INTERVIEW: Bree Taylor

INTERVIEW:

 

 

Bree Taylor

_________________________

IT is an established fact – by me at least – that Canada is one of the most…

undervalued and underappreciated areas for music in the world. One hardly hears the nation promoted and heralded as much as the U.S. and U.K. That is a shame because Canada is teeming with sensational, bright musicians who have that sound and personality nobody else possesses. In the course of the last few years, I have featured many Canadian artists so was excited to know more about Bree Taylor. She is recording her debut E.P. in L.A. (but was born in Canada). Broken Dreams is the new single and documents a relationship break-up – one where she did nothing wrong. In addition to learning more of that song; Taylor talks about Canadian music and hopes for 2017; artists we should check out and the importance of YouTube to her – and many artists out there.

_____________________

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

I’m great! My week has been busy - as it usually is. I like to keep myself busy with projects. I am always working on something music or YouTube-related and this week is no different -  but I love it!

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

I’m a Pop singer from Toronto, Canada. Songwriting is my passion, my therapy - without it, I don’t know where I’d be. Music keeps me breathing. I write honest, real lyrics and about things that are close to my heart and I think that’s what makes my music so relatable.

[youtube https://www.youtube.com/watch?v=LSPk-mW3l2k&w=560&h=315]

Broken Dreams is your latest single. What can you tell us about the inspirations and influences behind the lyrics?

Broken Dreams was inspired by a breakup I went through where a guy I dated; didn’t know what he wanted so he broke up with me in a text message.

Nothing was wrong in the relationship: it just ended suddenly and abruptly and resulted in heartbreak - as all broken relationships do. As an artist, I turned to music and writing and poured all my emotions into a song; that’s how Broken Dreams came to be. The lyrics came from my heart and the raw emotions I was going through during the healing process of the breakup - which is why I think the song is so relatable. He just let what we had go with no real reason or explanation: all his promises were broken; everything he said turned into lies and all I was left with were memories and broken dreams of a relationship - that ended before it really got started (which I think came across really well visually in the music video).

The video is quite steamy and memorable. Are videos something that better help visualise your music? How important are they to you as an artist?

Thank you! YES! I am an extremely visual person and I love powerful imagery, especially lyrically and video is such a great form of expression. Visualisation is so powerful in all areas of life; musically I turn to visualisation to create music. I usually get inspired and close my eyes and visualise and hear the song in my head and it all starts to flow. I have always been obsessed with music videos because it combined my two favourite things - music and acting. I think music videos are such great entertainment and you get to see the songs come to life!

You are a Canadian-based musician. Canada is a nation that gets overlooked – it has a huge amount of wonderful artists. What is it like performing in Canada? Are there a lot of chances for young artists to get exposure?

Canada is such an amazing country. We have so much incredible talent here and hopefully the world gets to hear and experience more of us!

Live music in Canada is awesome - there are so many places to catch live music and for artists to get the opportunity to perform - whether it’s local pubs/bars or club venues. There are a lot of Open Mic nights in cities all over the GTA that are great ways for artists to practise and be heard and reach new audiences.

Which Canadian artists do you think we should keep our eyes out for?

I recently found Olivia Penalva on ReverbNation and love her sound! Her song, Skyline, is very catchy and I think she is definitely someone to look out for. I also love the Canadian Country music scene and think Madeline Merlo is incredibly talented. I love her honest lyrics and powerful voice - her song, War Paint, is my jam!

Your lyrics are very powerful and honest. Which musicians were you brought up listening to? Which songwriters are you currently inspired by?

Thank you so much. I am so glad you hear that in my lyrics - I try to be open and honest in all areas of my life, especially in my music. I think my music is the most personal I get and I definitely relate that to growing up listening to such a diverse group of artists/bands. I would listen to my dad’s old albums: Stevie Nicks, Eagles; Elton John, Aerosmith; Fleetwood Mac etc. I also grew up listening to the following: Bryan Adams, Shania Twain; Amanda Marshall, Michelle Branch; Gwen Stefani, Christina Aguilera; Alanis Morissette…the list goes on! I listened to everything from Classic Rock, Pop; Punk, Country - I even had a Hard Rock/Metal phase.

My musical tastes haven’t changed much. I still love all those same artists and listen to various genres. Some artists I am loving and am inspired by right now: Jonas Blue, Daya; Birdy, Charlie Puth; Zara Larsson, Tove Lo; I LOVE Halsey - she is so talented.

Away from music, you have a YouTube beauty channel and have a popular book review series (Books with Bree). What is it like balancing those disparate interests? What compelled you to start both projects and what has the reaction been like online?

I have always been a singer-songwriter - and that has been my dream since I was a little girl - but I have also had a passion for literature and beauty. I got involved in YouTube several years ago: started posting videos about things I loved or was inspired by and things just took off from there. It’s kind of been the opposite in that my viewers were used to me posting about beauty/books and have over the past couple years become insanely supportive of my music - as I have begun pursuing it full-time.

YouTube has been a great outlet for me creatively but balancing it with everything else has definitely been a challenge. I try to post a new video every week if I can and would love to do more - but balancing everything in my life makes that difficult.

I love what I do though so it’s always fun interacting and connecting with my viewers on a more personal level (is a huge highlight).

How do literature and beauty connect with your music? Does great literature and self-expression feature prominently in your music?

I think literature has always inspired me musically in that it’s helped me find my voice in being able to tell a story with my music. I always had my head in books growing up and loved writing so it’s helped me grow lyrically with my music for sure! I am a huge lyric person - I connect emotionally through the written word and lyrics can be so powerful.

Looking at your biography, you come across very accessible and charming - a little klutzy at times (dropping the mic. After a performance) with your partner-in-crime (the dog), Aria. A lot of modern artists are rather stale, P.R.-driven and fake. Do you think the fact you are so down-to-earth and fascinating helps people connect with what you do?

O.M.G. yes! (I don’t actually drop the mic after performing - that’s an inside joke with a friend who wrote my facts on my website). However, I do believe that my down-to-earth personality shows that I am very real and relatable and definitely helps people connect with me and what I am doing as an entertainer.

I’m just me. What you see is what you get. I have always been very open and honest with my viewers on YouTube and with people in my daily life - which is what makes me very approachable and trustworthy.

I think that comes across in my music and performances and definitely in my content on my YouTube channel. I love sharing my experiences with people in order to not only express myself but to connect with other people. My goal has always been to reach as many people as possible through my music and to be able to help someone through whatever they may be going through in their lives.

I see you have a diploma in P.R/social media – that is quite fascinating. Does that help you with regards to your various videos and music? Do you take care of your own P.R or would be interested in representing others?

I did go to school and graduated three years ago. I got a Degree (B.A.) in Media Studies and Diploma in Media Communications - specialising in P.R. It has definitely helped a lot in terms of managing my own career and publicity for my music and my YouTube channel - which was my motivating factor in choosing my program and specialisation in university. The skills I learned have helped me better understand the industry and the tools/skills needed/necessary in order to succeed and thrive in this digital age - which has been a valuable asset to me as an entertainer and social media influencer. In terms of representing others, I honestly don’t have the time.

Covering my own career is a full-time job in itself and I don’t dedicate or have as much time as I would like to get as much as I want done. Representing anyone else would just cause me to neglect my own career. I do give advice to friends who are aspiring artists and make YouTube advice videos on occasion as well. I highly recommend other artists educate themselves as much as possible in order to help themselves manage their careers and understand the industry they are getting into.

Back to your music . Broken Dreams feels like it could be the start of an E.P. are there plans for more music next year?

YES! I spent last year recording/producing the start of my E.P. (including Broken Dreams) out in Los Angeles, California and plan on releasing more music in 2017. I will definitely have my E.P. out in the New Year - date to be announced.

I am hoping to get a couple more tracks done to add to my repertoire so I have been writing a lot and trying to decide on what will best suit the E.P. - to go with what I already have done.

I will be posting updates on my website and social media pages. I am obsessed with Snapchat so that’s my daily method of connecting with/updating everyone on the goings on.

I can imagine you’d go over a storm in the U.K. Have you ever played here or have plans to do so in the future?

Thank you! That is so great to hear! I would LOVE to perform in the U.K. I currently don’t have any plans to visit or perform out there but if the opportunity came up I wouldn’t hesitate, that’s for sure.

Looking ahead to the coming year: what do you hope to achieve as a musician and YouTuber?

Well...

So far I am really happy with how well Broken Dreams has been received and am glad everyone is loving it.

In the upcoming year, I definitely want to release my E.P. and start performing my new music. I would love to start hearing my songs on local radio too - Broken Dreams just played on a radio station in a town called Peterborough recently; that was so exciting!

I also LOVE writing and recording/producing so I plan to work on new music this upcoming year as well. I also want to film another music video for one of my songs that will be on my E.P. - I love being in front of the camera; acting and working with a team. I would love to grow my audience on my YouTube channel and post more exciting content (to connect and interact with my viewers). I pretty much just want to continue doing what I love and be able to do more of it full-time and dedicate more time to everything.

Christmas is coming up. How will you be spending it and what is top of your present list?

I will be spending Christmas with my family. Family is so important and mine has been so incredibly supportive of me and my dreams. I have a big family and we are all very close so I spread my time out between everyone - especially during the holidays.

I don’t really have anything I want for Christmas. I currently have everything I could wish and hope for - my health, my family and friends; my music. All I want is for everyone I love’s health and happiness and to continue to have the opportunity do what I love - which is to make music, entertain and create content people love to watch on my YouTube channel - www.youtube.com/c/breetaylor. If I HAD to pick something I guess it would be to get everyone reading this to subscribe to my channel ;)

Is there any advice you’d like to offer any upcoming musicians looking to follow in your footsteps?

My advice is to believe in yourself and keep going no matter what anyone thinks or tells you - or what that voice of doubt in the back of your head might say. If this is truly your dream and you want it more than anything - don’t give up.

Perseverance and a positive attitude are key. Don’t let anyone deter you from your dream, not even yourself.

This is a long and hard journey but it is worth it if you love what you do and keep a positive attitude no matter what challenges life throws your way.

Finally, and for being a good sport, you can select any song you like (not yours as I’ll include that) and I’ll play it here.

I am OBSESSED (like most of the world) with Closer by the Chainsmokers (ft. Halsey) and am even more obsessed with the music video.

[youtube https://www.youtube.com/watch?v=PT2_F-1esPk&w=560&h=315]

________________________

Follow Bree Taylor

 

Official:

http://breetaylor.com/

Facebook:

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

Twitter:

https://twitter.com/thebreetaylor

Instagram:

https://www.instagram.com/breetaylorofficial/

SoundCloud:

https://soundcloud.com/bree-taylor-4

YouTube:

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

FEATURE: The November Playlist: Vol. 2

FEATURE:

 

The November Playlist: Vol. 2

__________________

I realise I did not publish a November Playlist…

last week - and for good reason. There were not that many singles released so it is lucky the past few days have seen scores of wonderful music drop. I have been collating all the latest singles and album tracks; new videos and the best chart-bound sounds. I also look at Kate Bush – who is interviewed on ‘6 Music tomorrow (1pm) to promote her live album, Before the Dawn – and Jeff Buckley – who would have turned fifty (last Friday). Included is an R.E.M. classic – the album Out of Time is getting a twenty-fifth-anniversary release – and, as part of my ten favourite albums of the year feature, I take songs from five artists who have made a big impact this year.

__________________

Jeff Buckley – So Real

[youtube https://www.youtube.com/watch?v=EcaxrqhUJ4c&w=560&h=315]

R.E.M. – Half a World Away

[youtube https://www.youtube.com/watch?v=Bn4pBPSbqgc&w=560&h=315]

A Tribe Called Quest – We the People…

[youtube https://www.youtube.com/watch?v=vO2Su3erRIA&w=560&h=315]

Michael Kiwanuka – Rule the World

[youtube https://www.youtube.com/watch?v=97_wGuIYXTE&w=560&h=315]

Jorja Smith – Something in the Way

[youtube https://www.youtube.com/watch?v=z4uzS6G8B1E&w=560&h=315]

Gold Panda – Your Good Times Are Just Beginning

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

Martha Wainwright – Goodnight City

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

Hudson Mohwake – Play N Go

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

Spring King – City

[youtube https://www.youtube.com/watch?v=Cgwm9wrbL7Y&w=560&h=315]

Alex Izenberg – To Move On

[youtube https://www.youtube.com/watch?v=Q8LfW-_iQW0&w=560&h=315]

Courtney Marie Andrews – Put the Fire Out

[youtube https://www.youtube.com/watch?v=gl2mWYQyf3s&w=560&h=315]

John Legend (ft. Chance the Rapper) - Penthouse Floor

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

Julia Jacklin – Coming of Age

[youtube https://www.youtube.com/watch?v=WkF_d3f2MJo&w=560&h=315]

James Blake (ft. Bon Iver) – I Need a Forest Fire

[youtube https://www.youtube.com/watch?v=sAJgs1P-uUE&w=560&h=315]

Naughty Boy (ft. Kyla & Popcaan) - Should've Been Me

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

Xiu Xiu – Wondering

[youtube https://www.youtube.com/watch?v=rj2gin8iSsw&w=560&h=315]

MØ - Drum

[youtube https://www.youtube.com/watch?v=-cO43nfWxMA&w=560&h=315]

Penthox (ft. Madcon & Julimar Santos) - Cigarette

[youtube https://www.youtube.com/watch?v=39ZvoV8AxSU&w=560&h=315]

Soulwax – Transient Program for Drums and Machinery

[youtube https://www.youtube.com/watch?v=crD34sIkuS8&w=560&h=315]

Pulled Apart by Horses – The Big What If

[youtube https://www.youtube.com/watch?v=I1D5fDJB24c&w=560&h=315]

Violet Days – O.D. on You

[youtube https://www.youtube.com/watch?v=0VKzqFHOpDc&w=560&h=315]

Minor Victories – Give up the Ghost (Orchestral Variation)

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

Little Mix – Power

[youtube https://www.youtube.com/watch?v=DD0xahKEqMY&w=560&h=315]

Radiohead – Daydreaming

[youtube https://www.youtube.com/watch?v=TTAU7lLDZYU&w=560&h=315]

Britney Spears (ft. Tinashe) - Slumber Party

[youtube https://www.youtube.com/watch?v=2RRY3OVqtwc&w=560&h=315]

Cory Hanson – Ordinary People

[youtube https://www.youtube.com/watch?v=g3BOboSpmlQ&w=560&h=315]

Animal Collective – Mountain Games

[youtube https://www.youtube.com/watch?v=9mDpPPBL51s&w=560&h=315]

Jimmy Eat World – Sure and Certain

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

Billie Marten – Teeth (Mahogany Session)

[youtube https://www.youtube.com/watch?v=4egOO_lspa8&w=560&h=315]

Sundara Karma – Flame

[youtube https://www.youtube.com/watch?v=77-LEYGdOcE&w=560&h=315]

Beans on Toast – We Made it to the Waterfall

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

lIv – Dream Awake

[youtube https://www.youtube.com/watch?v=_S6YEJu5HGw&w=560&h=315]

Sia (ft. Miguel & Queen Latifah) - Satisfied

[youtube https://www.youtube.com/watch?v=LlMQ38ha5oc&w=560&h=315]

Alex Clare - Tell Me What You Need

[youtube https://www.youtube.com/watch?v=9SEo4Ke9rSM&w=560&h=315]

Animals as Leaders – The Glass Bridge

[youtube https://www.youtube.com/watch?v=ybVC6pDDZfI&w=560&h=315]

Tinashe – Nightride

[youtube https://www.youtube.com/watch?v=yVmZmQChVj4&w=560&h=315]

Alicia Keys – Holy War

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

Ariana and the Rose - Supercool 

[youtube https://www.youtube.com/watch?v=z96ro-C4x6c&w=560&h=315]

Jeff Buckley – Dream Brother (Live from the Bataclan)

[youtube https://www.youtube.com/watch?v=ey2GcPlFdXc&w=560&h=315]

Childish Gambino - Me and Your Mama

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

BETSY – Wanted More

[youtube https://www.youtube.com/watch?v=T3kBKWaXCZ4&w=560&h=315]

Gnash (ft. Johnny Yukon) – Home

[youtube https://www.youtube.com/watch?v=KezxeO1zIBo&w=560&h=315]

Laura Mvula - Ready or Not

[youtube https://www.youtube.com/watch?v=82rFHswS9qw&w=560&h=315]

MK (ft. A*M*E) - My Love 4 U

[youtube https://www.youtube.com/watch?v=PquKZGoLfB4&w=560&h=315]

Nick Murphy – Stop Me (Stop You)

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

Emeli Sandé – Breathing Underwater

[youtube https://www.youtube.com/watch?v=ye-3d2QCz2o&w=560&h=315]

Noonie Bao - Sorry Not Sorry

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

Pnau – Chameleon

[youtube https://www.youtube.com/watch?v=s2pp_ZAk6Uw&w=560&h=315]

Sigma (ft. Birdy) - Find Me

[youtube https://www.youtube.com/watch?v=Ec92Wa8zJs8&w=560&h=315]

Justice – Alakazam!

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

Ariana Grande (ft. Stevie Wonder) - Faith 

[youtube https://www.youtube.com/watch?v=VGJpmrbz5H8&w=560&h=315]

Pond – 30000 Megatons

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

Metallica – Murder One

[youtube https://www.youtube.com/watch?v=2Mkq6GFLIsk&w=560&h=315]

Jamie T – Tescoland

[youtube https://www.youtube.com/watch?v=VAOORzCqRa4&w=560&h=315]

Frightened Rabbit – I Wish I Was Sober

[youtube https://www.youtube.com/watch?v=Ki2FdTDhx7E&w=560&h=315]

Rumer - What the World Needs Now Is Love

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

Dawn Richards – Vines

[youtube https://www.youtube.com/watch?v=0iw2OYvzaik&w=560&h=315]

The Last Shadow Puppets – Les Cactus

[youtube https://www.youtube.com/watch?v=xf5apyds8Xk&w=560&h=315]

Sharon Jones & the Dap-Kings - Stranger to My Happiness

[youtube https://www.youtube.com/watch?v=IlPE1rEdAdI&w=560&h=315]

Kate Bush – And Dream of Sheep

[youtube https://www.youtube.com/watch?v=CMn0PrIcy7Y&w=560&h=315]

You can agree there are some fantastic songs on this list. From throwaway Pop to stone-cold classics; legendary cuts and new stunners – enough for the pickiest of music lovers to get their teeth into. As we head towards the end of this year; lots of artists are getting music out in time for Christmas. This can only mean a rush of new albums and treats – that is the hope anyway! Keep in touch and see just what next week’s instalment of The November Playlist holds.

TRACK REVIEW: Three Kings High - Nowhere Fast

TRACK REVIEW:

 

Three Kings High

 

PHOTO CREDIT: Sean Strong

 

Nowhere Fast

 

9.5/10

Nowhere Fast is available at:

https://www.youtube.com/watch?v=Gar-CQ699NM

RELEASED: 

16^th September, 2016

GENRES: Rock; Funk; Alternative

ORIGIN:

Bristol, U.K.

The album, They Think They're People, is available here:

https://itunes.apple.com/us/album/they-think-theyre-people/id1133145824

_______________________

THE past few weeks have seen me look at bands and the...

value they hold in the modern scene. When reviewing solo artists – and the great ones coming through – I have looked at bands and how inferior some are. It seems like solo artists are grabbing more attention and much more diverse, consistent and original – the group hegemony starting to wane. That said, bands like my featured artists are making huge efforts to reverse that trend. Before I come to them, I want to look (again) at bands and the importance of originality; groups that take things back-to-basics whilst remaining populist – having a peak back at Bristol-based musicians and their merits. If I have been a bit dismissive of modern bands it is because of a certain type: those thin-hipped Indie boys that seem to be bash off vague Arctic Monkeys-esque songs without any originality and meaning. You also get a lot of Electronic-based groups that are incapable of enticing or appealing – just trying to fit into a mould straining heavy with like-minded beigeness.

Those bands that provide something fist-pumping, dirty and captivating are a rare stock – we should be proffering them and making sure they get the respect deserved. What is quite galling is the so-called ‘next best thing’ label the media attributes to any young group with a modicum of energy and noise. It is not good enough simply throwing some random, chart-seeking sounds together and thinking that is sufficient. The most enduring and long-lasting examples go deeper and create something a lot more startling and memorable. I know it is hard coming into music and making an impression; doing something instant and unexpected. The instinct of most bands is to portray a little bit of their heroes’ sound whilst putting themselves into the gaps. The trouble remains this: there is a real issue with originality and a lack of distinction. In terms of the mainstream artists; I cannot remember the last time I got excited about a band. Hooton Tennis Club and Warpaint are exciting and inventive, but to my mind, they are in the minority. There seems to be a general fear – among new bands coming into the big leagues – of being overlooked or not standing out. If you want to discover the freshest bands around, you need to delve into the underground – looking at those acts unsigned and free from commercial/label pressures. Undeterred by market trends and tight schedules: they are free and relaxed to create music at their own pace; the sound they want to produce.

PHOTO CREDIT: Aaron Thompson

Three Kings High have a booking and press manager but have no record deal at the moment. The Bristol-based boys play Indie-Rock but do not cause me to shiver and balk – as do a lot of groups that play in that genre. I have grown weary of many Indie-Rock groups and how tired they seem. Three Kings High have plenty of Funk and sleaziness; thrown into the music – guaranteed to slosh alcohol around the place and kick over a few chairs. The guys have built a reputation around legendary live sets and music that pulls down the trousers and kicks you square in the cheeks. Thinking about them – and the acclaim they have gathered – is in no small part due to their dynamics and basic outlay. They are A Band: pure and simple without fancy baubles and needless sheen. Raw, stripped and completely engrossing: the personification of what a modern band should be about. There is no pretence or desire for mainstream appeal; they do not need to the nod of talent show judges or the beard-stroking nods of the stuffiest music critics – a group that has a rebellious streak and an enormous amount of honesty. A real and relatable band that make music for the feet and body. Too many bands seem to go for the soul: music that soothes and comforts but rarely gets the listener active and engaged. There is a risk turning things around and going straight for the gut – a lack of sophistication, depth and appealing. I still hear so many bands that turn the volume up and forget to write a tune. Such is the lack of musicality and quality it comes off jarring and jagged.

Three Kings High have been described as writing black Funk: the sort of music that recalls the Soul/Funk kings of old but has that modern skin. It is no surprise they  have caught the attention of the likes of Craig Charles – someone who knows a damn good funky tune when he hears it! Not only that: the band have been hailed by some of the biggest stations and reviewers around. I would think (Three Kings High’s) uncomplicated and blistering sound is the reason behind it. The guys have been working hard and touring a lot – honing their sound and growing strong with time. It is a disservice to call the band ‘Indie-Rock’ but it best explains their role I guess. There is ample Funk, Soul and Alternative threads within the music of Three Kings High to stands them above their contemporaries. So many bands of the minute are desperate to either fit into holes or be needlessly complicated. It is not easy taking all the clothing and layers away and presenting something basic but incredibly alluring. Three Kings High are masterful at getting into the head but registering nuance and memories long after the music has stopped. Both explosive and slowing-releasing music – that is a very difficult thing to achieve. Knowing similar bands like Saints Patience – a London-based Funk-Rock band – this sound is something a lot of other musicians would do well to follow. The results, the incredible music, really do speak for themselves.

