original New York Cast of Lazarus – Lazarus

[youtube https://www.youtube.com/watch?v=dJuJcCx5-xE&w=560&h=315]

The Courteeners - No One Will Ever Replace Us

[youtube https://www.youtube.com/watch?v=_mPFOVyS25k&w=560&h=315]

Illy (ft. Anne-Marie) – Catch 22

[youtube https://www.youtube.com/watch?v=Xc3BTs9sPUc&w=560&h=315]

Kelly Rowland (ft. Trevor Jackson) – Dumb

[youtube https://www.youtube.com/watch?v=MbGBRA7TNj0&w=560&h=315]

NxWorries (ft. Anderson Paak & Knxwledge) - Lyk Dis

[youtube https://www.youtube.com/watch?v=2hEm94gx1y8&w=560&h=315]

Dusky – Songs of Phase

[youtube https://www.youtube.com/watch?v=1oDM8nhGo1U&w=560&h=315]

Faith No More – Cone of Shame

[youtube https://www.youtube.com/watch?v=6Z0k5yiCmFs&w=560&h=315]

The Naked and Famous – Higher

[youtube https://www.youtube.com/watch?v=GCsyXSr7u-Q&w=560&h=315]

Helmet – Bad News

[youtube https://www.youtube.com/watch?v=TkFMvststF0&w=560&h=315]

Tanya Tagaq (ft. Shad) - Centre

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

Jimmy Eat World - Integrity Blues (Acoustic)

[youtube https://www.youtube.com/watch?v=komeC7vkaoc&w=560&h=315]

Spirit Club – Broken Link

[youtube https://www.youtube.com/watch?v=H59cofliDw0&w=560&h=315]

John K. Samson - Winter Wheat

[youtube https://www.youtube.com/watch?v=h9NMnPm5kXc&w=560&h=315]

Korn – Baby

[youtube https://www.youtube.com/watch?v=zqVr3aYIves&w=560&h=315]

Lori Cullen – Then There Were Three

[youtube https://www.youtube.com/watch?v=YVaS02zq6_w&w=560&h=315]

Savoy Motel – Sorry People

[youtube https://www.youtube.com/watch?v=fiXj6bo99iY&w=560&h=315]

The Hidden Cameras – The Day I Left Home

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

 

Last week I gave you some Bob Dylan goodness: this week, Kate Bush, Radiohead and Stevie Wonder! The spoils of music and all the unpredictable joy it can bring is hard to define and impossible to refuse. It is pleasing finding so many new artists do well and provide some fantastic songs. Who knows what next week’s edition of The October Playlist will introduce?! It has already been a memorable and exceptional month of music so far, so we will have to wait and see.