PHOTO CREDIT: Aaron Thompson

Before coming to the new music of Three Kings High: I wanted to talk about Bristol and how the city has shaped and redefined music. Back in the 1990s, it was impossible to ignore the relevance and influence of Bristol. Bands like Portishead and Massive Attack put the city firmly on the map and were the leaders of British Trip/Hip-Hop.  More obscure and lesser-celebrated bands such as Kosheen and The Pop Scene have helped put Bristol into the forefront. This year, there have been a few bands (from Bristol) shaking it up and making their mark. Foreign Affairs made some big steps in 2015 and are a Rock-Folk trio who mix American and British sounds together – already catching the ear of the press and radio stations. The Jacques are two sets of brothers who spar cockney guitar music with early-‘00s New York – quite a heady and irresistible call. If cello, beautiful female vocals and enriched, vibrant choruses are your bag, then Elder Island should be top of the musical shopping list. The trio is primed for bigger things and should be on everyone’s radar. It is not just bands that are making themselves known in Bristol. Fenne Lily is reminiscent of Daughter and Laura Marling: gentle-plucked strings with soothing, riparian tones; a passion and wistfulness combination that evokes something stunning. Ema Sierrra tells wonderful stories and packs a wonderful soulful, laid-back vocal style – hovering over droning guitars and dark velvet palettes.

If the sound and genres being proffered have changed (since the 1990s) then the quality and variation has not. We often celebrate London and Manchester as the cities to watch – continuing to produce world-class music and incredible acts. Over the past few decades, the cities have been unrivalled in terms of consistency and excellence. Bristol enjoyed exposure and attention during the reign of Massive Attack and Portishead but we assume that is all there is to the city. If you look closer, you will find so many wonderful musicians and a wealth of creative genius. It is hard to ignore Bristol’s strengths and variations: so many different artists all making an impression. I have ensconced myself in London and often focus too heavily on the musicians there – ignoring treasures like Bristol, for instance. It is a little remiss because, since the heydey and golden period for the city, there are so many wonderful musicians emerging. It is hard to say just how many of them will ascend to the mainstream but Three Kings High seem almost certain. They take wealth and knowledge from Bristol’s past and fuse it with the immediacy of the present.

PHOTO CREDIT: Sean Strong

Look back at previous Three Kings High releases and you get a sense of where they have come from. Hail is an album flowing with funky grooves and uplifting harmonies. Crow and the Dove boats male-female vocals and races and jives it way through the gears. A rousing and blistering song that gets you up and moving – a typical track from that. It’s stop-start; fast-slow dynamic keeps things unexpected and unpredictable while Nothing Left to Lose is more straightforward but no less affecting. It is a song that has a funky/Rock core but spends more time fleshing out ball-busting solos and the band’s interplay. You get caught in the notes and flow with the song. Blending Rap and Hip-Hop into the song it is another addictive jam. What once notices, and differentiates their current material from older, is the sense of development and confidence. Hail is a record full of great moments and plenty of wonderful takeaways. They Think They’re People picks up from that without having to add too much to the palette. You get all the reliable groundwork and senses but, on their latest album, there is more depth and variation. The production sound is more solid and polished without losing its grittiness and natural freshness – it still sounds like you are listening to a live performance. They Think’ and its harder moments really resonates but so too do the funky cuts and soulful investigations. I have mentioned how unleashed and unchained the band is – a sentient unit that has a huge feel for subject matter and knows how to evoke reactions. Nowhere Fast is the perfect tributary of their multiple talents and ideas. You have all the fantastic vocals (of their early days) with some new-found inspiration and strength. The songwriting – on the song and album – seems at its peak and more original and startling than before. Maybe it is the touring and abilities they have picked up on the road; the press and push from the media have given them new impetus – all of this comes out resolutely and burning bright.

PHOTO CREDIT: Pete Stone

I wanted to focus on opener Nowhere Fast as not only is it the album introduction but the most immediate and nuanced song from They Think They’re People. The song rips from the gates and has that instant, catchy vibe. It is a track that spares no prisoners and contains that infectious glee and racing heartbeat. The composition is fairly simple but it is something few other bands have come up with this year. 2016 has been defined by some very serious music and a lot of artists trying to do something fun and frivolous – many fall short of the mark. Nowhere Fast has an ironic title given that accelerated start and ties together the ragged and loose sensation of a classic Rock band and something quirkier like The B-52’s. The hero comes to the microphone but he seems to be in rather gruff and unhappy mood.

PHOTO CREDIT: Sean Strong

Life has been spiralling out of control and perhaps not reaping the rewards it should. You sense unfairness and injustice are ruling the creative mind. With many casting the net of blame over love and its tremulous daggers – Three Kings High’s lead is looking at the wider world and its lack of humility, humanity and jurisprudence. No matter what he does he cannot catch a break; there is that salt in the wound and a real degree of disenfranchisement and jadedness. No doubt there are some brutal truths to explain this cosmic bullying but you are too enveloped in the sheer sense of abandonment and ease in which the song unravels. I was caught by the percussive and strings melting; the way they wrap around one another and kick each other on. The entire band propels their fellow members and has that intuitive bond. The composition perfectly documents and illustrates the song and all it stands for – adding colour and imagination in addition to myriad emotions and possibilities. Our man is wiping nose on the back of his sleeve and getting “nothing done”. It is interesting to see whether – this lack of productivity – is the result of ill fortune or people hindering the lead. One feels dispensation and remuneration are in order: the fact the hero is being hindered if causing a lot of anxiety. Most bands – who would assess the same kind of thing – would bury the song in cloying sentimentality and morbid introversion. What you find with Three Kings High, as with their other releases, is an implacable verve and dynamic drive.

PHOTO CREDIT: Pete Stone

The song swaggers and dances its way around the room as you take in words of fatigue and dissatisfaction. When listening to the song, if the band would not take offence, you get a bit of The Specials, Sex Pistols and The Stranglers – maybe a little bit of Joy Division in the mix too. While other names do fly to the mind, you never think of anyone else. Nowhere Fast is that classic track of ambition against reality: fighting realness and natural expectations against inner-desires and widescreen hopes. Whether our lead just wants to progress in life and find his way; desires something rather spectacular and precious – nothing seems to be going his way. The song’s germination, because of that, need not have stemmed from one event or an extensive creative retreat – it is a sentiment and topic everyone can relate to. The hero is too “busy being busy” and seems wrapped up in a whirlwind or routine, work and rigmarole – never getting chance to cut loose and experience something pure. No matter how many pains and negatives are being thrown the way of the lead: nothing is changing and there is never an opportunity for relaxation and realisation. Nowhere Fast is an intriguing song whose language is direct and simple yet its truth is far from it. You wonder just how/what has compelled this discourse and (whether a figure) has sparked this musical fire. The language and lyrics are clear which means every line can be heard, appreciated and understood. Many bands bury their lines and lack that necessary decipherability. Three Kings High make their songs resonate with clarity and get straight into the head. Our man has his pockets rattling and being cemented in quicksand. How can he make his way and achieve his goals, one asks. “I’m getting nothing done” seems to be the central mantra of the song: the nub of the track. Many of us go through life not doing what we need to do and finding little time for ourselves. Maybe rising and new domesticity and demands have rendered personal time irrelevant; perhaps there are fewer moments to catch a breath. Whatever has unfolded is causing its fair share of heartache and pain.

PHOTO CREDIT: Pete Stone

Repeated, chorused words – uttering the song’s title – gives the song a real boldness and aggression – it is never off-putting or hard but captivating and strategy alluring. The vocals are layered and the chorus really starts to shine. That said, the band is hardly second-fiddle. The bass guides and steers the song: keeps all the strands and ideas connected and propels the other members along. The guitars swell, cut and stutter: not only creative a typical funkiness but eliciting emotions as wide-ranging as anger and humour. Percussion-wise, it is quite subtle but powerful enough to give the track a sturdy backbone and a real authority. The need to think fast (or “die slow”) is there: the hero is sinking beneath the sand and is collecting dust. Some may think it melodrama and exaggeration but you cannot say that without knowing the truth and seriousness and reality – that is kept to the band and never fully exploited. Nowhere Fast is open for everyone and is vague and oblique enough so everybody has their own views. I feel (the song) looks at personal ambitions coming against the unforgiving demands of the modern world. Perhaps ensconced in a nine-five existence and perpetual repetition – always experiencing the same day and never breaking from its straight jacket.

PHOTO CREDIT: Sean Strong

Whatever lies beneath the skin is up to you – you are always caught by the infectiousness of the composition and the strong vocals. The band are completely in-step and provide one of their most astonishing and together performances. Having listened to most of their material – enough to gain a sense of evolution and chronological improvement – I can see just how bonded and together they are. Few bands have that spirit and gel – you get that in spades with Three Kings High. Like fellow Funk-Rock-Soul band Saints Patience – who created a similar song in Break of Dawn – there is that swaying and mobile vocal (full of dance and movement) with an insanely catchy and instant chorus. The band rides the song into the final stages with as much commitment and energy as they opened. Joe Eden and Samuel Otis provide the vocal allure (Otis on guitar) whilst some production and keys skills from Tom Lingham are firm and proud. Luke Wookash is the percussion master and provides that effusive and racing beat; Rowan Ensoll gives those liquid bass notes and unifying embers whereas Elo Colliou backs up the vocals with some sturdy and atmospheric rhythm guitar sounds. Nowhere Fast is, to my mind, the finest and truest song from Three Kings High. It is They Think They’re People’s highlight and a song that is sure to go down a storm in the live setting – impossible not to dance to and sing along with. Let’s hope the Bristol band is unsigned and undiscovered no longer. They have already caught the ear of some big names so it cannot be too long until they get the full credit deserved.

It is never wise proclaiming a band/artist as ‘ones to watch’. It can be a risky venture that seems exaggerated or a little pressuring. Bands feel they have to live up to that hype and it can be galling and intimidating. With regards Three Kings High, I will not laden them with any expectations or hyperbole. They have already gained applause from a range of magazines, sites and radio stations. I mentioned how Craig Charles has lauded them: ‘6 Music have featured their music and noted just how fresh and alive the band are. Other media sources have tried to describe their sound: like being in a bar and seeing a young, hungry band bring the funk. You might have your own interpretations but everyone will take something aware from the listening experience. I always search for groups that have that endurance and can keep on making music years down the track. So many current groups – in the mainstream at least – have that temporary feel and you wonder how long they will remain. Perhaps it is a matter of originality and sound or maybe it is a sign of the times – not to affront Three Kings High. There is a lot of talent in the upper reaches of music but our minds either turn to established, historic musicians or those making their first moves. It is quite hard arriving in the mainstream and trying to forge a successful career. In past reviews, I have lambasted bands that copy others and come into music with rather timid sounds. The way to get listeners hooked and remaining is something unique: that special touch that no other artist possesses. In terms of the band market of today: energy and nuance are more in-demand than anything else. Too many bands either go in heavy-handed (lacking sophistication) or too vague and weak. Three Kings High have something different about them. You hear their album They Think They’re People and get an octet of tracks brimming with live-sounding jams and a wealth of stories, emotions and standouts. It is hard for me to fully explain the album – which is why I rarely do album reviews – but Nowhere Fast is a perfect opening salvo.

PHOTO CREDIT: Sean Strong

Right from that track; everything else makes sense: you have an idea of Three Kings High and fall under their spell. Take a look at some sample reviews:

"A band at the peak of their powers!"

 - TOM ROBINSON, RADIO 6

“Three Kings High build their songs from strong guitar riffs and memorable choruses, their indie attitude wilfully refuses to let them follow any of the signposts pointing to the obvious route”

– CLASSIC ROCK MAGAZINE

“It is a creation which shimmers with excitement and temptation. If one were to close one’s eyes when one has this disc on, one is in a sweaty little basement club, surrounded by beer and fag fumes”

– IS THIS MUSIC

“Three Kings High are just white boys doing dirty, black men funk rawk and they're making it fun and they're making it impossible to take the piss out of them”

– UNPEELED

“It’s an addictive track, it’s just finished and I’ve got to have another blast of it. Like it a lot”

– BAUER MEDIA

It is clear the media and national radio are very much on board with the Bristol clan. That sort of brings me to the future and what the band can achieve. Short into their career and they have garnered big plaudit and some fantastic feedback. Not only have they cemented a solid fanbase but have ensured the hippest and most influential tastemakers of this country are on board. I feel the lads could well make a name for themselves in other nations. I keep mentioning the likes of the U.S.A. and Australia. These two nations as influential and important as the U.K. America is a nation that not only has L.A. and New York – two sides of the nation that provide ample and different opportunities – but have waves of towns, cities and states that could entertain the boys. They could embark on a mini-tour of locations in the U.S. Finance might be a hindrance but it is something to think about. There has always been a bond and special musical relationship between the U.K. and U.S. – plenty of opportunity for the band to get their music heard over there. I can imagine cities like New York and Seattle would best suit their sound but who knows how far they could go. Australia, too, is a country awash with fabulous musical areas. Melbourne and Sydney are obvious hotspots but Brisbane is perhaps the jewel in the crown – that part few think about but contains the finest musicians. It will be exciting discovering what the band do next year and where they choose to tour. They have a lot of demand in this country so could well find themselves tied up here. I can imagine the likes of Craig Charles are dancing and getting down to They Think They’re People and all it has to offer.

PHOTO CREDIT: Aaron Thompson

Too detailed, colourful and exciting to do justice to in the space of this review – Nowhere Fast is the (in my view) finest example of what the album is all about. The simplicity and fun; the energy and band connection; memorable and instantaneous nature of the song – that is all there and firm. Explore the L.P. and you are treated to an intoxicating and brilliant world: one where the senses are inflamed, seduced and awed. Make sure you get the album and let it do its work. Not only is the music instant and sharp but it has that necessary nuance to it. Whether a song is more direct and hard or takes time to work its magic – you will always come back to it and reinvestigate. I opened by looking at Bristol and how vital it is; the importance of originality in music and how the band market is taking a bit of a kicking. With the likes of Three Kings High ruling large: one will always find an act capable of revitalising flagging corners of the band industry. The sort of predictable Indie acts have had their day and are being superseded by a superior, more intriguing replacement. Three Kings High have touches of Funk and Punk; they have some Rock edges and Indie middles. Never unfocused or far-reaching – a band that can tread into various genres and make everything sound completely natural and sensational. It is left for me to highlight the importance of cities like Bristol – an area that has lost a bit of attention since its regency in the ‘90s. With such an original, fresh and exciting band like Three Kings High coming through: can we overlook such a place any longer? As I have shown (at the top of this review), Bristol has a lot of great solo artists and bands staking their claim. You can toss Three Kings High into the hat. They Think They’re People is a perfect example of a group vibing from backing and media appreciation. That confidence and faith go into incredible material that is gathering universal acclaim. If you want to discover a band that not only separates themselves from the crowds but has the impetus and potential to last for years – you should head the way of Three Kings High. Where they go from here is anyone’s guess, but if you ask me, they…

PHOTO CREDIT: Pete Stone

WILL not be slowing down soon.

[youtube https://www.youtube.com/watch?v=Gar-CQ699NM&w=560&h=315]

_________________________

Follow Three Kings High

 

PHOTO CREDIT: Sean Strong

Official:

http://threekingshigh.com

Facebook:

https://www.facebook.com/ThreeKingsHigh/

Twitter:

https://twitter.com/threekingshigh

Instagram:

https://www.instagram.com/threekingshigh/

SoundCloud:

https://soundcloud.com/threekingshigh

YouTube:

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

INTERVIEW: IDLES

INTERVIEW:

 

IDLES

______________________

IT was quite challenging pinning down the guys from…

IDLES – caught in a touring whirl and busy on the road. Joe Talbot, Mark Bowen and Lee Kiernan; Adam Devonshire and Jon Beavis make up the five-piece. The chaps set some time aside to chat about their latest single, Well Done. I ask them about the support they have received – ‘6 Music especially instrumental – and the inspiration behind their current track. The Punk maestros have been inflaming and thrilling crowds (across the world) for a long time and are gearing up to record their debut album, Brutalism – it will be out next year. With that in mind: the chaps discuss the recording process and what we can expect; how they have progressed since their early days and what it is like being compared with giants like Fat White Family. It is great to hear the guys in self-deprecating, spirited and acerbic mood.

_______________________

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

We're good thanks. Just on the road to Cambridge to play a gig thing. Our week has been sh*t-hot. We've been playing shows and sleeping in the van which has brought us closer as friends and lovers.

For those new to the band: can you introduce yourself, please?

We are IDLES.

Bobo on shitar and pleb dance, Joe on singing; Jon on drummings, Dev on pasties and Lee hasn't got a fuc*ing clue.

What was it that brought you guys together? Have you known each other for years or did the band sort of fall together?

We've known each other for many years and the want to make music brought us together and has subsequently killed our friendships.

You have been championed by Steve Lamacq and Tom Robinson on BBC Radio 6 Music. Is that a station you listen to a lot and what was it like hearing praise from those D.J.s?

BBC Radio 6’ is collectively our favourite station - so to be played by those bays was a fuc*ing dream.

God bless the good Lord Lammo.

There are elements of Fat White Family and Sleaford Mods to your work but your individual personalities and words stand out. There aren’t a lot of Punk bands that mix sly humour and poetry. Do you think music would be richer if there were?

I think music is rich enough to enjoy the sh*t that's out at the moment but could definitely do with more diversity in terms of new music being played to the masses. There is no need or want for more of any particular music in our camp - just new ideas and violent sounds from any voice or genre is welcome.

Welcome was your debut E.P.; followed by Meat in 2015. What is, would you say, the biggest difference between the E.P.s in terms of sound and lyrical themes?

Bowen: Sound-wise there was a clear progression. Welcome contains a lot of influences we had at the time and we were still trying to find our feet.

Meat has Lee on it and sounds more like us. I wouldn't listen to Welcome - it's a bit beige for my tastes.

Joe: Content-wise; I've always focused on similar themes of grief and anger/fear - but I reckon my writing has more confidence in Meat which has materialised in the conciseness of my writing.

[youtube https://www.youtube.com/watch?v=7Oxqf_15k0w&w=560&h=315]

Well Done is your latest single. What inspired the song and do you remember who came up with the idea?

I was listening to Fire in the Booth in the kitchen - I was working in at the time - and I was thinking about how Grime uses repetition of a word or phrase - as, not only the hook but also a way of adding gravity to the theme written about. The rest was us doing the do.

The song name-checks Mary Berry. You guys don’t strike me as fans or watchers of The Great British Bake-Off. Is it a guilty pleasure of yours?

The Great British Bake-Off is not a guilty pleasure of mine, no. The song is laced with spite.

I think Jon watches it, though - he loves cake.

I can imagine you have been performing live a lot the past year. Can we expect to see Idles in the studio – making an album or E.P. – anytime soon?

We have recorded our first album called Brutalism. It's out next year.

I have mentioned bands like Fat White Family. Which artists, either mainstream or underground, are impressing you right now?

Current artist impressing us right now: Show Me the Body, Traams; Crows, Scarlet Rascal; Oliver Wilde, Milo's Planes; Lice, Rhain; Spectres, Fenne Lily and Plastic Mermaids

One imagines you guys grew up listening to a lot of Punk and Rock as children. What albums and artists were common in your households?

Punk-Rock was not common in my house: my old dear loved Simply Red and Otis Redding. Bowen's dad was in a punk band called The Shops - by all accounts The Shops were sh*t.

You have a lot of tour dates (the rest of) through November and December. Which dates are you looking forward to especially?

I'm sorry, we're late responding to this - we prepared for Iceland with lots of layers but if you're thinking of going save up some serious cash money as it ain't cheap; no sir! Our set was the same as it always is: different every time and fuck*ng radicalz.

Many people have images and ideals of what life on the road is like for a young Punk-Rock band – lots of beer, trouble and late-night turbulence. What is the reality like and is touring something you all enjoy?

Touring is like going on holiday only you're traveling with people you hate.

Your hotel is a van; the beer is warm; the reps. are similar and you really look forward to work.

[soundcloud url="https://api.soundcloud.com/tracks/225956513" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Looking at your promotional photos and there is some awesome hair/facial hair going on. Is there any ‘hair envy’ in the band and who would you say boasts the best hair?

Dev has hair envy as he's bald and often dreams of his now-ghosted locks. Bowen has the best hair because it's thick and grows quickly. Lee's is thinning but it hanging on for dear life. I've been balding since I was 10 and balance this out by cry-wanking.

What of the next year or so? Any plans or ambitions you have as a band for 2017?

2017 is the year we release an album, record a second and tour lots.

For the new bands that want to follow in your footsteps: what advice would you offer to them?

My advice to new bands is practice, practice, practice - write and practice.

Finally, and for being good sports, you can each name a song of your choice (not one of your own as I’ll include that) and I’ll play it here.

Taos Humm – RC

[youtube https://www.youtube.com/watch?v=RNNeWa2TsYc&w=560&h=315]

Traams - Swimming Pool

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

Of Montreal - Heimdalsgate Like a Promethean Curse

[youtube https://www.youtube.com/watch?v=5VeIL7juFE0&w=560&h=315]

Negative - A Frames

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

Danny Brown - When it Rain

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

________________________

Follow IDLES

 

Official:

http://www.idlesband.com/

Facebook:

https://www.facebook.com/idlesband/

Twitter:

https://twitter.com/idlesband

Instagram:

https://www.instagram.com/idlesband/

SoundCloud:

https://soundcloud.com/idles

YouTube:

https://www.youtube.com/user/Idlesband/videos

TRACK REVIEW: Bear Feathers - My Baby Too

TRACK REVIEW:

 

Bear Feathers

 

My Baby Too

9.4/10

My Baby Too is available at:

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

RELEASED: 

2^nd July, 2016

GENRES: Electronic; Synthwave; House; Singer-Songwriter; Shoegaze; Indie; Dream-Pop

ORIGIN:

Brighton, U.K.

The E.P., Hold Down the Feel, is available at:

https://itunes.apple.com/gb/album/hold-down-the-feel-ep/id1127085270 _______________________

BEFORE I come to looking at my featured artist…

it is worth raising a few points – revisiting one I mentioned yesterday. I will start with that one because it seems to be happening with a lot of groups/solo artists. Bear Feathers, like a lot of his contemporaries, is making sure he has an impressive social media outlay but neglecting the relevance of photos and images. I am intrigued by Bear Feathers but there is little in the way of photography: giving you a look at the face and voice behind the music. It may not seem like a big deal but, in the future, journalists and media sources will come calling and look to connect with them. Photos are almost important as music videos – a way of bringing a musician to life and getting them into the mind. Society is obsessed by photos and images – with Instagram and selfies taking over – so it is something every new artist needs to consider. I will not bang on about that point but it is something for Bear Feathers to mull over. I wanted to look at Brighton-based acts – where Bear Feathers hail – Electronic/genre blends and the importance of local acclaim and support. Bear Feather is the creation of Neil Durrant who has been pitching his stall around East Sussex for the past few years. Having recently played in Worthing (West Sussex): it seems like there is a great support down south for Bear Feathers. In addition to splitting time between the Sussex counties: it is certain more opportunities around London and larger cities will become available. I have looked at quite a few acts around Brighton and it seems like an area that is proffering some of the more interesting and intense musicians around. Of course, Royal Blood is an act that is synonymous with the area – even if they have not been exactly prolific in the past couple of years. If the duo ever decides to record an album again – let’s hope they get on it soon – then that will be much anticipated and celebrated. The Wytches are another cracking Brighton band that keep things heavy and hard. That is a big point that has come to mind: those artists that play on the raw side of music. Spending a lot of time in London; I am not hearing too many bands that are tougher and more accelerated. There is a tendency to perform Electronic/Indie sounds and keep it quite introspective and acclaim – not quite as rousing and spirited as one would hope.

Over the past few years, artists like Blood Red Shoes, The Kooks; The Go! Team and Rizzle Kicks have put Brighton firmly on the map. Between them you get plenty of colour, energy and fascination for sure. There are quite a few Brighton bands that have made an impression this year and will continue to do so into 2017. Fragile Creatures play around Brighton and are desperate to put British guitar music back into the fore. Bear Feathers matches clever lyrics and Beatle-esque sounds to create something both ‘60s-nodding and current. Shoegaze-cum-Indie guys Black Honey have been making strides and always wanted to remain secret – that is not going to be a reality into next year. Fear of Men are a darker alternative to many of their local peers. They write songs about mental illness and themes that might carry a stigma – a sort of modern-day Smiths with a bit of Joy Division. Their guitars and compositions recalls the 1980s Manchester bands while their lyrics tap into a common vein – subjects that need to be addressed. That is the wonderful thing about areas like Brighton: the band market is very much alive and well. I have mooted, in recent posts, how hard it is to find a ‘Best London Bands of 2016’ result on search engines. If you try typing that in you have to navigate a labyrinth of insufficient and unrelated articles to get to something vaguely relevant. Throw in names like White Room and Golding and you already have a steady spine of bands that can be mainstays of the future. I have bemoaned the lack of notable new bands – being overtaken by solo artists – and that holds true for London. There are a few coming through but not being exposed the way they should be. Brighton is a different affair and much more notable with regards its groups. In the absence of the likes of Royal Blood; Bear Feathers fill the void very nicely and are starting to gain ground. Before I carry on, let me introduce my featured act to you:

“During the last three years Bear Feathers (Neil Durrant) has fronted a Garage Punk band, Produced Deep House, Synthwave and remixed various upcoming acts. These tracks have featured on BBC 6 Music, Radio 2 and Amazing Radio - gaining support from Super Star DJ Dave Pearce, Jeff Wooton (Gorillaz) and Lo-Fi genius James Yuill. Bear Feathers is where many influences fuse together in an original combination of melody, vintage electronics and blistering guitars”.

Bear Feathers is hard to pin down in terms of the styles and genres played. There is a lot of Electronic and synth. stylings but that is paired with Rock, House and Shoegaze elements. It is very much indicative of the variation and characteristics of the city. I know people who live Brighton way and always extoll the virtues of the musicians that play down there. I am not sure if there is something in the air but (the artists there) are much more nimble and fascinating than their London peers. It might be the people and the sights of the city; maybe the calmer lifestyle but it is seeing some terrific acts emerge. Bear Feathers has that granite core and scintillating guitars; there are nods to older House artists and some fresh and zesty Electronic strands. Tying it in with my last point: the support of local stations and outlets is vital. Bear Feathers just played Recreations (Worthing) and performed alongside some tremendous bands. Organised by Sam Duckworth (formerly of Get Cape. Wear Cape. Fly) – it was a successful gig for the Bear Feathers. Aside from that, there has been some support and backing from local stations but it is the crowds and opportunities around Worthing and Brighton that have ensured continued performance and success. Many bands and artists flock to London because they get few chances to shine where they live – the local media is rather scares and sparse. That is quite a worrying trend: the cities are filling and towns are being deserted by musicians.

Brighton is a different kettle of fish; a place where there are some great venues and influential stations. Watching Bear Feathers come through; you would imagine there isn’t the temptation to come to London – ample chances for exposure and acclaim down in Brighton. Durrant has been pounding the local circuit and celebrated because of their direct and spritz-laden music. Tying in my points of genre blending and local acclaim: the two go hand-in-hand and are not coincidental. Bear Feathers has evolved and developed since the early days and have reached a point where he/they are being tipped as one of those acts to watch closely. Into 2017, there will be more gigs and one feels a lot more support from local stations and tastemakers. Why so many solo artists are being favoured is because of the lack of restraints and singularity. They do not have to reach a consensus and argue with other voices: they have their own ideas and can take their music wherever they please. Bands seem more rigid and structured which is seeing some worrying trends. Many are still entertaining the possibilities British guitar music is dying and not long for this world. That might seem like an over-reaction but we’re seeing fewer guitar bands come to prominence and been taken to heart. I am not sure what the reason is behind this but it may be due to changing tastes and new demands – perhaps the proliferation of solo artists and difficulties getting anything new from Rock. Bear Feathers has done things right and are made the best of it. Durrant has that solid and dependable guitar core but take the music in all sort of directions. There is that Shoegaze side and nods to baggy-shirted bands of Manchester – the likes of Stone Roses and Happy Mondays. There is – keeping the Manchester themes firm – nods to Oasis and The Smiths but you get attacking salvos the likes of Royal Blood, Muse and Queens of the Stone Age would be proud. Toss in some Electronic subtlety and beauty; House elements and some Pop colours into the mix – quite a heady brew and wonderful cocktail. It is this adaptability and bold sense of creation that resonates with a wide number of people and keeps the music fresh and agile. Bear Feathers is capable of producing songs that are resolutely his but can fuse different genres. Guitar bands of the past have been too beholden to purity and replicating their idols – not putting enough of themselves in there and stretching the music. Bear Feathers is one of the most focused acts around but one of the most variegated.

If you are new to Bear Feathers then you might want to go back and see where they came from. As you glean from the Facebook biography: it was Neil Durrant who started the project and created it with the intention of making an impression – distinguished and separated from the raft of other acts out there. Hold Down the Feel is the most complete and solid work from Bear Feathers but not the first steps. There has been other material and it is well worth investigating and listening to. Disconnection was released a couple of years ago and does differ to their modern material. You can hear some of the spacey, robotic electronics across the E.P. but it is rarer. Hints of Kraftwerk come out in the song: it is a modern equivalent of their music and you get transported into a strange and distinct universe. The processed vocals and rushing compositions are engaging and flowing – something not a lot of modern bands are trying. If you look forward, there is a definite change of sound. I explained how Bear Feathers have retained some of that Electronica and processed sound but is embracing guitars and Indie a lot more too. There are more House elements and some Disco too. What is great about Bear Feathers is the modern material does not forget Electronic and synth. sounds in favour of a more one-dimensional Rock core. There is a heavy proliferation of warm electronics and fizzing keys; some tempestuous percussion and a celebratory mood. You get little touches of Maximo Park and like-minded musicians but it is very hard comparing Bear Feathers with anyone else. The E.P.’s closing track is as energetic and explosive as anything they have created and sums up the E.P. as a whole. Sure, there are some more reflective and calmer moments but you find (across the four tracks) the need to engage with the audience through energy and force. There are so few bands that can seamlessly blend guitars and electronics and make their music original and appealing. You either find there are some rather predictable Rock bands or Electronic artists that are a little flighty, weightless and disconnected. Bear Feathers not only overcomes possible hurdles but is much more detailed and complex than you would imagine. So many different genres and sounds in the music make it a treat for the ears and senses. The confidence and commitment you hear on Hold Down the Feel is very pleasing. That can only improve and expand over the years and see Durrant really hit a peak. You can imagine Bear Feathers being a festival favourite – very soon and taking their music around the world.

The start of My Baby Too gives you an idea of what the song is about. If you watch the accompanying video; you will find lads arguing in the pub with Wood in the middle – by the time the introduction is over she is on the floor, writhing. The opening synths. and electronics go between Synth.-Pop and Dub-Step within a few seconds. It begins teasing, skipping and static before lowering and unleashing a spectral, low-down moan. Not only does that set the scene but it gets the listener ready and hooked. I am not sure whether the song was inspired by a real-life romantic struggle – perhaps Durrant finding competition and unwanted affection towards his girl. The heroine is being fought over and is an unwanted chattel as it were. She is a commodity rather than a person and is having to get involved in a Mexican stand-off. Maybe the other guy was not aware she was taken and there is a bit of flirtation from the heroine. That miscommunication and misunderstanding gets heated rather soon and finds confrontation and aggression take over. The hero has to be “that guy” and make the truth known. It is odd finding an apologetic tone but that gives new possibility to the song. It is unclear whether the girl belongs to the hero or the other guy in the picture. Maybe there is that history and old romance that died – the two split but the affections run deep. Perhaps it is simpler and there are other men swarming around the girl. It is understandable – watching the video – with regards the appeal and allure of the heroine. She is a flame-haired woman that has that instant beauty and attraction. You envisage yourself in a local (Brighton) pub and the two lovers minding their own business. Maybe a guy has come in and is trying his luck – pitching up to the girl and laying down his cheesiest chat. That unwarranted come-on has caught the eye and causing some unction. You can feel the tension and sense something rather explosive is about to unfold. The composition remains frantic and energised. The synths. are consistently racing and get straight into the brain. There is certain weightlessness and fatigue to the vocal but plenty of underlying urgency and stress too.

It is a fraught scene that one jumps inside and tries to referee. Bear Feather is effectively a solo project of Durrant but has that band feel – hence the reference to them as a band – but Wood’s role should not be diminished. Not playing a musical role in Bear Feathers: she is an unofficial member whose is the ‘face’ of the E.P. and appears in the music video – the inspiration behind the song. You see them as a partnership and musical couple despite the fact Bear Feather is Durrant alone. The song’s chorus repeats the title and really gets into the brain. An addictive and effective mantra that enforces the truth and keeps the intrigue flowing. Hearing the song you get impressions of the ‘80s synth. masters and something classical and epic. Durrant lets it be known it takes “three to tango” and things are not that simple. I get more intrigued by the origins and reality of the situation – whether there is a tussle over a relationship or something more complicated. You get the feeling the heroine/Wood is being courted by both men but not necessarily involved with either. My Baby Too is an inscrutable and mysterious song that does not readily reveal its truth and keeps the listener guessing. Even before the guitars come in, you can hear the building eruption and explosion. The hero is keeping his eye on the girl and ensuring she is not lead astray. You get hooked in the teasing and hard beats and warm, rushing electronics. That combination is pulsating and dangerous; grabbed and sucked into that whirlpool of sound and invention. Durrant sounds more and more anxious as the song unfolds. In the video, Wood acts as the Muse and gyrates and gesticulates with sexual indiscretion. Losing inhabitations and modesty: she is alarmingly bold; perhaps not shocking she is catching the gaze of fellow pub patrons. The song’s middle section gets more nervy and tense and provides an atmospheric break. The scene has been laid and you get another piece of the puzzle. I mentioned and referred to Bear Feathers as a guitar-based act as it is that instrument that is the most effective and notable part of the song. It acts as a contradiction and polemic of the rousing and colourful electronics. Before then, the hero reverts to the chorus and tries to make his voice heard. The hero has had his heart broken and was left – making things clearer – and has been complacent in the past. That seems to be the nub and origin of the song.

The girl was part of Durrant’s life but something happened to end the relationship. Now a new man is in the frame, there is a bit of jealous and regret emerging. At times, there is something quite unnerving about the sense of scene – a girl being put in the middle and two men both vying for her affections. Wood, as the video’s heroine, is a femme fatale that has captured the affections of a new beau but is in the mind of her former love – that sense of loss and unhappiness is evident. I mentioned guitars and how effective they are to Bear Feathers: it is a side of the music that should come out more. The final seconds are the most heated and inflamed across the song. The incredible squall and fire emanating from Durrant’s guitar is stunning. Not only do you get a scintillating and bracing riff but the most passionate moment of the song. After the consistent and familiar electronics that unfolded: the scene changes and becomes a lot more stormy and violent. The teeth are out and that electronic snarl blends with the synthesisers; they create a heady and suffocating mood that makes My Baby Too more stormy, swaggering and tense. You cannot escape that lust and roar that bursts from the electronic strings. It takes the song down and ensures the listener gets a swift kick. I would like to see the electric guitar come out more as, here and on the E.P., its incorporation is the most strident and memorable element. By the end, you have to take everything in and will still hear echoes of the chorus and guitar ringing in the ear. It is not just a perfect representation of the E.P. but the finest song on the disc – one that perfectly concludes it and shows what Bear Feathers is made of.

Having recently played as part of Duckworth’s seaside festival: Bear Feathers has reached new audiences and has been given the nod by one of our most original and impressive British musicians of the past few years. That is just the start of things: with Hold Down the Feel, you get a four-track E.P. that bursts with life and personality; so many different stories and ideas – that core energy and effusiveness that defines My Baby Too. I was compelled to focus on that track as it is out in the public ether and already gaining a lot of respect and reviews. It is the swansong to an E.P. that not only is the best work from the Brighton act but a sign of things to come. It might be impossible to nail Bear Feathers in terms of genre – he has Disco elements and all manner of sounds in the boiling pot. I know Durrant will be planning new material and ideas in 2017 but it will be fascinating seeing what form that takes. Whether there is another E.P. in the mind of a series of singles – whatever it is, many people will jump on it and be very excited. Over the past couple of years; you can really hear the improvement and change in the music. My Baby Too is the most instant and stunning song so far and the perfect way to end a stunning E.P. Filled with imagination, tight performances and incredible songs – one everyone should be aware of. Before I get to the conclusion and see where Bear Feathers is headed: it is worth looking at my original points and what I raised at the top. It would be good to know more about Durrant's creation and how it came together and changed. With Wood as the ‘face’ of the E.P. and inspiration behind My Baby Too – not listed in the biography on Facebook – it would benefit knowing how she joined with Durrant and the time they got together. In her, they not only have someone making a vital impact musically, but there is that visual allure. She adorns the E.P. cover and is a Florence Welch-cum-Tori Amos red-haired figure that can get hearts skipping beats. Perhaps not relevant to the music: she holds fascination and speculation without saying a word or playing a note. Regardless of my predilections and requests; Bear Feathers should be thinking of getting some more snaps taken and some professional shots. After a run of gigs and some rather impressive tracks under his belt – Bear Feathers should entertain the possibility of greater exposure and success next year. Already played by ‘6 Music and some of the most influential stations in Britain – not long until there are some high-profile gigs.

That brings me to the points about multiple genres and Brighton in general. There is still that proliferation and zeal towards London bands – something that will wane very soon. I cannot find that many great London bands this year or any polls that indicate a huge explosion. That demand and request is almost Google-proof where Brighton does not suffer that fate. The small venues and clubs are not as vulnerable and endangered as those in London. Stalwarts such as Green Door Store are rising and premiering some of the hottest talent in the country. Not only building their reputation and core: there are a lot of great venues around the city available for the new musician. In addition, the radio stations there have their ear to the ground and it is easier to make a living as a musician – no need to flee to London and try your luck there. Not only does Bear Feathers have that support on the doorstep; there are some like-minded contemporaries that can drive Durrant's act and are available for backing. Not only (do Bear Feather) have the chance to approach the hottest Brighton bands coming through – they are part of a local scene that is putting emphasis on bands and actively seeking the best of the breed. Bear Feathers impress me with the sheer ambition and appeal of the music. You get that sturdy and captivating Rock but so many other colours in the spectrum. Compelled by a range of genres and artists: Durrant started the group on these foundations and does not want to see Bear Feathers restrained, honed and singular. Hold Down the Feel is a terrific E.P. that captures all the layers and ideas like a huge net collecting butterflies. I urge people to get down to Hold Down the Feel and investigate everything it has to offer. It is an E.P. that registers the first time you hear it but keeps eliciting response and reaction every time you hear it. That is the mark of a great act - that sense of nuance and repeatability is something I am seeing less of.

It is only left to wrap things up and see where Bear Feathers might be headed. Durrant has been performing locally but one feels there will be a more wide-ranging and long-traveling itinerary unfolding throughout 2017.  I could easily see him performing throughout the country and taking their music far and wide. Bear Feathers is not an act that is niche and unlikely to connect with the wider world. They have that everyman, universal sound that will strike a chord with so many people. Let’s hope Durrant can push the songs as far as possible and get those gigs – one of the acts you want to see live and hope they succeed. I am sure Bear Feathers will not struggle in the future and is going to be releasing a lot more material. The latest E.P. is awash with strange chemistry, memorable moments and incredible compositions; fresh and emotive vocals and a compendium of sounds to boot. I would like to see them in London next year and bringing their music to the masses here. Brighton is a very hospitable and welcoming city – Bear Feathers will find many opportunities and fans in London. I cannot wait to see where he will go and just how far he can progress. It seems likely the next year will find them transition to the outside mainstream and get within touching distance of the festival scene. Among an ultra-competitive industry with so many different bands/acts vying for huge success; it is with no uncertain proclamations I predict Bear Feathers…

HAS what it takes to go all the way.

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

__________________________

Follow Bear Feathers

 

Facebook:

https://www.facebook.com/bearfeathersmusic/

Twitter:

https://twitter.com/Bear_Feathers

SoundCloud:

https://soundcloud.com/bearfeathers

YouTube:

https://www.youtube.com/channel/UCYB6p5hp2oufJX_HIZtYuiQ 

FEATURE: Kate Bush: Before the Dawn

FEATURE:

 

Kate Bush: Before the Dawn

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FOR anyone who likes their Christmases filled with music, surprise and…

emotion – there are fewer better gifts than an album like Before the Dawn. The three-disc collection collates the best moments from Kate Bush’s twenty-two sold-out shows at London’s Hammersmith Apollo in 2014. The album is out on November 25^th and shows why so many people wanted to see Bush in the flesh – each of the shows was sold out within fifteen minutes of going online. The shows were not just spellbinding and quintessentially Bush-esque: people who were there came away aghast and bewitched; seduced by the magic and the energy on the night. Make sure you get the collection and immerse yourself in the beauty of her music, stage presence and charisma. In honour of the impending release: I have been compelled to collate the finest Kate Bush songs; the best interview clips from her and assess why she is so special.

_________________

What Makes Kate Bush So Special?

There is nobody quite like Kate Bush out there. Listening to interview with her – more on that later – and you hear an articulate, witty and warm woman who is always teaching something new. Listening to her speak is an experience like no other – you always come away seduced and smiling. Even interviews conducted in the early part of her career (around 1979) are fantastic to watch. Even at a young age; Bush knew what she wanted to do and had complete confidence in her music. There were some shyness and modesty but you could tell, even in the late-’70, a future star was being proffered. Fast-forward to today and she seems ageless and the same woman she was back then. It is not just her conversational style and accessible nature that makes her so peerless – it is the music that stands the test of time. Having created such a sensational debut (The Kick Inside) as a teenager: many of her contemporaries would struggle to keep producing music of that calibre. The debut splits some critics – where it falls in the chronological pecking order – but it remains a fantastic and unique introduction. No other singer could have created a song like Wuthering Heights or The Man with the Child in His Eyes.

Not only did that 1978 debut resonate with critics and herald a rare talent: it propelled Bush to bigger and grander work. That eccentricity and beauty remained but what did come into play – before the release of Hounds of Love – was that cinematic scope and grand designs. Even at its most intimate and tender: Kate Bush’s music always possessed that swelling, tremulous quality. By the time of Hounds of Love; her music had reached its peak and capitulated her to international audiences. That album ranks as many people’s favourite (myself included) and it is not hard to see why. Even the ‘lesser’ albums – The Red Shoes and the debut – have so many fantastic moments. Few musicians have that consistency and evolving sound; the distinct and fantastic personality – a voice that carries everything and makes each word sound utterly essential. Too many of today’s like-minded artists go in too directly and possess little subtlety, nuance and grace – the components that made Kate Bush so special. Not only do they lack the necessary vocal dexterity/beauty and songwriting maturity – there is none of that warmth, wisdom and intelligence. That is not the case with all solo stars growing in her shadow – there are one or two newcomers that I am very excited about – but nobody quite like her. It is heartening to see her still performing and talking; getting her music to the people and willing to captivate the crowds – long may she reign.

What defines Kate Bush for me is that fastidious fascination with music itself. In interviews, she explains how she still works with the technology of past days – not willing to completely upgrade and dispense with the charming and sturdy methods she grew up with. Among the facelessness of modern recording and technology: here is someone willing to subvert expectations and retain devotion of past-days methodology. She is an honest and pure recording artist who balances family life and musical demands without making a fuss about it. It is a combination of everything to be fair: that inimitable lure and allure that has buckled knees and hooked souls since 1978. It is a testament to her enduring music and work ethic she remains relevant and celebrated. Critics are always looking for that next Kate Bush experience – what form it will take, we shall see.

The Kate Bush Playlist – Her Fifteen Finest Songs

 

Wuthering Heights (The Kick Inside)

[youtube https://www.youtube.com/watch?v=fVDRq_0zCJk&w=560&h=315]

The Man with the Child in His Eyes (The Kick Inside)

[youtube https://www.youtube.com/watch?v=NAj8suae3WY&w=560&h=315]

Them Heavy People (The Kick Inside)

[youtube https://www.youtube.com/watch?v=qfNtPbHkp0U&w=560&h=315]

Wow (Lionheart)

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

Babooshka (Never for Ever)

[youtube https://www.youtube.com/watch?v=6xckBwPdo1c&w=560&h=315]

Army Dreamers (Never for Ever)

 

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

Get Out of My House (The Dreaming)

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

Running Up That Hill (A Deal with God) (Hounds of Love)

[youtube https://www.youtube.com/watch?v=wp43OdtAAkM&w=560&h=315]

Cloudbusting (Hounds of Love)

[youtube https://www.youtube.com/watch?v=pllRW9wETzw&w=560&h=315]

This Woman’s Work (The Sensual World)

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

 

Rubberband Girl (The Red Shoes)

[youtube https://www.youtube.com/watch?v=85wZw1O83aE&w=560&h=315]

King of the Mountain (Ariel)

[youtube https://www.youtube.com/watch?v=F8xk_AkeP5c&w=560&h=315]

Mrs. Bartolozzi (Ariel)

 

[youtube https://www.youtube.com/watch?v=GZnA4jHuyzs&w=560&h=315]

Moments of Pleasure (Director’s Cut)

[youtube https://www.youtube.com/watch?v=YXKLWStu9iw&w=560&h=315]

Wild Man (50 Words for Snow)

[youtube https://www.youtube.com/watch?v=Mk-52lJXc0I&w=560&h=315]

 

The Albums: From Worst to Finest

10. The Red Shoes (1993)

 

The seventh studio album is considered one of her weakest. Its standout single, Rubberband Girl, is as elastic and intriguing as its title – a Reggae-cum-Rock workout that recalled her earliest work. Aside from that, there was quite a bit of filler and some forgettable moments. Even so, the album peaked at number two on the U.K. charts and was certified Platinum. A tour was mooted to coincide with the album – but never materialised – and there was some tension and upset in the creation of the album. Long-term collaborator Del Palmer left his bass and departed the fold; her mother, Hannah, died a year before the album’s release – some hard experiences for Bush. That being the case, you can understand some fracture and fragmentation.

Standout Track: Rubberband Girl

9. Director’s Cut (2011)

 

Few expected a Kate Bush album in 2011: let alone two of them! This release found Bush looking over old recordings and giving them new light. Composed of songs from The Sensual World and The Red Shoes – the latter saw some of its lesser efforts improved and provided fresh paint. Critics were fascinated and enthralled by the album and keen to lend praise and paen. Some were confused by its release and necessary but those who understood it noted the energy and passion emanating from Bush – someone in love with music and still compelled by what she foes. Bush’s perfectionist tendencies mean the songs are utterly crafted and honed – never a loose edge or insincere sentiment. Perhaps not nestling in the upper echelons of her grand catalogue – it is a wonderful album and one that demonstrates twenty-first-century Kate Bush is intoxicating as her ‘70s self.

Standout Track: Moments of Pleasure

8. The Sensual World (1989)

The title was taken from James Joyce’s Ulysses and Bush references literature and heroes throughout the album. More importantly, she created her own world and an utterly sensual and beautiful album. It is not just the vocals that hold court throughout the record. From wild and swaying pipes – on the title track – to the mesmeric lyrics – a complete and rounded album that departs from her earlier work and breaks new ground. Proving how keen to evolve she was: The Sensual World retains little of her best albums and goes in fresh directions. This Woman’s Work is the standout track and sees the heroine struggling to balance domesticity and demands in life – regrets, sorrow and harrowing thoughts racing around her head. Looking at gender imbalance, maternal servitude and struggle – one of the most affecting and enduring songs from Bush’s entire career. In the list of Kate Bush albums, it is one that gets to me – even if it does not elicit the same sensations and reactions from her best albums.

Standout Track: This Woman’s Work

7. Ariel (2005)

 

There was a time when many assumed we had seen everything from Kate Bush – twelve years after The Red Shoes; Ariel was introduced to the world. Her only double-album: it reached number three in the U.K. charts and sold more than 90,000 copies. Award-nominated and hugely rated by critics – not just a welcome return but one of the best Kate Bush albums ever. More cohesive, focused and consistent than The Red Shoes: Ariel is awash with everyday characters, mysticism and contradictions. From washing machine-laden heroines to kings and mountains; esoteric smells and transcendent sights. Bush’s voice sounds as strong and beautiful as ever – making the record not so much a rebirth but a continuation.

Standout Track: Mrs. Bartolozzi

6. Lionheart (1978)

 

Released shortly after her debut: Lionheart was the second album to be released from Kate Bush in 1978. It reached number six in the charts and is a bolder and more ‘grown-up’ effort than The Kick Inside. Bush adorned a lion’s costume for the cover and seemed keen to throw off any ideals she was ingénue and naïve – someone embracing music, dance and the self. The album spent thirty-six weeks on the charts and is seen as one of most underrated albums. While there is not the sheer magic and highpoints evident in Hounds of Love – there are some fantastic numbers that rank alongside her best. Wow is the one we associate with the album: the insight into an actor’s life and the rather overdramatic nature of the craft. Bush embarked on her first tour around this time and had little time for rest. The fact Lionheart was so rushed after The Kick Inside explains some minor tracks and little real development – something Bush would rectify shortly.

 Standout Track: Wow

5. 50 Words for Snow (2011)

 

Kate Bush’s tenth studio album was the second to be released off her own label, Fish People. The first new studio release since Ariel: the first time since 1978 she had released two albums in a year. Wild Man is the album’s lone single and demonstrates the same sort of verve, oddities and mystique as Ariel. The album was a narrative set against the background of snow – almost a concept album in a lot of ways. Stephen Fry lends his voice to the title track – essentially reading a list of words for snow; across multiple languages – while the remainder of the songs are still, wintery and tender. Bush, since her wilder works of the 1980s, sounded completely comfortable a more restrained and contemplative singer. A woman that prioritises personal demands over that of professional expectations: 50 Words for Snow is someone unconcerned with chart positions and radio-play; making mystic that sounds right and earnest. The snowy backdrops are augmented and defined by lush strings and stunning instrumentations – an album that grows more impressive and spectacular every time you play it.

Standout Track: Wild Man

4. The Kick Inside (1978)

 

It is my personal favourite Kate Buh but not necessarily her best. For me, it is so special because it came first – this was an unknown quantity coming into music and making her sapling steps. Such is the command, confidence and command you forget Bush was still a teenager when the album was released. Some of the tracks were penned when Bush was thirteen (The Man with the Child in His Eyes) and most of the tracks were solely written by Bush herself. Such was the aftereffect and reception for Wuthering Heights; it propelled Bush onto the world stage. Recognised as a special and transcendent talent by many: nobody like her had ever come into music; few have since. Bush was accompanied by an orchestra on some tracks – she claims to have been nervous when recording – which gives the cinematic songs more shiver, soul and grandeur.

Standout Track: The Man with the Child in His Eyes

3. Never for Ever (1980)

Following her 1979 tour – to promote Lionheart – Bush sojourned to the studio aided by Lionheart engineer, Jon Kelly. Never for Ever was a more personal album, and because of that, one Bush felt happier with – following the dissatisfaction with Lionheart. Whereas her first two albums were defined by lush orchestration and romantic simplicity – Never for Ever was more diverse and genre-hopping. Rockers like Violin were uncharted territory; Army Dreamers a more waltz-like affair; synthesisers and drum machines started to come into the music. Themes switched from doomed love and doomed army recruits; a governess scared by the feelings she has for a young male charge (The Infant Kiss). Like any Kate Bush works: there was plenty of literature and characterisation evident throughout the album. Songs like Babooshka were big hits and helped get the album (and Bush) to a wider audience. The author herself was satisfied – feeling it was her strongest album yet – and that shows throughout.

Standout Track: Babooshka

2. The Dreaming (1982)

 

The 1980s was a busy decade for Kate Bush. Not long after the dust had settled on albums The Kick Inside, Lionheart and Never for Ever – The Dreaming was in the public forum. Bush decided to produce this album by herself and take control of the music. Employing digital synthesisers more: quite an about-face from her first couple of albums. Bush also worked with a variety of producers and started to gain a lot more confidence – still in her twenties; a young woman who knew what she wanted and was more determined and ambitious than ever. Not a lot of convention and tradition can be found on the album. At the time, some critics found (The Dreaming) a little divisive, weird and quirky. That experimental and bold nature was always part of Bush’s work so it is no surprise she would augment and emphasise it. Few who heard The Kick Inside would expect a song as demented and overt as Get Out of My House – just another indication Bush was keen to not sit still and able to confound and amaze.

Standout Track: Get Out of My House

1. Hounds of Love (1985)

 

It could only be this one, couldn’t it?! The undisputed masterpiece and watermark of Kate Bush’s career arrived with 1985’s Hounds of Love. After disappointing sales figures of The Dreaming – executives at the label were concerned about how long it took to produce albums. In today’s scene, that notion would be absurd – many bands take years between mediocre records. Bush was busy touring and found herself at a loose end afterwards. She did not write for four or five months and took a summer out – so she could be inspired and find new influence. By 1983, Bush built a multi-track studio behind her family home and began work. Critics were instantly awed and knocked back by the album labelling it romantic, dramatic and genius. The fear and dread of The Dreaming were replaced by romantic longing and something more positive. Split into two halves – the first more traditional singles-led; the second a suite of songs – the sheer ambition, scope and sound of the record took many by surprise. It remains a staggering work from an artist in need of a kick and ignition spark. She certainly found that in Hounds of Love: one of the finest albums of the 1980s.

Standout Track: Running Up That Hill (A Deal with God)

The Kate Bush Interviews

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

[youtube https://www.youtube.com/watch?v=MSCdqI-5Qh4&w=560&h=315]

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[youtube https://www.youtube.com/watch?v=uSQ6ispjgnU&w=560&h=315]

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[youtube https://www.youtube.com/watch?v=xo4MZ8_clao&w=560&h=315]

Where Does She Go Now?

It was not long ago we were wondering whether Kate Bush would ever record another record. Since 2011, she has been busy and keeping her music out there. Before the Dawn was not only one of the most in-demanded and stunning set of concerts in modern music history – it showed what affection there remains for Bush’s music. She will be speaking with ‘6 Music’s Matt Everitt and, having heard a few clips, it is very much the same old Kate. She sounds completely comfortable and warm; convivial and witty – it does get the mind thinking. You know there must be another album coming in the next few years but what form that takes, who can really say? Bush will always be writing and making music so we should never rule out the possibility of more studio albums. Musical legends like Leonard Cohen show you can work into your 80s and still keep the crowds flocking – Bush might not want to go that long but it is an intriguing possibility. Before the Dawn captures some of her more-recent songs in a giant and spectacular setting. It is a timely reminder that shows what a sensational, once-in-a-lifetime talent Kate Bush is. I cannot wait to hear where she goes from here. You can hear some of Bush’s chat with Everitt here - http://www.bbc.co.uk/programmes/p04fr9cv?ns_mchannel=social&ns_campaign=bbc_radio_6_music&ns_source=facebook&ns_linkname=radio_and_music – and get a taste of the upcoming interview. I, for one, cannot wait to see what the coming years hold for the remarkable Kate Bush.

Before the Dawn: The Live Album

Information taken from http://katebush.com/news/kate-release-live-album-dawn

What the critics said about ‘Before The Dawn’:

"The most influential and respected British female artist of the last 40 years – ‘Before The Dawn’ is remarkable". - The Guardian

"Bush’s return to the stage is a staggering triumph" - Metro

"British music’s most significant female artist." - Evening Standard

"Some powerful magic has restored Kate Bush to us." - Observer

"A triumphant return by one of our greatest, most original and influential music stars." - The Sun

"Stunning, undoubtedly the most ambitious and genuinely moving piece of theatrical pop ever seen on a British stage". - The Independent

"This visionary performance is worlds apart" - The Times

The full CD tracklisting is as follows -

CD1:

Lily

Hounds of Love

Joanni

Top of the City

Never Be Mine

Running Up That Hill

King of the Mountain

CD2:

Astronomer's Call (Spoken monologue)

And Dream of Sheep

Under Ice

Waking the Witch

Watching Them Without Her (dialogue)

Watching You Without Me

Little Light

Jig of Life

Hello Earth

The Morning Fog

CD3:

Prelude

Prologue

An Architect's Dream

The Painter's Link

Sunset

Aerial Tal

Somewhere In Between

Tawny Moon

Nocturn

Aerial

Among Angels

Cloudbusting

The full 4x Vinyl tracklisting is as follows -

Vinyl 1: Side A

Lily

Hounds of Love

Joanni

Top of the City

Vinyl 1: Side B

Never Be Mine

Running Up That Hill

King of the Mountain

Vinyl 2: Side A

Astronomer’s Call

And Dream of Sheep

Under Ice

Waking The Witch

Watching Them Without Her

Watching You Without Me

Vinyl 2: Side B

Little Light

Jig of Life

Hello Earth

The Morning Fog

Vinyl 3: Side A

Prelude

Prologue

An Architect’s Dream

The Painter’s Link

Vinyl 3: Side B

Sunset

Aerial Tal

Somewhere In Between

Tawny Moon

Vinyl 4: Side A

Nocturn

Aerial

Vinyl 4: Side B

Among Angels

Cloudbusting

FEATURE: The Ten Best Albums of 2016 (So Far)

FEATURE:

 

The Ten Best Albums of 2016 (So Far)

______________________

WITH all the fantastic music his year has provided…

it seems appropriate to look back at the past eleven months and the fantastic albums that have been created. Many have (rightly) seen 2016 as a bumper crop and one of the most productive and consistent years for music – a vast improvement on previous years. With big legends and established bands creating their finest works; some wonderful debut and sophomore record unveiled: what better time than assess the best of the rest; those albums that have defined this year and prove what an amazing time for music it is. I collate my ten favourite L.P.s from the year: those albums that have meant the most and made the biggest impressions.

__________________

 Beyoncé – Lemonade

Few that witnessed her self-titled 2013 album could have predicted the shifts and explosions of Lemonade. Beyoncé has always been known for her electric performances and raw passion – Lemonade took that to rare and supernatural heights. Speculation exists as to the songs’ origins – addressing possible infidelity from Jay Z – but you cannot deny the quality and consistency. The finest album from Beyoncé’s solo cannon: politics, love and self-affirmation are all addressed across the record. Don’t Hurt Yourself (Jack White comes into the fold) is expletive-ridden, cathartic and angered whilst Daddy Lessons finds Beyoncé recall the advice her father gave – essentially, shooting cheaters and those who deceive (whether literally or metaphorically). Formation is the biggest political statement and finds Beyoncé not only rally her supporters but unifying the listening world – laying vital, humanitarian messages down. Although there are quite a few writers and producers in the mix: it is Beyoncé’s passion, talent and voice that ring loudest. It is a huge leap for Beyoncé and one that proves she is among the most inspirational and important artists of her time.

[youtube https://www.youtube.com/watch?v=PeonBmeFR8o&w=560&h=315]

James Blake – The Colour in Anything

This is an album I was certain would be nominated for a Mercury Prize. Whilst Skepta’s Konnichiwa would make my top-twenty of this year – alongside the likes of Bat for Lashes, Ed Harcourt; Sunflower Bean and Laura Mvula – but I feel The Colour in Anything deserved a Mercury nod. The sheer spectrum of colours, compositional touches and diversions is staggering. Across seventeen tracks – most of which Blake wrote alone – shows what a singular talent he is. There are few that have such a commanding and unique songwriting style as James Blake. That sonorous, captivating voice makes songs like Radio Silence and Modern Soul so engrossing and alive. The fact he was called to work on Beyoncé’s Lemonade shows what a cachet he has – an artist legends are clamoring to work with. If the production and sound are sometimes dystopian and mind-altered – a man wrestling with deeper issues – the lyrics speak of positivity, happiness and the quest for betterment. That might seem like a counter-intuitive approach to modern music but one that led to a spectacular, life-affirming record. The strongest of Blake’s trio of albums: The Colour in Anything points at what could come from the London songwriter.

[youtube https://www.youtube.com/watch?v=TTglDb7qjvQ&w=560&h=315]

David Bowie – Blackstar

Leonard Cohen’s recent death put into perspective how many music legends have been lost this year. Few are as notable and chasm-shaped as David Bowie. Few could have predicted his death when hearing Blackstar but it is impossible to listen to the album and not think about it. An honest, stark and beautiful work from a man who knew his fate was sealed. The seven-track release is more concise than previous albums like The Next Day and more compelling. Those looking for shades of early-career Bowie were surprised by the complex compositions, eccentricities and sonic leaps of Blackstar. Never an album that catered for radio stations: Bowie is at once oblique and mysterious and bare-naked the next; always gorgeous, memorable and graceful. Not only are the songs tighter and more nuanced but so too are the vocals. Bowie’s voice has always been lauded but on Blackstar he hit his peak – more shades, sides and emotions than ever before.  It is a tragedy that we will never see another David Bowie album: Blackstar acts as a wonderful epitaph and demonstration of a true icon undeterred and affected by imposing mortality.

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

Nick Cave & the Bad Seeds - Skeleton Tree

If you want to talk about emotional albums from musical icons – one more to come in this piece – then you cannot ignore Nick Cave’s latest album. Following the death of his son Arthur: Skeleton Tree gained a dark and harrowing notoriety. One can feel and hear Cave calling across the heavens to his departed child – desperate, confused and harrowed. Profundity sits with anguish across an album that offers a stark and open insight into bereavement. That is not to say Skeleton Tree is a suffocating and off-putting album. It is beautiful, mesmeric and engaging from first note to last breath. Jesus Alone boasts warped electronics and byzantine lyrics; Girl in Amber one of the most beautiful pieces of the band’s entire career – by the title track (the eighth and final) you yearn for more, oddly. It is seen as the unimpeachable album of the year by many critics and is hard to argue against. It is unlikely Nick Cave & the Bad Seeds will ever top Skeleton Tree and one wonders if they will continue at all. Such is the emotional, exhaustion and sadness one gets from the performances – can the Australian group ever come back from it?

[youtube https://www.youtube.com/watch?v=xKq39e7SBOE&w=560&h=315]

Leonard Cohen – You Want It Darker

The inclusion of Leonard Cohen’s final album is not a reaction to his death but acknowledging a truly astonishing work. In the way Bowie was coming to terms with his impending demise: so too was Leonard Cohen. You can hear a man not long for the world tackle the subject head on – he even told The New Yorker he was ready to die. Cohen sang from a medically-designed chair – suffering from a back injury – whilst his son Adam produced. Cohen’s voice is at its graveled and smoky best; the lyrics as sharp, poetic and profound as any of his career – the songs as unforgettable as any he has ever produced. Leaving the Table finds Cohen look at things surplus to requirement – “I’m leaving the table/I’m out of the game”. Folk, Gypsy roots and Blues bring together his older work (Various Positions especially) and You Want It Darker is one of the most eclectic works of Cohen’s career. Treaty sees synths., strings and choirs fuse while Traveling Light places bouzokis and drum loops together. It is an intoxicating and immense work from one of the greatest songwriters to have lived. Few could have known – like Bowie’s Blackstar – the creator would die so soon after – giving You Want It Darker extra levels, poignancy and relevance. One feels Cohen – having created that title and shuffled the mortal coil – will be shooting a sly grin from his throne in Heaven.

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

Julia Jacklin - Don’t Let the Kids Win

Not an album many would expect to see on an end-of-year list but it is there for a good reason. In a sea of solo artists laying down their songs and trying to impress – few make such a mark as Julia Jacklin. The Australian newcomer wrote the album in response to those around her growing-up and developing in life. Whether buying a home or moving abroad: Jacklin felt grounded and rootless by comparison. The songs address the need to make changes and the issue of age. The catchy single Coming of Age finds Jacklin tackling premature middle-age (Jacklin is twenty-five) and the necessity of making the most of time. The rest of Don’t Let the Kids Win is complex and diverse. The compositions are constantly agile, rich and unexpected – not what you’d expect from a debut album from someone entering the Indie-Rock milieu. Eccentric, charming and witty at times – various moments find Zach Braff cast as Jacklin’s dad and Catherine Deneuve as her mum – the shining star of the album is Jacklin’s voice. Quirky at various moments yet always heartfelt, spirited and beautiful. 2016 has seen many debuts and new artists emerge but few are as memorable as Julia Jacklin. The media and international radio have fallen for her music and no wonder: Don’t Let the Kids Win is a sensational album that deserves big love.

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

Michael Kiwanuka – Love & Hate

Home Again was the debut from Michael Kiwanuka and was well-received by many. Love & Hate seems like a quantum leap and true summation of Kiwanuka. Many have noted how busy and full Love & Hate is. More diverse, sprawling and ambitious than his debut – an album that never sits still and is always mobile, surprising and accomplished. Kiwanuka’s soulful, divine vocals make every song stand out and resonate hugely. At times introspective and investigative; others political and angered – a young man coming into his own and addressing the world around him. Black Man in a White World is about isolation and racial imbalance while Cold Little Heart shows its scars and burdens – a ten-minute masterpiece that has been described as Homeric and orchestral. Although many of the tracks are long and lush, they are never self-indulgent and unfocused – Love & Hate is consistently measured, disciplined and accessible. Kiwanuka can be punchy and funky when needed – One More Night is a classic Soul workout – but candid and revelatory when needed. The fact Love & Hate did not win the Mercury Prize is no disservice to Kiwanuka and his multiple talents – he will be winning many awards in the years to come.

[youtube https://www.youtube.com/watch?v=1Sw2JJ5nSbM&w=560&h=315]

Billie Marten – Writing of Blues and Yellows

The seventeen-year-old Ripon native entered music less with a bang and more a mellifluous, spine-tingling call. Writing of Blues and Yellows is a vastly mature work from a singer not only tender in years but making her debut statement. Poetic, literary-referencing and brutally honest – Billie Marten is a singer that gets into the head and is impossible to shift. Album standout Heavy Weather is a vivid and picturesque song replete with pattered beats and tender finger-picking; seductive (chorus) vocals and one of the most pin-sharp performances across the record - you envisage yourself battling the "English winter" with the heroine. Bird and Emily are utterly beguiling while Teeth addresses mental illness and is one of the most personal songs across Writing of Blues and Yellows. It is easy to find comparisons between Marten and her musical icons Nick Drake, John Martyn and Kate Bush. You command, talent and Folk wonder of Marten and Drake (within Marten); the age-appropriate lineage and immense voice of Kate Bush – Marten reminds me a lot of Kate Bush and (Marten) has the same potential and career looming. Critical consensus remains thus: a four-star beauty that showcases a rare and wonderful young talent. Make sure you keep your eyes trained on a musician that has a bright and varied career ahead.

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

Radiohead- A Moon Shaped Pool

I am a devoted fan of the Oxford band and was not expecting something as immense as A Moon Shaped Pool. The King of Limbs (their 2011 predecessor) was a fantastic album but not up to the peak of their early work. When A Moon Shaped Pool dropped, there was a bit of trepidation and fear – all of those nerves were quelled and eradicated within a few bars of lead-off single Burn the Witch. Looking at scaremongering, scapegoating politicians; a society that is keen to turn people away – one of the finest and most instant singles from the band. The rest of the album is tenderer, calmer affair – sharing a sonic palette with The King of Limbs. If there were not many guitar moments and traditional Radiohead songs: what one received was a more mature, deep and thoughtful album from a band showing why they are so revered. Thom Yorke’s voice is consistently beautiful, heartbreaking and gripping; the compositions grandiose, elusive and haunting. Ful Stop is a glitch, jittery jam whereas Daydreaming is somnambulistic, cinematic and affecting. Radiohead proved how varied they are whilst not losing focus and identity. Let’s hope there are more albums from the band because they remain one of the world’s finest groups – in a place where they are, in their own words, happy and contented.

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

Wild Beasts – Boy King

Wild Beasts are one of the most consistent bands in this country and have enjoyed near-perfect critical acclaim and support. Boy King is the sound of a band living up to their name: dispensing with the nuance and going straight for the bone; raw, sexual and snarling animals. This description might put off soon but it was the Kendall band embracing their debut album – returning to the prurient boys and the need to get satisfaction. Career standouts Smother, Two Dancer and Present Tense were lauded because of their intricacies, subtleties and complex arrangements – that cut to the heart and enriched the soul. Boy King is less sophisticated but more immediate than any of the band’s previous albums. Big Cat finds the man on top whereas Alpha Female reverses the roles; Get My Bang and Tough Guy gritty and cocksure. Despite the band addressing modern-day masculinity and embracing a heavier-orientated sound: songs like Celestial Creatures and Dreamliners are among the most beautiful and stunning songs from Wild Beasts. Recorded by John Congleton in Dallas, Texas – an engrossing and important album that seems ever-relevant for the times in which we live.

[youtube https://www.youtube.com/watch?v=SRFtHO180tg&w=560&h=315]

TRACK REVIEW: I.V - Silence Is Violence

TRACK REVIEW:

 

I.V

 

Silence Is Violence

9.1/10

Silence Is Violence is available at:

https://soundcloud.com/ivmusicuk/silence-is-violence

RELEASED: October 2016

GENRES: Alternative-Rock

ORIGIN:

London, U.K. _______________________

IT might seem like I am covering old ground in...

this review but some points bear repeating. I will say a few words about my featured act soon, but at the moment, it is worth looking at Indie-Rock bands of London and what they sound like; the quality and originality of bands and visibility and exposure on social media. One of the things that annoy me most about search engines is how completely basic and unfit-for-purpose they are. If you want to search for something like ‘best London bands 2016’ and hit that through Google – your options are limited. I tried that and got some old articles; some that wouldn’t load and most were out-of-date. There are no music sites that collect important polls and articles together that will help music fans and journalists. It might sound like a minor concern but it is a big problem. I am sure writers have collated lists of greatest bands – where does one find them?! What do you type in Google to get the information you need?! It is appalling it is so hard finding relevant information and getting what you need. The only other explanation – why I can’t find many band lists – is the lack of pages dedicated to this side of things. Given the amount of new bands emerging; why are there not more articles available? Search engines are flawed and frustrating but there seems to be a slowing of exposure and proliferation. People like me want to discover hot bands emerging and it would be good to find some sites and lists that make that easier. Of course, I could write one myself but there are thousands of journalists out there. If I want to collate a list of promising London bands then where do I go? I am not sure whether there is apathy and fewer journalists interested in this side of things but it is jeopardising the future of the music scene. It is challenging discovering great acts if you are based out of the city – even then it can be tough – so it is great finding lists and pieces that throw some great name our way. Unless, like me, you’re in the position where you get sent reviews and music – the task of unearthing promising musicians is a rather fraught one. It brings me, rather stumbling, to my point about London bands. Despite there being more focus on solo artists and other genres – there is a general decline in numbers and standard of Rock bands – that side of the market is still highly valuable and sought after. Indie-Rock is one of the most populous genres and one that shows huge diversification and variation.

London is always going to be a spiritual home for new bands of the moment. It has that lure and community that attracts hungry artists. Indie-Rock is seeing a lot of interesting examples bloom and present their stuff. As much as I bemoaned the lack of end-of-year polls and collation of ‘ones to watch’ – there is plenty of quality and sustainability in the band market. In terms of London; I am finding bands – even those who call themselves ‘Indie-Rock’ – incorporate other elements and genres into the music. In order for music – and the band market – to thrive and continue; we need to start organising things and bringing the very best together more clearly. This week has seen U.S. political hysteria and the death of a musical legend – making people reflect and yearn for something safe and better. Music has that innate ability to transcend time and situations and provide warmth and reassurance. I am not sure what we will do with regards the (lack of) visibility for great acts – whether there should be a bespoke site set up to expose great music or something else. I have tossed the idea about – setting a site like this up – but it might take a while to get going. Whether journalists do more to get the best bands to our ears is also to be seen, but for now, those like I.V are definitely worth time and affection. I am new to the band so have been looking into the origins and thinking where they came from. All that is listed across Facebook, in terms of biography are the names – Victoria San, Oliver Finch; Matt Nicholls, Polly Shields and Austin Danson – and the band’s mission statement: “Some kind of high-powered mutant, never even considered for mass production". It is an intriguing, if brief, summation of the guys and what they do. I have looked at new artists and how much they disseminate across social media. In order to get people in and journalists/fans latching onto the music – it is vital there is quite a bit of information and detail. I know new music is a vast and populous arena: it can be impossible sifting through the wave of participants, regardless of how much information they provide. Those that make the biggest initial steps are those that reveal a bit about themselves and give the audience something to see. I.V will have a definite future but I would like to know more about the members and where they came from; a few more band snaps and more media – some interviews and videos they have recorded/conducted. It is not a point I will bring up too vividly but it is harder now to succeed than ever. Those acts that have a clear talent and originality – like I.V – deserve more respect and longevity than those who merely turn up and put in the minimum. I am not sure whether the band has photo-shoots organized and will be putting longer biography out but there are many that would like to hear more about them and what they do – who influences them and what makes them tick. Perhaps this secretive, modest unveiling is to keep enigma firm and ensure the music reveals the most. That is commendable but one feels next year will be a busier, fuller one for them. Having made some impressive steps thus far; they are a bold and electric act that certainly make an impression.

Before getting into specifics about I.V and their music; it is worth talking about – and putting the band in this context – the benefits and importance music holds to us. I am writing this in the wake of Leonard Cohen’s death, and while not directly connected with I.V and their music – he raises a bigger point that needs to be addressed. A lot of the sadness and tragedy that has originated this year has concerned the – unfair and untimely – deaths of our greatest musicians. From David Bowie and Cohen through to Lemmy – it has been a rather cruel and unsubtle year from The Grim Reaper. No conspiracy, greater plan or heavenly scheme – just an unfortunate and sad year for us all. While 2016 (luckily) makes its final fits and fades into a new calendar year – there is that hopefulness for a better time in addition to reflection on the past few months. Given the passing of such legends: music has shown just how important and universal it is. Whether you have respect and fondness for the music of Leonard Cohen and David Bowie – you cannot argue at the fact they were hugely influential. That unequivocal relevance is never going to end. In response to such sad news and poor fortune; people like me are looking at musicians coming through to fill the gaps. Whatever your preferences with regards new music; there is plenty out there for everyone and some very promising acts. As we all step into winter’s icy depths: the mind and body crave something nourishing and fiery; colourful, interesting and different. Luckily, when it comes to I.V, you get that in spades. A terrific young band that is entering music at a very competitive time. I feel sorry for musicians coming in now and the realities of what is in front of them. They are stepping into an industry where perspiration outweighs perseverance. It is admirable (so many artists) go in hot and have that determination and single-minded passion. Those that overcome the perils and realities of music ensure their music is as sharp, defined and bold as it can be straight away. There is little modesty and time for tenderness for I.V. The guys make sure they get into the head and create nuance and memories. Let’s hope the band keeps strong and determined – they could make a real impact in London and rank as one of the most promising acts around the capital. Tracks such as Silence Is Violence show they differ from the norm. and have their unique brand of song – one that has not often been heard.

I.V are fairly new out the traps but have already shown they are an inventive and hungry band. If you look at their SoundCloud account – you will see some demo. songs and covers. Listening to contrasting offerings like Imagine (their John Lennon cover) and What It Takes to Be Yours (a demo.) and you can hear their range and variation. The former is quite dreamy and hazy: the vocal swoons in the background and it is an entranced version of the classic song. The latter is more pressing but still has some restraint. If you forward a few months and new song Entropy is a lot harder and sturdier. Employing more Punk shades and a harder noise – lo-fi and pretty raw. That shows how much I.V have progressed and altered over the space of a year. Entropy has similar shades to Silence Is Violence and the two songs are a nice companion piece. They would go well on an E.P. and one feels a three/four-track release would be imminent. I would like to see those two tracks side-by-side and forming the basis of an I.V E.P. Entropy is a song you should check out as it chugs, burns and snarls through the gears. Silence Is Violence is a track I was compelled to investigate as it is their finest song and shows where they are now – that sound and flair you can hear bursting through. I imagine the band will keep this sound and mix firm for future releases. They have changed a little from their earliest cuts and feel they have actually cemented their sound now.

Silence Is Violence opens with churning, propulsive strings that have edginess and attitude to them. I get embers of Doolittle-era Pixies in the way they burst through. In fact, there is a little bit of Where Is My Mind? (Surfer Rosa) in its blend of delicacy and power. Again, mixing Punk and Alternative embers together: it is an immediate and impassioned start that finds the heroine contemplating a relationship issue. Her man is by her and saying the words ‘I love you’. She is happy to hear it, but one feels, there is insincerity and hostility inside those sentiments. The sweetheart is cruel and spitting these words like an insult and taunt. Maybe they are side-by-side in bed together and going through the motions. The guy is saying those words but his heart is not in it – maybe being sarcastic or childish in the way he delivers it. The heroine has to deal with this and is seeing her life changed and perceptions of love altered. The silence and awkwardness that unfolds are causing pain and distress for her. Buried under a wave of twisted notes and energy; the vocal does get a little drowned but it underlines the desperation and despair that is being felt. You get the sense of a young woman battling to keep a relationship together and trying to get her man on the level. It may have started well but the two have drifted apart and want different things. One wonders why the man is in the bond and what he is getting from it. Maybe a controller and playing games: someone toying with the heroine and messing her about. When it gets to the chorus, there is a certain lightness and relief among the harsh words. The song’s title is chanted like a mantra but the vocal has an accessibility and sense of sweetness that keeps things from being too jagged and sour. The listener is lured by the tight band performance and incredible performances. I.V are tight but have a looseness to them – like you are hearing the song live. It is beautifully mixed but could afford to put the vocal higher/clearer in the mix. Having heard the band’s cover of Imagine and some of the older songs in the repertoire – they bring these together for Silence Is Violence. The softness and somnambulism of Imagine with spikier edges of their current material is seamless blended to create something full, layered and nuanced. Despite the song being heavy and hard: you will come back to it and discover new ideas and pleasures every time.

As the song progresses, my view changed and there is another side to the tale. Whereas I was thinking the man was at fault – it seems like it is not that clear-cut. The next verse finds the heroine being cruel and prodding the guy. Her words are barbed and her heart cold to the touch. She, for whatever reason, is being a little unkind and urging her man to scream and let his emotions out. In a sense, the song is an assessment of a relationship where pacificism and introspection is leading to muted feelings and an unfair balance. If the heroine is being a bit too callous and severe at times; the man is holding things back and not letting his unhappiness known. Maybe he is too afraid to let it out or part of the cat-and-mouse game that is unfolding. The silence that they share is the most destructive element. Maybe the outpouring and anger – from the heroine – is a reaction to the inattentiveness and silence of her man. Perhaps he is not being communicative and causing her to be alone in the relationship. It is hard to say but things have reached a boiling point. They go to sleep and lay awake not speaking – perhaps she is trying to talk – and there is that desire for something from the man. Even if he screams or shouts, that is okay – at least he will be contributing and letting his feelings be heard. It is a fascinating take on a relationship dynamic and not one you hear too often. I find a lot of accusatory songs that point the finger at the man without any real reason. Here, it seems like the gender roles are reversed and there is some blame on the girl. At the very least, the two are as culpable as one another. In order to assuage her guilt and hard skin: our heroine is trying to reason with the man and find out what is going on.

The band utilise their instruments as emotions and physical progressions. The guitars cut and jab like punches and verbal outbursts whereas bass and drums are pulsating, attacking and unsettled. When everything comes together you have a visceral explosion and representation of the relationship. I was impressed by the guitars and the amount of different sounds and notes thrown together. It is disciplined but ragged; stylish and simple – you get all these contradictions in a wonderful performance. The entire band are terrific and keep the song alive and flaming until its final moments. With the heroine pouring her heart out and unsure of what the future holds; her musical comrades provide impressive support and bring light and life to the words. Such is the connection between them you start to picture the song unfolding and what is actually being revealed. By the closing moments, one feels there is no real way back and the lovers have come too far. Silence Is Violence is a sub-three-minute gem that has some ‘70s Punk strands and shades of Pixies; some modern incorporations and unique chemistry. The chorus is especially pleasing and one that you will be singing along to soon enough. I was looking for clarity and truth by the end and was curious how the duo worked out. It seems like, whatever the outcome of that relationship, there are some lessons learned and both will not make the same mistake again. If silence is a destructive and ruinous thing to possess then overtness is a cleanser. Usually, when it comes to love songs, it is the arguments and fights that are assessed and cause the wounds. Here, if the heroine is being direct and fierce at times, the guy has his own brand of cruelty. I am always looking to point the blame finger at the man but perhaps it is more one-sided and simple. That is one of the great things about the song. It is a complicated insight into a relationship and one everyone will interpret their own way. Whether you are hooked by the swaggering, emotive compositional performance or the heartfelt, soulful vocal then you will come back to hear the song time again. It will strike you first time but keeps giving you something else each time you visit it. That is a hard trick when it comes to Alternative-Rock: nuance and repeatability is not always something that can be achieved. A stunning song from a band that are finding their way but have made an impressive step in Silence Is Violence.

I am excited to see where I.V can head and what the next year holds for them. I say that about all artists that arrive to me, but to be fair, that is the point of this blog. I am not here to review everyone that comes to my attention and mark certain artists for success – everyone I hear has that potential to go a long way and do great work. Despite narrow biography and some mystique; the guys have personality, strength and quality music in front of them. Whether that is enough for journalists and fans is hard to say – at the moment, they are building their foundations and testing the water. Silence Is Violence, if that is to define their sound, shows there is potential for the London band. The song might not hit you first time around but will register its layers and pleasures the more you get into it. That is not only the mark of a great band but fantastic music – unveiling its true beauty and complexities across time and loyalty. Before I predict the future and next year of I.V, it is worth tapping back into the initial vein – looking at London, Indie-Rock and getting your name out there. Over the past few years, I have been noting a change of scent in the musical wind. There was a time when the band market was the most sought-after and prolific in the world. Perhaps vibing and inspired by the remnants of the 1990s legends and ‘00s follow-ons – solo artists barely got a shout and were less notable by comparison. That is not the case over the past few years: there has been a shift towards solo artists and fewer ears trained the way of groups. I feel the reason behind this is the dependence on, and the decline of, traditional Rock and Indie blends. Maybe it is harder to inject anything fresh into the genres – I am seeing fewer standout bands at the moment. Because of this, it is scary coming into music if you are a band. The media has not helped with regards this trepidation. Keen to proffer any half-assed band that sounds vaguely interesting: too much focus on the weaker end of music is taking its toll. Whilst I have more appreciation and fascination for solo acts: my mind and heart is always going to be drawn to bands of the U.K.

London was not always the natural epicenter of great music. Around the time (of the) wave of fantastic bands was an attention towards other parts of Britain – Liverpool and Manchester still resonating hard. It is only the past, maybe three or four years, that has seen a dominance for London. If you are looking for a fantastic band that could be a mainstream proposition in years to come – it is only natural you set your sights to London. As the city becomes fuller and more diverse; in turn, there is a more eclectic scene and greater choice. I have cast some black-hewn seeds regarding Indie-Rock and its validity. While it is not as favoured and popular as once was: it is become more variegated, expansive and mobile. Artists – who play in this genre – are fusing other sounds together and making (Indie-Rock) less homogenised. I.V are proving this – whether they would traditionally refer to themselves as ‘Indie-Rock’. I feel bands are not quite as surprising and fresh as you would hope – it is down to the established artists to really show how it is done. Maybe that is an over-simplification but there are still a crop of young bands that have the possibility and promise at heart. I.V are little-known right now but, if they keep grinding and producing like they, can carve out some real estate about the capital. London is that inscrutable majesty that has a vast bosom and accommodating scene – conversely crowded, capricious and cold when it feels. Because of that, many young musicians are being put off and finding a home in other places – high rent prices and closing venues hardly helps the plight. It is not a dilemma or pandemic: London is still, in spite of its problems and limitations, the natural place for any musician who wants to succeed. You only have to do a cursory scan of London acts of 2016 and you will find so many different and varied examples. I opened by complaining about the lack of polls and end-of-year polls. Once was the time you’d have complete and regular lists about the London bands of the moment – that is becoming rare for those who want to keep informed. Because of this, I fear so many young acts – unfairly it seems – will struggle to get the respect and fan-baser they deserve. I might come across quite doom-laden but am merely being pragmatic and realistic. Against these potential black ice patches is a lot of warm sunshine and light. Even if Indie-Rock is slowing and not as popular as once was – the finest of the genre are showing we should not give up hope.

Silence Is Violence is one of a couple of new tracks from the London collective – a statement from a fine band that has ambitions to play bigger stages. I know they will be performing around the capital and cleaning up on the toilet circuit – the smaller clubs and venues; getting their music to the people. From there, and into 2017, one has to look farther afield and see where the band can head. I am finding a lot of bands finding opportunities and finding a living doing regular gigs around London alone. I feel I.V will want to remain in London but get themselves out to the wider public. I can imagine them in the U.S. and Europe – their music will translate well there and find plenty of support. I hope I.V put a bit of themselves on social media and ensure they have the best chance of survival and success. My favourite review subjects are those that have a full biography, a good selection of images and plenty of links – not just to social media but music-sharing sites. It is not a coincidence those that have the best music will also have the most impressive social media pages. I.V have an impressive amount of fans but can reach a lot more out there. In spite of bands not being as precious as once was: more of them are coming into music by the year. It is left to conclude things with a bit about I.V and what they can do in 2017. I know they have had a busy year but it seems like the one ahead will be busier and more packed. I have not heard word whether an E.P. or album is planned but I’d like to think so. They have momentum and are producing some terrific work - connecting with people and striking a chord to many. There is such chemistry and solidity in the band; they are one of those acts you know will be sticking together for years. It appears they have some thinking to do and just where they want to head. If they keep producing songs as strong as SilenceIs Violence then there will be demands from many parts of the country. I hear lesser bands being celebrated and promoted – it cannot be too long until the I.V chaps are enjoying some mainstream radio nods. They can get their social media stock fleshed and fuller; think about an E.P. and ally themselves with local radio and more press outlets – getting their music as far as possible. They are doing a lot of that already and you feel 2017 will be the year they start to really making a killing. This year has been such a tragic and dark one in many respects: we need music and new musicians to come out strong and bring positivity and love to the people. If Silence Is Violence does not seem like a balm then think of it as a necessary jolt and rush that we all need. The cobwebs are forming, the darkness drawing in and moods starting to turn a little sour. I.V ensure smiles are on faces at the very least – even if it is quite ironic at times. A band that knows how to get into the head and register something quite fantastic. It cannot be too long until they start making their way to major labels and radio stations. Let’s hope the band get a Twitter account too as they might be denying themselves a lot of fans and chances. In this age you need to be as widespread as possible – getting onto YouTube too. Those are things they will consider but the music is out there and making its presence known. They are a band that are starting strong and already capturing the critical imagination. Because of that, make sure you…

FIND them before they hit the big leagues.

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________________________

Follow I.V

 

Facebook:

https://www.facebook.com/ivmusicuk/

SoundCloud:

https://soundcloud.com/ivmusicuk

INTERVIEW: Adam & Elvis

INTERVIEW:

 

Adam & Elvis

_________________________

ONE of the tasks that has been keeping me busy throughout this year…

has been following – and trying to keep on top of – the assorted bands playing around London. It might be fruitless – getting a grip on it and hearing them all – but the best are certainly starting to prove their worth. I have been talking with the curiously-named Adam & Elvis. They are preparing the official release of their single Hanging Tree: a song that addresses those who lose their heads when faced with all-consuming, logic-screwing love. Pat and Tom (the band’s brothers) discuss their latest single and plans for an album; they pitch a couple of rather peculiar, but well-worth-a-punt titles. They also open about how they got together and the differences between Berkshire and London (the boys grew up in Berkshire) and reflect on the sad news of Leonard Cohen’s death. Being huge fans of his work, and inspired by his poetry, I was keen to learn more about their influences and how this year has been going.

_______________________

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

Tom: Not bad cheers. Well, actually, I have just read that Leonard Cohen has died which is very sad to hear. He was a massive influence on us and genuinely one of the greatest songwriters of all time. Obviously, everyone is going on about Donald Trump - as if the world was a glorious place before that election.

Pat: It's not that surprising, really. There was no attempt to sway Trump's fans in the Clinton camp. It didn't need to be anything racist or sexist. Maybe if she tried (just) ditching the celebrity endorsements for an hour or two and try to communicate with some scared and confused Americans.

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

Pat: We're a five-piece that try and create moving Pop music that is  intellectually stimulating to a relatively sad and socially static class of people.

That band name strikes a chord. I know you must have been asked this before but what motivated the choice of moniker?

Pat: I thought it up at university whilst studying The Bible and there was there the big push for gay marriage - and thought it would be a homo-erotic, Rock & Roll subversion of Adam & Eve.

We don't really like the name now, to be honest.

Tom: Someone once thought we were a covers band - that performed only Adam Ant and Elvis covers.

Pat and Tom: being brothers, was there any competition between you two as youngsters? When did the two of you decide music was your calling, as it were?

Tom: Outside of the band, I don’t think we’ve ever had any real competition or rivalry. Inside the band, we have definitely had our fair-share of arguments and fall-outs - but they are usually about nothing of any real importance and fueled by too much alcohol. We are usually on the same wavelength.

Pat: I know you are inspired by writers Leonard Cohen and Charles Bukowski. What is it about them that appeal to you? What are your views on Cohen’s latest album?

Pat: Leonard Cohen and Charles Bukowski are both matter-of-fact and (both) magic - none of that metaphor nonsense.

Don't get me wrong; I can read something like Virginia Woolf very slowly and the writing is transcendental - and it makes you want to move life slowly and watch everything with slow motion precision. Bukowski and Cohen are like friends. Sometimes, Bukowski's writing is lazy and boring but it's always like he's in the room typing away at his typewriter.

Tom: your basslines are impressively dirty and seductive. I hear a bit of Pixies’ Kim Deal and others in there. Who are your bass heroes and how did you mould that particular approach to the instrument?

Tom: I only started playing bass because our old bassist left, and instead of replacing him I thought I’ll have a go at that. I was listening to a lot of ‘Stranglers at the time and just loved that metallic dirty sound they had. It cuts through nicely.

[soundcloud url="https://api.soundcloud.com/tracks/285996336" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Hanging Tree is out on December 2nd and already being met with speculation and buzz. What can you reveal about the song and what inspired it?

Pat: It was inspired by a conversation I had with a perfectly rational and very smart individual who was losing their mind over a love interest. They were able to move through life with confidence and a level head - but romance was too much. The song is basically about smart people becoming stupid for love.

Tom: I’ve cut about fifteen different mixes for this song- it has driven me crazy. I would also like to say that there are no female voices in the song, as one review has said. It's my masculine voice doing the backing singing.

The song’s video was shot at U.K. Live Sound (Reading) and certainly captures the eye. What was it like shooting the video and is video-making something you’d like to do more?

Tom: I work at the studio which gave us a bit of freedom to mess about. It also helped having some great guys who knew their sh*t doing the filming and editing for us.

We mainly drank a lot and tried not to feel too foolish jumping about the place. I would definitely like to make some real freaky videos in the future.

Pat: We like videos but we don't want to be in them anymore. We'd love to have some interesting filmmakers interpret our songs in their own way and create their own thing out of our song. In fact, we are already talking to a cool actor/filmmaker about our next video.

Your music has been compared with everyone from Pixies and The Teardrop Explodes. There are big singalongs and memorable hooks. What bands and artists did you boys grow up listening to?

Pat: I remember my dad playing Edison Lighthouse's Love Grows (Where My Rosemary Goes). We don't think there is anything as beautiful as a catchy chorus like that. Don't get me wrong: we are picky. Coldplay, Embrace and that stadium chorus stuff just doesn't do it -has to be a bit silly.

Tom: A lot of Pulp.

You have been performing some intimate gigs around London lately. What has the reception been like?

Pat: Really good. Lots of people have been complimenting the energy and songs which does disgusting amounts of good for our egos.

Steve Wraight (vocals/percussion),  Juliet Styles (synths/saxophone) and Dan Robershaw (guitar) complete the band line-up. How did you meet those guys and what is it like performing alongside them?

Tom: I’ve known Steve for years. In fact, I’ve been very good friends with him since the beginning of secondary school. He’s a crazy fuc**r who used to work in a brewery and is  completely obsessed with all types of beer. He walks around town drinking beers from small, colourful  cans and people thinks he’s just necking a Fanta.

Pat: I met Dan working at some dirty little bar in Reading and later on he came to a show of ours and asked to join. We tried him out and turned out he was a great lead guitarist and that was that.

Hailing from Berkshire – and catching the ear of local media – you have shared the bill with the likes of Fat White Family and The Zombies. What have been your favourite memories in music so far?

Pat: Mine is probably the moments in the studio working on songs. I love the feeling on the songs coming alive - it's good stuff.

Tom: The gigging is fun but I think my favourite moment was when we laid all the demos down for our album and realised: This sounds pretty good, actually!

Is there a marked difference between the music scenes in Berkshire and London. Are there any local heroes (London or Berkshire) you recommend we investigate?

Pat: Yeah. In Berkshire, the bands don't take themselves too seriously. In London, there's lots of impressive and original stuff to compete with. That's why we moved: to up our game.

Tom: The quality in London is usually quite a lot better. The bands are usually more out-there and a bit more freaky. About 70% of music from Reading just sounds like a bad Britpop knock-off.

A lot of our favorite bands from the Reading area aren’t actually going anymore. One of our favorite current bands is Teleman. They actually say they are from London but we went to the same school as they did so we know their dirty little secret.

I hear there is an album planned for early next year. Can you reveal a title or any songs that might feature on it?

Pat: It will either be called Dead Cinema or Upgrade to Curly Fries for 50p. What do you think is best?

Tom: Patrick has named it about fifteen times now. Not sure where we are currently at. There is definitely a tune on it called The Ballad of Britney Spears, though.

There must be some real characters in the Adam & Elvis ranks. Is there a band member that likes a good joke or is not especially punctual? Any secrets about the band you can reveal?

Pat: Band members who are not punctual are fired and middle-of-the- road sense of humour is frowned upon. J. Coatzee writes a bit about how he loves the art but hates bohemians: skipping on the rent and adapting to the latest scene. We fuc**ng hate people like that. So, what are classically known as characters or loudmouths don't really fit in with us. Band secret is: freaky=good; cool=sh*t.

Tom: Dan genuinely doesn't know if he's ever eaten broccoli. It's not really a secret, but it's a shocker.

Christmas is coming up shortly. Are you having some downtime? What are your plans for this Christmas?

Pat: We're going to release a Christmas song online this year...

Tom: …and finish mixing and mastering our album.

Could you provide any inspiration or advice for new musicians coming through?

Pat: Write about the parts of your character you can't talk about in public.

You can say all sorts of muck to a good tune - the kind of stuff they would hang you for saying in the light of day. What an opportunity!

Finally, and for being a good sport, you can select any song you wish (not yours as I’ll include that) and I’ll play it here.

Pat: Wesley Gonzalez’s Come Through and See Me. Saw him live at the Rough Trade at Green Man. Best thing of 2016.

Tom: Yeah. He was incredible at Green Man.

[youtube https://www.youtube.com/watch?v=uPja2fnYozU&w=560&h=315]

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Follow Adam & Elvis

 

Facebook:

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

Twitter:

https://twitter.com/Adamandelvis

SoundCloud:

https://soundcloud.com/adam-74

YouTube:

https://www.youtube.com/user/adamandelvis/videos

FEATURE: Leonard Cohen: The Light Inside the Cracks - Ten Essential Recordings

FEATURE:

  

Leonard Cohen: The Light Inside the Cracks

 

  

Ten Essential Recordings

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IT was perhaps not so much of a shock that 2016…

in its rather cruel and predictable way, has claimed yet another legend – few come bigger and more influential than Leonard Cohen. I, like many others, woke up to that awful news: the Canadian poet-musician was dead. The tragedy was mitigated (to an extent) by the fact he had lived a full, fantastic live – reaching the tender age of eighty-two and having laid down some life-changing albums. It is impossible to fully explain the full extent of Cohen’s genius, legacy and influence. I have been listening to Leonard Cohen's extensive, stunning back catalogue– in order to compile a list of his ten essential recordings.

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Suzanne (Songs of Leonard Cohen)

[youtube https://www.youtube.com/watch?v=svitEEpI07E&w=560&h=315]

So Long, Marianne (Songs of Leonard Cohen)

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

Bird on a Wire (Songs from a Room)

[youtube https://www.youtube.com/watch?v=K8fT7rnRotY&w=560&h=315]

Famous Blue Raincoat (Songs of Love and Hate)

[youtube https://www.youtube.com/watch?v=ohk3DP5fMCg&w=560&h=315]

Chelsea Hotel #2 (New Skin for the Old Ceremony)

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

Dance Me to the End of Love (Various Positions)

[youtube https://www.youtube.com/watch?v=fUM_hiU3p3w&w=560&h=315]

Hallelujah (Various Positions)

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

Everybody Knows (I’m Your Man)

[youtube https://www.youtube.com/watch?v=Gxd23UVID7k&w=560&h=315]

Tower of Song (I’m Your Man)

[youtube https://www.youtube.com/watch?v=ev730NKYs7Q&w=560&h=315]

You Want It Darker (You Want It Darker)

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

COMPETITION: CM: Changing Lives Through Music

COMPETITION:

 

 

CM: Changing Lives Through Music

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"CM is the longest-running community music company in the U.K. and has been working with young musicians from a variety of backgrounds since 1983. CM have turned out well-known talent over the years including Tom Barnes - of production team TMS (Little Mix, Olly Murs, James Arthur) - female rapper Baby Blue; Steve 'Chandrasonic' Savale of Asian Dub Foundation and beat-boxer Intensi-T.

CM are offering the unique opportunity for 13 aspiring producers to take part in a free studio day offering production tutoring; learning the basics of how to make music for beginners or brushing up on skills - if you are an already-experienced producer. 

Winners will have their own workstations and experience a full day in the studio gaining an insight into production and recording with CM's professional tutors. 

This is to promote that CM offer a range of courses including the Creative Music Production & Business Foundation degree from their base in Whitechapel, East London.

Day will run from 10.30am - 4.30pm"

If you'd like to take part: drop me a message at https://www.facebook.com/musicmusingsandsuch/?fref=ts stating why you'd like to be considered.

Winners will be announced shortly.

Further details can be found at http://www.cmsounds.com

INTERVIEW: Natalie Bouloudis

INTERVIEW:

 

 

Natalie Bouloudis

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EAST Sussex native Natalie Bouloudis is preparing for the…

official release of her single, Burning Pier. It stems from fascinating origins – which she explains in the interview – and sets her up for an exciting end to 2016. Bouloudis will be playing The Finsbury in December (to launch her single) and is preparing to take her new music to the people. The former culture guide copywriter spent her days – whilst at work – scribbling notes and observations – fueling that love for music and a clear passion. I have been asking about her plans for the coming months, her feelings on the London music scene and what inspires the songwriting process.

_______________________

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

Hi. I'm Natalie Bouloudis. I'm a London-based singer-songwriter and I'm all about making smoky Folk-y-Blues-y music.

Burning Pier is your debut single. What can you tell us about the song’s themes and sound? 

Burning Pier stemmed from an apocalyptic short story I once wrote inspired by some of my favourite nautical references and figments from the real coastal places near where I grew up.

The song uses the event of smouldering wood sinking into the ocean as a metaphor for that light-bulb moment when shock and disaster strike so we see everything differently – both the past and the future.

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I believe the song, in part, addresses the fate of seaside piers and those that have succumb to fire. It is quite a rare source of inspiration. Is it a subject/plight you hold dear to your heart? What is about a burning pier that evokes such sadness and loss?

I loved Hans Christian Andersen as a child with the idea of Gothic literature and mythology - and I'd like to somehow incorporate this along with the smoky atmosphere of a film noir in my music. I think you can find inspiration from anything from stormy oceans to dystopian fiction and notions of life; love and death to anything like the event of a burning pier. I like subjects which seem like they would make good stories and I don't see why they can't make good narratives for songs too.

The song came together in a live, one-shot take (albeit a drum overdub). What was the reason for this approach? Do you think the song would have lost something were it polished and subject to studio procedure? 

I really wanted to capture the atmosphere which you get with live recording. For me, that's when this sort of music really comes alive at the height of a good performance.

The song was recorded live in one room, one take - with just drummer Hannah adding the beautiful sparkling Rhodes piano part afterward. I think we succeeded in capturing the drama and the song never concludes but rather fades into eternal foggy waters - like it is being lured by sirens calling.

PICTURE CREDIT: Sasha Jor

You used to be a culture guide and copywriter – where you started/composed your debut single. Was it quite a fulfilling job and what compelled the move to music writing and performing?

I have always been scribbling down lyrics and playing little flourishes on my guitar for as long as I can remember really - but I didn't properly start sharing them until recent years. It got to the point that I had collected a long list of songs so one day I just made a home recording and put in online. It all sprung from there.

Being based out of East Sussex: how does the music scene differ to cities like London? Are there are a lot of opportunities for a young musician to find gigs in East Sussex?

When I was growing up, Brighton always had a big music scene and I'm glad that it keeps the torch brightly shining with things like the Great Escape Festival. It's also great that places like Eastbourne now have Printers Playhouse and The Eagle to keep the local music scene rolling.  These are the places where we all start.  I've had the pleasure of playing in so many London venues in recent years but I would really like to now also book some gigs in Sussex and around the country.

London is your home now. What are the main differences you have found – crowds and venues – and are you excited about your single launch at The Finsbury?

There are plenty of places to play in London. Last week we played in The Slaughtered Lamb and it was a real pleasure to find a full room with warm attention. I really enjoyed playing in the candlelit Servant Jazz Quarters recently too and it was amazing to have some great friends in the audience that night. I've seen some quality bands in The Finsbury and I'm really looking forward to having my moment on the red-curtained stage on 1st December.

I know you have a loyal fanbase and have gigged across London. What do you think of the recent closures of venues like fabric? Is the London music scene in danger at the moment?

I moved to London a decade ago and I still believe the music, arts and cultural scene cannot be matched. But it's a sad reality that we keep hearing the same story of developers pushing aside what makes this city so special.

Fabric is an iconic clubbing location and the end of an era but it’s not the only venue struggling to stay open - with places like Passing Clouds and Elephant and Castle's Coronet to name but a few. Even Wax Studios, where we recorded, had moved location after being pushed out of Hackney. I really hope we can save this city from becoming just rows of soulless new apartments

Your debut E.P. will be arriving soon. Can you give us any insight into the songs and types of stories that one will find on the E.P.?

Burning Pier has a lot of the same ingredients  that the rest of the tunes (on the E.P.) have. That being said, Dead Sea Scripts is a collection of tales: each song a distinctive chapter and tone in itself to complete the whole story. There's some old-fashioned heartbreak tunes in there like in Whirlwinds which is a dramatic moonlit track. Then you find a completely different mood like in Firebird - capturing that moment when you decide to be a phoenix rising from the ashes.

Wax Studios was where the E.P. was recorded. What was it like recording there?

We really did have a great time recording with the very chilled (but attuned) Robert Strauss at Wax Studios. We set up; I had a glass of wine at my side and we just enjoyed playing in the room all together. This was the first proper recording of my songs with a band - that hadn’t been recorded in my kitchen with a laptop.

I wanted to keep that intimate performance element so live recording was the only way for me.

I like the sound of old records which were recorded in similar circumstances: just a bunch of musicians in a  room smashing it.

PHOTO CREDIT: Luke Novak

I imagine – as with many new studios – it quite technology-heavy. Did you get a lot of chances to perform songs live-sounding and naturally or was it quite hard adapting to that environment? 

I'm definitely not the most technically knowledgeable person in the world but Robert took care of all that side of stuff. It was great to be able to try different things until we achieved the right sound. I particularly loved the use of the Echoplex tape delay effect on the outro of Burning Pier. It brings an amazing ‘60s ethereal mistiness.

Who are the artists and musicians that have influenced you most would you say?

It's so difficult to just choose a few people when you love music.

I've always been particularly into strong female singer-songwriters like Fiona Apple, Patti Smith; PJ Harvey, Kate Bush and Etta James to name a few.

I also love the storytelling of people like Nick Cave, Bob Dylan; The Cure, and of course, Bowie.

 What plans for the future? What are your goals for the next few months/years?

This is such an exciting time with the E.P. launch just around the corner. I also have my first music video coming out in the next few weeks to go alongside the release of Burning Pier.

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

Anyone in the music business is fueled by passion and you need that drive. It can be unrewarding and disappointing at times but every time I record or get on the stage I feel like part of my dreams are coming true.

Practice, listen and work with as many other artists as you can - and just keep going.

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.

How about Tom Waits’ Invitation to the Blues.

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

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Follow Natalie Bouloudis

 

Facebook:

https://www.facebook.com/Natalie-Bouloudis-The-Mermaids-318641888276300/

Twitter:

https://twitter.com/nbouloudis

Instagram:

https://www.instagram.com/nataliecatalie_/

SoundCloud:

https://soundcloud.com/nataliebouloudis

INTERVIEW: Emily Mac

INTERVIEW:

  

Emily Mac

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IT may seem like the (democratic) world has come to an abrupt end…

but there is plenty of light and hope to be salvaged. Canadian Soul-Rock singer Emily Mac is a veritable ray of uplift and beauty – a singer that can shake away the post-election blues. Her voice is honeyed and smoky: recalling the raspiness and strength of Janis Joplin with the smoothness and Blues command of Etta James. Having been raised on Motown – and growing up in Toronto – Emily Mac brings all these dichotomies and contrasts into her rich, varied music. In Awe of You is the new lyric video that proves what a spectacular, impressive talent she is. I ask her about that vivid upbringing and her musical tastes; what the following year holds (in terms of her music) and the three albums that mean the most.

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

Great! Really busy. This whole fall has been a bit of a whirlwind but I wouldn’t have it any other way. I’ve been spending my time doing what I love making music!

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

I’m a Soul-Rock artist from Toronto, Canada. Songwriting is my therapy. I write songs to express the things that are burning inside me - to get out that I can’t quite say in day-to-day life.

I live to perform and be on a stage, and oddly, I feel more comfortable there than any place else.

One of the things that attracted me to your music was that mix of Etta James and Janis Joplin vocal sounds. When did you first take up singing and who were the idols and musicians heard around the childhood house?

I love Etta and Janis! I’ve always been inspired by gutsy raw female singers with big huge voices who are unapologetically themselves and full of sass! There was always music playing in my house growing up Motown artists like Otis Redding, The Temptations, and of course, the Queen of Soul herself, Aretha Franklin

In 2014, you received the Competitive FACTOR Demo Grant – an award from the Canadian government aimed to support aspiring musicians. What was that like receiving it and how long had your been making music up until that point?

I have been singing in bands for years but it was really only a year before I received the FACTOR grant that I decided to go solo and focus on original music. This was a scary move for me. I had lots of experience performing in cover bands but to put my own work out there felt very vulnerable so to be acknowledged by FACTOR meant a lot to me. It has helped to grow my confidence and open doors in the Canadian music industry.

[youtube https://www.youtube.com/watch?v=UMQPVa96Low&w=560&h=315]

I know you spent a lot of time in New York – falling in love with the city and its theatres in your early-20s. Is it tempting to move their full-time and what was the most magical memory you have of New York?

I actually lived in N.Y.C. for two years and it influenced me so much.

B.B. King has this amazing small Blues club in Times Square where you can see big acts in an intimate venue. When I saw Al Green there I was so moved by his voice and presence that I was literally bawling like a total fan-girl.

It was a spiritual experience to see him live. That night changed my life and I knew I would never be fully satisfied unless I was up on that stage too. I hadn’t been there in years and just this past spring I went back and performed at the Rockwood Music Hall. I felt myself fall in love with the city all over again and I can’t wait to go back!

You were born in Toronto – which is tantalisingly close to Detroit. Did you get to spend a lot of time in Detroit and what was the music scene like in Toronto by comparison?

Unfortunately, I haven’t been to Detroit since I was a kid. My grandparents use to live across the river so I went there lots when I was young. To be that close to where so much great music has been made was amazing! One of my favourite places to visit was the Henry Ford Museum - where they have all these vintage cars, trains and automobiles. As a teen, my dad spent a lot of time going to clubs in Detroit; sneaking in with a fake I.D. - that sorta thing. He would tell me all the stories of his adventures as he played the records to me growing up.

I hear there is a new single/lyric video arriving very soon. What can you tell us about that?

The song I’m releasing is called In Awe of You. It’s kinda like a love song about music. Music is a powerful thing and it can change your life.

I’ve had many times when I’ve felt low but music was there for me and it helped pull me through. I think a lot of people feel this way so to finally share this song makes me happy!

It is evident the Soul legends play a very important part in your musical sound and upbringing. How do you rate the new Soul artists coming through?

What I love about a lot of the new music coming out right now is that it isn’t so defined as one genre. There’s a lot of cross-bending of different styles and sounds out there and I think that's exciting. I really love Judith Hill. Her voice is killer and the groove in her songs is amazing. Her album, Back in Time, was also produced by one of my idols, Prince,;so right there you know the music is gonna be great!

Many people overlook Toronto (and Canada) as a source of great new music. Do you feel the city/country deserves more focus and which local artists would you recommend to us?

I think more and more Canada is getting to be known for its talent. There is a great community of artists and musicians here.

Some of my local favourites are Lindi Ortega and Samantha Martin and Delta Sugar.

[youtube https://www.youtube.com/watch?v=SHaQA-_O0_A&w=560&h=315]

In Awe of You is a song of yours I particularly admire. What was the inspiration behind that and how has it been received by the live crowds?

Thank you! In Awe of You is the song that most people come up to me after a show and tell me that it moved them. This is the very reason I make music to inspire other people. I decided to give In Awe of You to my fans for free as a thank you for their love and support. All you have to do is go to http://www.emilymacmusic.com/ and sign up for my insiders list - then you’ll receive the free download.

Looking back at your career so far: what has been your proudest achievement?

Writing and releasing In Awe of You is a pretty big deal to me. I think it’s the best song I’ve written so far. As an artist, you can struggle to find your sound and I really feel like I’ve found it with this song. It feels good to be releasing music that is very near and dear to my heart.

You strike me as someone very inspirational and positive. What message would you give those who follow you across social media – the fans that look up to you?

Never give up on your dreams. People will tell you (you) can’t do it. It will be more challenging than you can imagine; you may end up down the wrong road a few times but a life lived with purpose and passion is way more rewarding than a life lived outta fear.

Canadian Thanksgiving has just passed. How did you spend the day and are you looking ahead to Christmas  (or is it far too early to be asking such things?!)

I spent the day at my aunt’s house with my 97-year-old grandma; all of my family and a golden Lab. named Mikey! It was a lovely relaxing time.

I hate the snow so I’m gonna be spending a hot Christmas in sunny Florida on the beach - with a tropical drink in hand!

If you could take three albums to a desert island – those that mean most to you – which would they be and why?

Exile on Main St. - The Rolling Stones.

I love this album I can listen to it again and again. Shine a Light is one of my all-time favourite songs. The southern Bluesy-Rock vibe of the album and the raw edge hit a chord deep in my soul and make me wanna shake my hips.

Is it cheating if I take Otis Redding’s King of Soul collection - it has 92 songs on it!

I would definitely need Otis’ sweet soulful voice to soothe away my loneliness if I was trapped on a desert island. I’d be playing Try a Little Tenderness, I’ve Been Loving You Too Long and Amen on repeat.

Sometimes I’d need to just blow off some steam and dance around so I’d be taking Prince - The Hits/The B-Sides!

I’d be bopping around to When Doves Cry: singing at the top of my lungs to Purple Rain, and when I had enough of being on that deserted island, I’d sing Let’s Go Crazy.

Can we expect to see an album or E.P. in the coming months at all?

I am gonna release an E.P. in 2017 and possibly even an L.P. too!

I will keep you posted on release dates...

For any new musicians coming through: what advice would you offer with regards getting started?

You’re gonna get a lot of advice and opinions from other people: take it all with a grain of salt. You wanna keep growing and learning, but at the end of the day, the most important thing to listen to is your own instincts and heart - they will guide you to where you need to go.

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

Angel Olsen - Intern

[youtube https://www.youtube.com/watch?v=r248o_rUfKE&w=560&h=315]

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Follow Emily Mac

 

Official:

http://www.emilymacmusic.com/

Facebook:

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

Twitter:

https://twitter.com/emilymacmusic

Instagram: https://www.instagram.com/emilymacmusic/

YouTube:

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

INTERVIEW: Whenyoung

INTERVIEW:

 

 Whenyoung

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MOST of us yearn for a time when we were young; if tomorrow’s….

U.S. election results go the ‘wrong way’ – most of us will be pining for a safer, childhood time. Luckily, London-based trio Whenyoung evokes youthful spirit and hopefulness. Among that positivity come reflectiveness, fears and introspection. Following their debut single, See How They Run; a lot of eyes were cast in their direction. Actor is their latest track and proves they are a highly consistent and impressive band. I was excited to find out about the guys and talk about how London influences them; how the band came together and the inspiration behind Actor. They discuss their start in Limerick, what their plans for the next year are – with a little secret about each of the members.

________________________________

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

Hello. We've had a great week: rehearsed, wrote a new song; saw some shows - Crows at the 100 Club, Christine & the Queens in Brixton; Merchandise at The Lexington. Slaved at our day jobs, washed the dishes - just the usual stuff!

For those new to the band: can you introduce yourself, please?

We're called Whenyoung. Andrew is on drums, Niall is on guitar and Aoife is on bass and vocals.

How did you guys get together? Did you know each other from way back?

We met in Ireland when we were kids - sneaking into discos and house parties. We all ended up in London, and through our shared love of music, we decided to start a band.

[soundcloud url="https://api.soundcloud.com/tracks/250937372" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

The band hails from Ireland? What is the music scene like where you are? Has Whenyoung had opportunities to perform and gain exposure?

We're from a small city called Limerick that doesn't really have a huge music scene - but some great bands and musicians have come from there. We played a gig in Dublin last month which went down really well - but we haven't played in Limerick yet.

I know you are based in London now. What motivated the move? Is it easier to get reception and attention in London?

We started Whenyoung in London, not in Ireland. I think if you're doing something interesting and engaging enough you'll be noticed wherever you're situated.

For us, London is the place to be for inspiration and excitement. With that comes a lot of competition but that just drives us.

See How They Run was your debut single. How would you say the band has developed or changed since the debut? Have there been any changes?

We're experimenting more with weird, freaky (ugly) sounds. There haven't been any huge changes. We've always known what path we want to take as a band. So, I guess we have a little bit more experience, lots more songs and a few live shows under our belt.

[soundcloud url="https://api.soundcloud.com/tracks/287542298" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Actor is your current single. What can you tell us about the origins and inspiration behind it?

Actor is a comment on the world that our generation lives in. The song is about projecting artificial images of yourself through social media and in real-life interactions with others.

From doing that we receive temporary reassurance which keeps you going in the short-term but it's a fake visage - and beneath it all, there's a sinking feeling. It’s tiring: we need to find an honest existence. We hope it's inspiring and uplifting. It's also a great soundtrack for getting dressed in the morning.

You will be playing Shacklewell Arms on 24th of this month. Are you excited about the date and is it the first time (for the band) at the venue?

Yeah. we're playing The Shacklewell Arms for the single launch of Actor. We're really excited about this gig as it's our local haunt and we'll have lots of our friends (and hopefully) fans there.

Can we expect to see an E.P. or album in the coming months?

It's probably a little bit early for us for an album.

There will certainly be lots more music.

You guys have been compared to acts like Honeyblood and Veronica Falls – with your short and memorable songs. Which artists inspired the band and are most important to you?

That's interesting. I don't really think we sound like them apart from the obvious female vocals. We share a love for Blondie, Television; Patti Smith, The Clash; The Modern Lovers, Merchandise and Marching Church.

Which new artists would you recommend we spend time investigating?

We're really intrigued by Happy Meal Ltd. It's always good to hear something different that catches your ear and eye.

You have achieved a lot over the last year. What have been the fondest memories for each of you?

Recording Actor was really satisfying and we were so happy with what we created. Also, making the video for Actor - with Daisy Finetto - was such an amazing experience. We played with INHEAVEN for their headline (London) show and that was crazy-good.

Even though it's early days we still have to pinch ourselves sometimes. The kindness of people - who are willing to help us for the love of the art rather than the money - always makes us feel grateful.

What do you hope to achieve over the next year as a band?

We'd like to play to bigger crowds in bigger venues. We really want to get our music out to a wide audience - to be the band that can soundtrack a generation. There was a couple having a snog at the side of one of our gigs recently. Love that.

 

Can you reveal a secret about the band – something nobody knows? Is there a particular troublemaker in the group or someone with a secret talent, perhaps?

Aoife is a Francophile, Niall deals books and Andrew is a sommelier.

Any artists that are coming through right now: can you offer any advice or guidance to them?

Only listen to people who completely and utterly believe in you and who you know want the best for you.

In general, I think it's important to go with your gut even if it's scary or wild.

Finally, and for being a good sport, you can select any song to play here (not your own as I’ll include that).

Je t’aime…moi non plus - Serge Gainsbourg

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

_____________________

Follow Whenyoung

Facebook:

https://www.facebook.com/whenyoungband

Twitter:

https://twitter.com/whenyoungband

Instagram:

https://www.instagram.com/whenyoungband/

SoundCloud:

https://soundcloud.com/whenyoung

FEATURE: In the Spotlight: Lánre

FEATURE:

  

In the Spotlight:

Lánre

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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 second edition; I focus on the sensational musician Lánre. Not only is she one of the most positive and uplifting humans in music - she produces music that seeps into the soul and transforms the senses. Surely one of the most promising musicians working in the U.K.

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https://www.youtube.com/watch?v=ErXy0S5YZxM

WHO IS SHE?

(From https://lanreworld.wordpress.com/about/)

“I was born in Stoke-On-Trent England many years ago to an amazing mum and an adorable dad. Some people say they can trace their earliest memory to way back in their mama’s womb but mine was on my first birthday trying to blow out the candle on my cake, strapped in a walker!

Yeah, I did not walk unaided until after my first birthday, I figured I would be walking all my life anyway, why the rush. (LOL!)

My parents thought it was a good idea to learn about my heritage and to grow up knowing the rest of my extended family, so at age four I traveled to Nigeria with my parents where I spent the next twenty years studying, learning and living.

My first public performance was at the age of eight when I got picked to lead the song ‘Don’t do that to the poor pussy cat’ at the local radio station. My teacher chose me to lead because according to her, I sang like an Angel. Awwwwwwwwwwww!

Growing up in Nigeria meant music was a hobby and passing my Maths, English and Sciences with flying colours became high on my priority list. I picked up my love for writing and music again in year 2002 when I joined the award winning UK collective GK REAL and that musical journey took me around the world singing and performing with amazing singers, writers and producers.

Discovering the guitar and freedom to express my thoughts is why you’re here reading my story which is to be continued…

So who am I….?

I am a writer

I am a singer

I am a wife

I am a sister

I am a daughter

I am a friend

I am African

I am British

I love God

I love reading

I can play a few chords on the guitar

I tend to go into my own shell even in the midst of a crowd

I have loads of stories locked up in my head

I am on a journey of discovery and I am excited!!”

https://www.youtube.com/watch?v=IH_AuFU073I

WHY GET EXCITED?

There are few artists that genuinely try and reach out to people and make the world better. Music can be defined by a certain insularity: artists playing music and keeping hidden; not using their platform to make the world better and spread their voice. That is not the case with London-based Lánre. Following the release of her acclaimed E.P. Home; she unveiled the four-song collection, Human. It is as raw, investigative and searching as you’d imagine. The songs capture Lánre’s art and back-story; the music is uplifting and constantly compelling.  In a city (London) where there are a fair few promising solo artists: None have the same appeal, allure and captivating soul as Lánre. She has toured Canada, France, and N.Y.C.; traveled to Sweden and brought her Yoruba heritage and blend of folk and soul to the Royal Albert Hall and Bath Music Festival – in addition to Edinburgh Fringe and Greenbelt Festival.

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

Lánre curates a monthly residence at Omnibus in Clapham Common and is one of those live performers that can silence audiences with her magnetic presence and stunning voice. The music taps into deep emotions and, whilst having a personal bent and introspective nature at times, turns its warmth and heart to the audience – someone who wants to connect with everybody she plays to. The songs – as evident throughout Human – are not bespoke and reserved to Lánre alone. They have a universal sound and capable of making their way onto the playlists of the nation’s most influential radio stations. The multi-discipline approach to music – tying in messages of humanity and socio-political themes – separates her aside from the mass of musicians content to just play a few songs and leave it at that.

https://www.youtube.com/watch?v=GUL3SsAEuMM

CRITICAL SNAPSHOT

“Headlining we had the beguiling Nigerian songstress Lánre, who held the auditorium in the palm of her hands. Armed only with her personality, her smile and an acoustic guitar, she took us on a journey back to her homeland (via Stoke-on-Trent) painting many vistas and drawing on many emotions with bright African colours – absolutely spellbinding” - John Drummond – Brewery Blues

“Relish in her soft yet soulful vocals…” - MTV UK

“This utterly soothing new single is well worth a listen.” - MOBO Awards

https://www.youtube.com/watch?v=OK3_-IsM7Ak

EXAMPLE LYRIC

“I’m on my own again

My shoes are worn, my heart is torn

Wandering down this lonely road

I got nowhere to go

Love has given up on me a very long time ago 

Will I ever find the peace for my restless soul”.

(Home)

https://www.youtube.com/watch?v=95BPqHsvPGc

TWEETS

https://twitter.com/iamlanre/status/793569098064097281

https://twitter.com/iamlanre/status/790968140322582528

https://twitter.com/iamlanre/status/781598766524690432

THE FUTURE

Human is still gathering affection and attention from fans and critics, but naturally, Lánre will be looking to the future and more music. What form a new release takes (whether an E.P. or album) it is sure to follow on from Human’s themes and sounds – the next stage in her career; more stories of love, life and human nature. 2016 is cooling off and Lánre’s warm and nurturing blends are always going to be in demand. It is worth keeping your ears and eyes peeled to Lánre’s social media pages and checking for updates. In addition to a string of gigs: Lánre will be putting material together and setting her sights on new audiences, venues and lands.

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

FINAL THOUGHTS

The media is turning its attentions to Lánre and beginning to discover what a talent she is. In a recent interview – following the release of Human – she explained her processes and how the creative procedure comes together:

“Talking to Lánre, she appears to be a pragmatist as evidenced by the reason to release a second EP rather than a full album; she was collaborating for the first time with new musicians and folk instruments and wasn’t sure if the results would warrant committing to a full album. Furthermore, when writing songs that will be played live, she doesn’t always have the luxury of a band around her so the songs need to work as solos as well as with a band. She also admits to being a bit of a “control freak” (her words) as she self produces all her music which she also writes. Asked if self producing is a conscious choice, Lánre says that “in time, I don’t know what will happen but now it’s working for me...I understand what my sound is and it’s a better fit at the moment. I’ve had meetings with record labels but the control freak in me doesn’t think it will work”. All this was said with much laughter and more than a bit tongue in cheek I suspect.

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

As always when I interview songwriters, I’m interested to know about that process - what comes first, how do the ideas come? For Lánre, who has always sung, rather than played instruments, the lyrics and the sound of the vocals come first, followed by guitar chords and the melody before being shared with the musicians she is collaborates with. Describing this process, Lánre again mentions her tendency towards control, “I never played an instrument so I always had to rely on other people for that which brought out more of the control freak”.  

Although Lánre acknowledges this posed something of a dilemma in her songwriting, she says that it took the sudden death of her father to push her to learn to play her guitar. Her father was a musical person in that he listened to music a lot but never played an instrument and that pushed her to “go out and do what I want. Go for it, never waste time”. This pivotal moment in her life also prompted the decision to leave the safety and security of the six piece voice collective, GK Real and turn solo, again “doing what I wanted to do” although she admits it has been hard, “when you’re working with a band you have that support system but you have to do everything yourself when you go solo”.

(From http://www.huffingtonpost.co.uk/jane-ireland/lanres-human-soul_b_10451942.html)

If you have not discovered Lánre make sure you investigate her wonderful work so far - immerse yourself in its beauty, grace and uplifting power. As we transfer into 2017, Lánre is going to be busy and assessing her next move. Whatever she decides to do it going to be something rather special.

https://twitter.com/iamlanre/status/768802761605521408

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Follow Lánre

Official:

https://lanreworld.wordpress.com/

Facebook:

https://www.facebook.com/LanreWorld

YouTube:

https://www.youtube.com/channel/UC94k5SNLzGR10Jo8m_Bc6QA

Twitter:

https://twitter.com/iamlanre?lang=en-gb

TRACK REVIEW: Billie Marten - Live

TRACK REVIEW:

 

Billie Marten

 

 Live

9.7/10

Live is available at:

https://www.youtube.com/watch?v=r0EPF3r7J-k

RELEASE DATE:

30^th October, 2016

GENRE:

Folk

ORIGIN:

Ripon, U.K.

_________________

I have been experiencing something rather odd the past…

few weeks. I blame Billie Marten, of course, for it is her song Heavy Weather that has caused the ailment. That track has been stuck in my mind and I am loathed to get it out. I am not sure exactly what has caused this but I have a number of theories. Heavy Weather is a song that is defined by immense beauty and incredibly vivid lyrics. One transports themselves into the song and immerses their senses completely. Such is the magnitude and resonance of the vocals – you are helpless but submit your attention fully and are left engrossed and spellbound. I am hearing the song now – it may never leave me – but I am happy to have (the song) as a constant companion. To be fair; many of Writing of Blues and Yellows' songs have been circling my brain since I heard them. I have already reviewed Billie Marten’s debut album – and interviewed her – and have been following her plight closely. Before I come to her, I wanted to address the young musical talents of the U.K. – and how few genuine stars shine – in addition to Folk and debut albums that make a huge impression. A lot has been made of Marten’s age (she is seventeen) and how unusual it is to see someone that young come through so strongly. It is an interesting point but we should not be so beholden to age. As she says in interviews herself: age is a number and she would be as surprised as if she were much older. The media places a lot of pressure on young artists and really makes a big deal of the fact. I am not so much gripped by how young/old someone is but how fine those artists are. If you look about the charts right now; you are likely to find a wave of Pop artists and talent show rejects. Depending on your musical tastes; those ‘musicians’ will either cause consternation or joy – it is very much the former for me. So much attention has been placed on talent show contestants; it is taking the spotlight away from genuine musicians emerging on the scene.

PHOTO CREDIT: Victor De Jesus

Marten has been compared with the likes of Lucy Rose and Laura Marling, but to be honest, they have been around for a long time – we have not seen anyone like them for a (good many) years. I am struggling to pinpoint many musicians that have enjoyed such critical passion and support (as Marten). As part of my reviews, I get to see a great deal of wonderful young artists making their way through. Not just Pop/Folk artists but some terrific bands and wonderful duos. This country is providing some of music’s greatest examples and that should continue unabated. Music is a tough and frightening thing and one many enter quite unaware and naively. Unless you have a great support crew across social media; it can be difficult finding long-term backing and success. I have seen too many incredible young artists burn bright, only to be deterred and have to stop playing music – either lack of critical attention or impetus to play. It can be tough but those who are ready and determined will always succeed.

Billie Marten is an unusual review subject for me: in a way, she can be considered mainstream and critically-acclaimed – away from the unsigned/under-the-radar acts I usually review. What draws me to her (in musical terms) is the indelible nature of the songs. She has progressed a long way in the last few years and really made a mark. As a young child, she would record YouTube cover versions and send them to her grandparents in France. The only way she could communicate – in terms of the music she was making – it is an unusual but charming mixture of modern technology and traditionalism. That enthusiasm for music was fostered by a household that bore witness to artists like John Martyn and Nick Drake. The former is a favourite of her father – Marten’s surname is a composite of John Martyn and Dr. Martens boots; she wears almost every day – and Drake has been sourced in interviews. Both of these English Folk stalwarts can be heard in her music and are unusual choices for a young woman. It may sound cliché, but one expects someone of Marten’s age to be reared on current sounds and music that has arrived in the last few years. I was raised on some great artists – but am a bit older than Marten – and that has compelled my variegated tastes and sense of quality control. I fear too many young singers’ attention spans do not go beyond the beginning of this decade. You see so many who quote of-the-moment acts as their favourite and wonder if they have ever heard anything that originated in the twentieth-century. Marten has some fondness for modern acts – I have heard James Blake listed; she, rather wonderfully, would like to collaborate with Kanye West – but one can imagine a young woman who dives through vinyl stores and collects dusty old books. The wanderlust and literary affection Marten holds goes into her songs; her music has a novelistic approach and is very big on story and characterisation. If she modestly claims not to be much cop with regards ‘expected’ songwriting – verse-chorus-verse and middle eights – Marten tackles songs like poetry. Beginning with a few lines and inspired by odd words: she will expand and build on top of that; noodling with piano and guitar until something forms. It is a much more organic way of working and you hear that across Writing of Blues and Yellows. In addition to performing across radio – recently performing on Jonathan Ross’ show – and some wonderful gigs – one knows 2017 is going to be the busiest of her career so far.

Folk is a genre that has not been receiving the attention it warrants. I have brought this point up in other reviews: Folk has to struggle to gain mainstream acclaim and really be incorporated in the musical bosom. Every time I review a Folk artist, I wonder how long it will take until they assimilate into the charts/mainstream. I feel we all have rather stereotyped views of the genre. If one thinks of World music, we get impressions of panpipes and native instruments; some rather jarring, dystopian noises – not the sort of thing you’d listen to regularly. There are cases of this, but by and large, the genre has a lot of quality and memorability. You need to be adventurous and not be beholden to prejudices. Folk gets a similar reputation (to some) and is often seen as older gentlemen strumming guitars and singing songs about the 1960s. Again, there was a time and place when that was true but modern Folk incorporates elements of other genres and is a lot more striking and nuanced than you’d imagine. Billie Marten is the epitome of that. In tracks like Heavy Weather, you can hear artists such as Kate Bush. Despite the song being predominantly acoustic-led; it is defined by scintillating, shivering vocals and utter purity; lyrics that see lovers battling the rain and being unafraid of impending storms. Few modern artists have the maturity, lyrical skills and voice as Marten. She might be the leading light in Folk right now but there are other artists that are performing similar songs and making their names known. The press often is too reliant on fostering bands and Pop acts they overlook artists like Marten and her contemporaries. I love musicians like Nick Drake and John Martyn and feel we should really be celebrating artists that carry on their legacy and aim for similar sonic territory. The modern scene is too incumbent on force and energy; making sure the music rings from the speakers and gets straight into the brain. Subtlety, passion and beauty are not words that should be overlooked and given a bad name. Modern Folk is a style of music that has many players but is still seen as quite niche and underground. Maybe it is challenging properly assessing all musicians and giving them equal ground – I feel the media often overlooks certain genres and is not as broad-minded as they should be.

Billie Marten’s debut album has gained a consensus that is hard to overlook. It has been receiving a gamut of four-star reviews and all the commentators say the same thing: no filler tracks and consistent quality; amazing vocals and mature songwriting from an album that will take the senses away. I have not seen any review that gets close to being negative – I think one of The Guardian’s reviewers felt it samey and a little weary – but those who know their music have recognised the sheer wonder and gracefulness of the L.P. If you think of those artists Marten has been compared to - both Laura Marling and Lucy Rose made strong debuts but none quite as lauded and consistent as Marten. Although Laura Marling is one of the most consistent and prodigious artists we have – Alas, I Cannot Swim is seen as being promising but not to the dizzying heights of Once I Was an Eagle (her 2013 masterpiece). Despite Marten and Marling both being seventeen when their debuts arrived: they are quite different but I see Marten enjoying a similar trajectory and success. I know she (Marten) will have many more albums and she seems at her happiest when writing songs in a quiet corner – left alone to her thoughts and with guitar by her side. Never allusive or closed-off: she is someone who does not want to be pigeon-holed and fall into the trappings of fame; not your typical teenager, fortunately. Whereas similar-aged artists are baring flesh and hiding behind legions of producers, studio effects and filters – Marten is a genuine artist that is dedicated to songwriting and not someone who will be succumbing to the worst instincts of her peers. It is this fortitude and maturity Marten displays that will see her succeed and enjoy a long, fruitful career. I recently wrote an article about Marten - comparing her to artists like Kate Bush and proferring her talents. Some might see it audacious to make some comparisons (to Bush) but I can see a similar arc. Both artists have that personality: warm and intelligent; articulate, honest and instantly loveable.

When hearing interviews with Kate Bush (around 1979) I hear a lot of Billie Marten in her. If The Kick Inside (Bush’s debut) was to be surpassed by later work: that phenomenal songwriting and vast maturity compare with Marten’s incredible words and intoxicating vocals. Whether Marten enjoys a similar career (to Bush) I am not sure but I have a lot of high hopes. Writing of Blues and Yellows has won the public and critical hearts and continues to exude and impress. As for the woman behind the music: she continues to play, campaign and ensure the music is being heard by as many as possible. Previous singles Milk & Honey and Bird have been met with huge acclaim – Live is the current single from the album. A video/visual will arrive in due course, but for now, we can enjoy one of the standout tracks from Writing’. If the album’s title refers to colour and the effect on the senses – Marten taking two colours on the spectrum and putting them together – Live looks at a curious mind wanting to travel the globe and experience new lands. It is a track that has been causing Marten some problems, to be honest. Its homonymic title could be read as ‘Live’ (rhymes with ‘jive’) or ‘Live’ (rhymes with ‘give’). The latter is the correct pronunciation – as the author wants to see the world and improve life – but let’s hope few make that error. It is quite charming at least: I am not sure what the song would be about, were you to mispronounce its title. Like Heavy Weather; it is a song that gets straight into the senses and does not escape from the brain. It is another sign to suggest Billie Marten not only has crafted a sensational debut album but will take this energy and talent to future recordings.

It is at this point of the review I often look at an artist’s progression and compare their new work with older. In Billie Marten’s case; she is starting out and Writing of Blues and Yellows – aside from the E.P. releases (Ribbon in 2014 and As Long As last year) – is her sole work. I can look at a song like Live and see how it fits in the pack; what it sounds like with regards the rest of the L.P. and how it reflects. In terms of the album’s songwriting: Live is definitely in the top-five songs on that record. Whether especially inspired or just a special subject for her: you get a sense this song holds personal relevance and meaning to Marten. Other tracks – Lionhearted and Bird for instance – deal with feelings and hurt – Live combines some reflectiveness with a desire to move and see the world. You get a mixture of longing and speculation with introspection and self-analysis. The entire song has a gentle vibe but the story progresses and the performance is constantly stunning. It is less driving and rousing as Heavy Weather but has that stillness of Emily, Bird and the softer side of the album. Not only is it one of the select cuts from Writing of Blues and Yellows but it showcases what an incredibly mature and intelligent songwriter Marten is. I hope there are more albums and E.P.s in the future because, as she shows on her debut, there are no weak moments or any doubts. Completely confident, committed and soul-grabbing from start to finish – a wonderful achieve from Marten. I have a lot of respect for her E.P.s and feel like another might make its way to us in 2017 – a way of teeing up new material or getting a few songs out into the ether. Given the hectic year she has had – and how she continues to tour and promote – one feels a Christmas break might be in order. Rather divorced from settlement and relaxation; Marten deserves some time to kick back and take stock. When January comes around, Marten might be looking at new horizons and what she wants to create on her new album. She has said how (she’s) happiest when creating music and left to her own devices.

Whether a second album/E.P. will incorporate different sonic elements and lyrical ideas – that is yet to be seen. I could see Marten sticking with the general template of Writing of Blues and Yellows but bringing some new ideas to the music. Given the transformations and changes this year has offered – she might put some of those to song; the transporting and itinerant nature of music. Conversely, a more sentimental and relationship-based album might take shape. I feel the compositional side of things will be interesting to see. I know Marten employs piano, percussion and other instruments in her debut. One knows she will never completely overhaul her roots and go full electric – little guitar licks and heavier elements might lend new life and insights; provide greater scope and allow her to unveil a rawer side to the vocals. Whether there are more piano and orchestral strands; whether she opens her voice and expands her palette will be interesting to see. Marten could easily and comfortably produce an album that sounds similar to Writing of Blues and Yellows and acheive huge applause. One thing is absolutely clear: next year will be a pivotal one for young Yorkshire musician.

A lot of kind words and praise has been levied towards Live. In many people’s minds it is, if not the finest track on Writing of Blues and Yellows, then in the top-three choices. My personal standout is Heavy Weather with Live and Bird completing the trio – Emily and Out of the Black are my other two favourite performances from Marten. The sentimental, lilting strings that open the song gets the listener is a calm mood and ready for what is to come. You are instantly placed on a train; flying through the rolling countryside and seeing the images – perhaps sheep in empty fields and nature – scuttle past. Marten ensures the opening seconds are beautiful but not too full-on. Similarly, she does not make her strings too slight and effete – risk losing momentum and struggling to capture imaginations in the introduction. With her voice lower and huskier: it skips and elongates; is ruminative and serious but imbued with tenderness and intimacy. “I want to go places that I’ve never been/Rome, California; Paris, Berlin” are checked on the map – you wonder what relevance these cities hold for Marten. Maybe there is a general flight instinct that means she wants to get on a train/plane and see the world; maybe a hankering to embrace cultures and see more of life. Whatever the origins of the early lines; you are gripped by the beauty and healthfulness of the delivery. Among the speculated cities and scenes: there is that desire to be quiet and happy; living by the sea and away from the strains of modern life- quite an idyllic and luxurious desire from Marten. Being based in Ripon; she has that escape and quietness but is far away from the ocean. You get the idea when listening to some of her songs; that need to go to the ocean is quite strong. Whether detailing stormy weather or suicidal heroines: water and the ocean play a big part in her music. The ocean/sea provides a perfect Muse for Marten to create her music: someone who could set up a small place by an L.A. beach and happily write into the small hours.

With regards the genesis of the song: there might be some parental caution and peer pressure that is motivating the words. Perhaps it is a general expression from people she meets; Marten is feeling a lot of strain. People are telling her not to “get lost in the dark” or “go in too deep”. Referencing adventurousness and risk-taking: one feels the young woman is being seen as a child and someone who should not see the world. Of course, she could also be talking more of an unnamed heroine – someone who is tied down in life and squandering opportunities. It is a message and mantra we can all take inspiration from. Many of us get caught in our ruts and are told not to take chances and settle with what we have. With that, come frustrations and a sense of loneliness. If stablemate songs of Live have seen the singer turn the focus to emotions and anxieties: here, we get something outward, journeying and battling. Despite her voice being serene, velvet-smooth and whispered: that desire to see more and defy others is evident; it gives the song such a strength and sense of purpose. Live is gentle and lullaby-like at every stage but never passes you by – it is not a song you can have in the background. It demands full attention and once experienced, will seep into the blood and make its way to the head. Such is the clarity of the production it is as though you are in the room with Marten. You feel she is singing at the microphone but looking out the window (at the Yorkshire countryside). With fields and countryside ahead of her: the sense of a woman who has desires but is being gravitated towards reality and home life.

Some tribal, hollow drums work in the background and create appropriate physicality and movement. Simulating train tracks, clanking and rolling carriages: a very tangible sense of travel and departure. The heroine lets her voice murmur and hub as the guitars create a cooling breeze and river flow – a riparian flavour that soothes the nerves and creates smiles and sighs. As the next verse comes to play, we see more of an adult, late-night Billie Marten. During the day, she is content to write songs and spend time with “the ones I’ve always adored” – juxtaposition to her night-time aims. One can hear little bits of Laura Marling in the huskiness and chocolate-rich timbre of Marten’s delivery. Other songs on her album exploit her higher register and bird-like tones – here; we get more of a mature and gravelled tone. It not only provides the full spectrum of Marten’s voice but provides gravitas to a song – one that finds the teenager wanting to get lost in cities and stay out all night. That desire to go out exploring – not necessarily drinking and partying – is firm; sneaking back into bed without a single person noticing.

PHOTO CREDIT: Victor De Jesus

All normal and understandable aims from a human who, until this point, has been engrossed in education, music and a more settled existence. Through every note, you get sentiments of Marten looking through a pane of glass – staring at the outside world but unable to touch. Not so much a fish in a bowl: more a bird that is unable to fly. She is happy with her life but yearns to be free. By the time the chorus comes back around; more instruments are brought in but never overcrowd the mood. Marten’s voice is highest in the mix and is the navigator and guide – always taking full attention but never muting the composition. Yearning, aching strings work in the back whilst percussion continues to patter and roll. A beautiful and intricate weave that buckles the knees and makes you lean into the speaker. The last time I had such a visceral and transcendent experience whilst listening to a vocal was hearing Jeff Buckley’s Live at Sin-é. That mini-L.P. /E.P. was recorded as an Irish coffee shop in New York around 1993 – just before Buckley was signed by Columbia and recorded Grace. Watched by a small number of patrons at St. Mark’s Place (Manhattan’s East Village); it saw the young master seduce, enthral and amaze – covering other artists’ songs and debuting the tracks that would appear on his only album.

Marten reminds me of Buckley during that recording. You imagine she is practically alone; her voice has that same weaving, jaw-dropping quality the U.S. legend possessed. The song’s second-half reiterates that desirous move and need to change. Marten’s voice grows in intensity and passion as the next verse unfolds. Less calmed and romantic than previous moments: it is more womanly, angered and defiant. She will, as it is said, make mistakes and fool her heart. Perhaps there will be times of indiscretion and naivety; there will be occasions where her stomach and desires and more power and larger than wisdom and logic – that is all part of the process and natural to anyone going through their teens. Perhaps the doubters feel Marten is ingénue and too young to handle the full force of the international world – she is refuting that assumption and putting her heart out there. “I will let down my guard” – the final word is held and hovered; creating something ethereal and spellbinding – and that is brave to hear in a song. Honest and admitting to such ‘faults’ is not something you hear a lot of in new music. There is  anxiety and a sense of fear but this is caused by those who hold her back. Marten is wise and intelligent enough to face the potential perils of the world. Live’s final seconds find the heroine humming and bereft of any explanation and further discussion. It is almost as though she has stated her case and won the argument – whatever anyone else has to say will fall on deaf ears. Backed by strings and percussion: the song enters its destination and finds Marten calmly vocalising and looking out at the view. It is as though she has gone out the window of her house and on the train to an airport – making the final steps before she gets to L.A. or Berlin. Such a wonderful song from Marten and one that differs from others on Writing of Blues and Yellows. Live is a track that comes from a young soul with old desires: a spirited and worldly woman that wants to capture all of life’s experiences and not let time pass her by. Live is not only a thought-provoking song but one that confidentially collates her numerous strengths and sides. A triumphant and unforgettable testament from one of this country’s most exciting and exceptional musicians.

Live is a gorgeous, intelligent song that hops cities and finds its creator yearning for new experiences and people. Being so young, one could forgive a sense of impatience and globe-trotting ambitions. It is a subject not often covered in music and one that more should attempt. Writing of Blues and Yellows covers battling English weather, love and anxiety; bravery, loneliness and materialism. Always intelligent, engrossing and relevant: Live is a track that stands as one of the album’s highs and key moments. I have heard the song a number of times but was compelled to feature it as it shows just what a musician we have in our midst. I will be following Marten’s career – and hope to work with her in the future – and have such passion and dedication to her music. Against the storm of disposal Pop and unnuanced Rock: Billie Marten stands as a calming influence and ray of sunshine. I opened by talking about Folk, debut albums and young talent. Billie Marten is still in her teens but is already showing she is on the same level as established artists and those who have been playing for years. If you factor age out of the equation – often a stumbling block – you should concentrate on Marten as an artist, regardless of tender years. She has been experimenting and playing music for a while but arrives already fully-formed and ready. Few artists create an album as alluring, stunning and deep as Writing of Blues and Yellows. As a lyricist, she takes from classic literature and the world around her. Based in the cathedral town of Ripon (in Yorkshire) she is surrounded by pastoral scenes, sheep, angry farmers (as she explained in a recent interview) and beautiful sights. The wistfulness, grace and calm you hear throughout the album could only have emanated from someone detached from the city. Were she based in London, one feels an album would have contained more anxiety, anger and energy. That would have detracted from the purity of Marten and what she stands for. I have mooted the possibility she will emigrate to the city – so she has a central base to perform in – but she seems happy and settled in Ripon.

As a teenager, and at the family home, that comfortable and quiet lifestyle is a needed tonic to the rush and demands of touring and the city. Artists work at their best when they are surrounded by peace, support and appropriate inspiration. I love the music London musician are making but feel the crowd and vicissitudes of the capital are causing a lot to become too negative and introspective in their work. Marten is located in a part of the country that, rather unsurprisingly, is showcasing some of the most varied and uplifting musicians around. I have long extolled the virtues of Yorkshire and the music it produces – artists that revitalise older genres and create music of the highest order. Ripon seems like a gorgeous spot and one Billie Marten is happy to remain in. Of course, she has to travel around the country and is enjoying the touring lifestyle. Playing some gorgeous gigs and taking away some beautiful memories: let’s hope she gets a chance to refuel and rest before continuing her tours. Writing of Blues and Yellows continues to get reviews and love; Marten is on the promotional circuit and seems constantly upbeat, engaging and passionate about her work. Live is often marked as a highlight of Writing of Blues and Yellows and brings all Marten’s talents together. Those precise, original lyrics paint stunning pictures and motifs; tapestries one entrenches themselves in – like you are following Marten as she tours Europe by train, car and foot. The voice, the staple and golden chattel, is at its luscious, serene best. Capable of combining contemplative, reflective stillness and breathy, tender beauty – an instrument that has no equal in modern music. Throw in a composition that is spirited, finger-picked and full and you have a song that Marten should be very proud of. I opened by stating how Heavy Weather is on my mind – and have played it several times whilst reviewing Live – and it is not the only song (from her debut) that has got into my thoughts.

It is left for me to wrap things up and predict where Marten will be headed in 2017. I have looked at Folk and the difficulties crafting a universal debut album. The artists Marten is compared with never crafted a debut as solid, consistent and mesmeric as Writing of Blues and Yellows. This is not only an impressive feat from Marten, but one feels, she can go onto better things. Like Kate Bush, Laura Marling and Nick Drake (to a lesser extent): she will produce her finest work into her twenties/later in her career. I mentioned Drake, who I feel peaked on Pink Moon – an album that arrived at the end of his career. Mentioning Kate Bush and one can see Hounds of Love as her high-point – will Marten have something similar in her creative chest? It is all very exciting and the hardest hurdle has already been negotiated. No matter how charming, lovely and nice you are as a person: if your debut album does not gain approval then you face having a very short life in music. Luckily, Marten has created something entrancing, enticing and utterly gorgeous. Live is a song that is current in the mind and, aside from homonym confusion, is gaining a lot of respect and airplay. Already lauded and backed by B.B.C. radio and mainstream radio – it is rare for someone so new and young to get that foothold and be taken to heart so quickly. Congratulations to Billie Marten and a sensational song – one that sits on an album packed with treasure, delight and openness’. Her songs tackle tough issues and you get a sense of that within Live. What one finds, in her latest single, is a young woman who wants to escape and see the world. Not only to get away from the place she is in but become a fuller and more complete human – engage with other cultures and broaden her horizons. If Marten strikes one as a humble and happy-in-Yorkshire artist her music suggests someone curious and keen to hop across continents and countries. How this will translate and unfold in future years will be interesting to see. In a world that is full of anxiety, uncertainty and political upheaval – Live is a wonderful song…

THAT can make everything seem so much better.

[youtube https://www.youtube.com/watch?v=r0EPF3r7J-k&w=560&h=315]

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Follow Billie Marten

 

Official:

http://www.billiemarten.com/

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TRACK REVIEW: Lola Coca - Ego

TRACK REVIEW:

 

Lola Coca

 

 

Ego

 

9.7/10

Ego is available at:

https://soundcloud.com/lolacocamusic/ego

RELEASE DATE:

3^rd November, 2016

GENRE:

Pop; Hip-Hop; Rap

ORIGIN:

London, U.K.

WRITTEN BY:

Lola Coca, Neil Ormandy and Stefan Skarbek

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THE reason I keep coming back to Lola Coca is due to an undeniable...

individuality, quality and verve on her part. I shall investigate our featured act soon, but it is true - she has a beguiling and honest quality about her. She is an artist I have followed closely and am excited to see just how far she can go. Thinking about her and I have to look at the solo artists emerging in London right now – those that go against the grain of chart-led, committee-approved trends and forge something unique and credible; looking at musical influences and various forms of British Rap/Hip-Hop – finishing by putting a spotlight on the ‘complete artist’. In my last review – where I write about Alternative-Rock hopefuls Emnibis – I talked of the scarcity of great, genuine bands – those that recall past masters and have their own sound and way of working. I have been looking at solo artists more and fascinated by how instant and memorable they are – a little cold by some of the newer groups we are seeing. That will all change – Emnibis are a strong and worthy band to watch closely – but there is something about a solo artist that is hard to put your finger on. London is spawning some of the most varied and multi-talented musicians I have seen in my lifetime. In terms of the sole acts of 2016: there is such a variegation and sense of meaning; purposefulness and direction. It is something I bring up often: I was a little disappointed by last year’s mainstream music and some of the newer artists of that time. This year, certainly when we think of the solo artist, that has all changed. I cannot get enough of all the different sounds and personalities; the cracking songs and awesome albums – truly, something quite astonishing. I have theorised – and shall not spend time going back into it – as to the reason behind this transformation. It could be all manner of things: we are enjoying a real fine crop of artists. London is a city that has always been prolific and fertile: this year, it is proving just how true that is. I am not sure whether venue closures or a communal togetherness is fostering this growth and expansion. Whatever the reason behind this; I cannot really say. It is delightful finding so many treasures and the city’s buzz is clearly having an effect.

London has always been a cultural hub and place for inspired minds to be fostered, compelled and nourished. The last few years has seen a real rise in talent and quality. Not just a place for great Pop and Indie – there was a time when the city was more limited with regards genres and sounds – there are so many different sub-genres and little nooks of music. Artists are becoming bravery and more experimental; alchemy and discoveries are being made; there is  hopefulness and vibrancy in the capital’s air. How this will continue (into 2017) will be fascinating. I am sure bands will come back strong and go toe-to-toe with solo artists. London, unlike a lot of areas, has so many great duos in their ranks – truly, a city that never sleeps and keeps on surpassing expectations. Before I continue onto new points, it is time I introduce – for those unfamiliar – the wonderful Lola Coca:

“Portsmouth underdog Lola Coca bowls through our speakers with an unapologetic stride, carrying her love for 90's Hip-Hop and Ska along for the journey. London situated, the lyrically poignant Popstress has a way with words, simultaneously both playful, frank and nonchalant. Her smooth vocal tone spans between the goal posts of disinterest and a swan provoked. Her background blending genre is somewhat reminiscent of British cult classics; The Streets, Gorillaz, and Basement Jaxx, only this time presented as a stand alone "one-(wo)man-band". Lola Coca has been working alongside London's own multi-instrumentalist, writer-producer Stefan Skarbek (Lily Allen, Amy Winehouse) and legendary mixing engineer, Tony Maserati (Beyonce, Notorious B.I.G.)”.

I looked at London and how prestigious and glowing the city is right now. Whilst I am impressed by the raft of solo artists, it is the females of music that are compelling me most. Lola Coca has been in my thoughts since Bad Girlfriend – a song that continues to gain love and respect. She has attitude, sassiness and confidence: a woman that will not be made a fool of but has a vulnerable side. In previous reviews, I have lauded the female solo artists and just how magical they are. More assured and defiant than their male peers: their music is wider-ranging and more consistent it seems. I am, like other theories I have mooted, not sure as to the explanation but it just seems to be the way. Knowing Lola Coca, she is not someone who is ever going to be moulded by a record label or told what to do. I get exhausted by the raft of solo artists – male and female – that seem to be following every direction and demand of a label. In terms of what to wear, record and what to say (in interviews): it is depressing finding so many plastic, manipulated musicians. It is not just a fate reserved for Pop artists: so many other genres are seeing its newcomers instantly designed, conceived and played in accordance with company directives. What is refreshing about Lola Coca is her realness and soul. She has a fragile and emotional side – someone who feels the struggles of life and is open – but has wit, spirit and enough panache to sink an armada. An history of her music lets you into a very colourful, engaging and hypnotic world where no-gooders and shallow types are given the thumbs-down. From sleazy, sex-obsessed boyfriends (Bad Girlfriend’s discourse aimed at a boyfriend looking for oral gratification on his birthday) to suit-smothered, sleek-haired city-boys (GQ) – another step forward has been made with Ego. Again, it plays on the worst traits of the psyche and the natural inclinations of some people. I will get more into the song’s meanings anon, but for now, expanding on the proliferation and rise of certain genres – specifically casting a gaze on British Rap and Hip-Hop. Once upon a time, that sentiment – Britain having a great Hip-Hop scene – would have provoked derisive laughs and general scorn.

It is only the last decade of so it has really developed and exploded. Whether you see the likes of Dizzee Rascal and The Streets as figureheads of that spur – around 2003/2004 onwards – or date it back to the late-‘90s – it is a relatively new movement. Not only is British Hip-Hop and Rap so varied: it nestles with Grime and Urban; so many sides and contours to that established, core sound. Lola Coca is someone I will be interviewing soon and posed the question (or something similar): Were Missy Elliot and Neneh Cherry idols of your growing up? I know Missy Elliot is someone heavy in her consciousness – not too sure about Cherry. The Swedish-born, British-based, Buffalo Stance author is one of the most influential and impressive artists we have seen in this country. Whether you label her as Rap/Hip-Hop artists or Pop – you cannot deny the influence she has had on female artists. I feel Lola Coca is a singer that can have that same effect and is stepping into a fairly under-sourced market. There are a lot of female artists that perform blends of Pop, Hip-Hop and Rap. To my ears, there are very few like her. Anyone comparing Lola Coca to Lilly Allen – I love Allen but just because they have London accents and similar voices does not make them alike – would do good to dig deeper and discover greater richness and depth. Lola Coca is someone who has been inspired by U.S. Hip-Hop queens but has a lot of love for the fresh and vibrant sounds of the street – always crushing on London and the people she meets. You only have to look at her fashion and looks to know how important people and home is – inspired by the scents, sights and fabrics of the capital. Throw in a personality that can only be described as ‘infectious’ – instantly loveable and (someone you) want to hug; quick with a comeback and a really decent human. This might sound like all the ingredients for a future star and you’d be right. Never (is she) someone who is going to be appearing on reality T.V. shows and sell her soul – a true musician that has an army of fans behind her. All of these facets and assets unite into a singular artist and one of Britain’s names to watch. If Lola Coca is not on the lists of ones to watch for 2017 then I will be sorely disappointed. The likes of Jack Garratt and Izzy Bizu have appeared on those lists, but in my view, have not made big statements worthy of their billing. Lola Coca has released a series of singles and already sounded more primed and critically-safe – someone who has not put a foot wrong and is much more original and appealing than the aforementioned.

For a full impression of an artist’s worth; it is important to view their entire catalogue and see how they have grown and evolved. In terms of Lola Coca’s music; it is evident she becomes more inspired and strong with every song. I have long listened to tracks like Bad Girlfriend and am hooked and seduced by its themes and hooks. It is a song that boasts an addictive chorus that sticks in the brain and will not budge. Mutating between scatted delivery and low-down sway – a song that (naturally) impressed fans and was played by a range of D.J.s. GQ followed and is one of this year’s most impressive singles. Not an identikit of Bad Girlfriend: resolutely Lola Coca but addressing new concerns and taking down fresh villains. If Bad Girlfriend put the studs into a wannabe stud – the amorous boyfriend with little dignity – then GQ cast to a type of man that irks a lot of women. Ego takes the focus and introverts it: putting some of the attention on the heroine and containing the same rhythms, rhymes and confidence as her previous cuts. You can see a progression through each number. Every track that comes along sees the heroine more confident and assured. She is not free from nerves and knows exactly what she wants from the music world. Bringing in producers and collaborators has not dampened her direction and made her lose focus – perfect partners that help bring the songs to life and making them as sharp and attacking as can be. There is something about the vocals that lure you in and gets the tongue all tied. That blend of coolness and sweetness is a spicy vixen that brings fire and candour to every song. Ego is a song that will work hard to topple Bad Girlfriend’s legacy and acclaim. I feel (in time) Ego could surpass that benchmark and be regarded as Lola Coca’s finest number. It is a tough call but there is not a lot to separate them. Quality-wise, there is such a thin slither of light between them but sound-wise they differ – in terms of the lyrical ideas, there are distinctions, too. I am glad the London-based star is growing strong and remaining consistent, agile and divine.

“I’m an animal, fully flammable” are the opening words and arrive after no pomp and circumstance. The vocal is straight in and underlines the urgency and instancy of the song. Ego wastes no time getting off the blocks and sees the heroine in viper-like, snaking mood. Her voice is striking and firm but has an underlying seductiveness and coolness. Those words paint a picture of someone sexualised and comfortable with whom they are. Maybe there is some tongue-in-cheek but you get the picture of a young woman who is “like a summer breeze”. She can fly and burn; roll and rock: a veritable mythical creature that can rule men and the world. The song has little accompaniment and composition early on. The emphasis is on the vocal and because of this bare presentation; you hear that voice and allow it to steal focus and lead by example. The song’s title might not be an exaggeration as Lola Coca shows no modesty when it comes to extolling her virtues and benefits. It is not a specific run-down of qualities and benefits: an overriding confident and comfort in her skin; somebody that is shrugging off the bad vibes and getting on with things. In a sense; Ego is a continuation of GQ and Bad Girlfriend. On both occasions, Lola has had to fight off unwanted affection and tackle oppressive, egotistical men. In this case, the tables are turned and she relies on nobody – just riding out front and being The Boss. A sturdy and precise piano punctuation gives energy and propulsion to the words which take a new diversion and turn the daggers on a particular man. The crap he has been spewing finds the heroine in need of ventilation and fresh air. It is a typically humourous and cutting observation from a woman that has encountered far too many shady, boy-like men.

You wonder what the attraction is or whether they feed her lies and then break her heart. Whether there is culpability on the man alone or there are faults on either side – the hero is not trying to assuage his indiscretions and hot air. In fact, he is making things worse and enraging the (otherwise relaxed) heroine. Some days she only pleases herself – a cavalcade of steamy and rather X-rated images flood to mind. Just as you allow something lurid and prurient to stalk the mind: the piano is superseded by swaggering beats and an instant sense of cool. Whereas the listener was affected and hooked by the vocal-piano combination of before – there is now a rambunctious and delightful composition coda that takes the honours now. Lola Coca does not need anyone to pay her pension or take care of her. You wonder whether, when looking at independence and sufficiency, there are not underlying nods to sex and affection. Maybe the mind gets into the realm of double-meaning and innuendo but that controlling confidence and ego are there. It seems, perhaps, the man is the one with the attitude problem and getting rather big-headed. It would not be a Lola Coca song without a cock getting their testicles crushed under a stiletto; their pretentiousness flattened with an atomic blast. Whether sex-obsessed or cocky: Lola is always there to suture that bullsh** and show who is in charge. Ego keeps the body and soul flexing and winding with its slinking beats and Camden-meets-Jamaica-via-L.A. concoctions infuse the senses and create something wonderful and heady. Forgetting all the promises and arrogance: the heroine wants the stereo cranked up and bodies meshed. Maybe directed at her at-once-at-fault man; she is not imploring silence and a submission to the music. One imagines a low-light room late at night: there is a banging tune playing an assortment of revelers filling the floor – in various states of de-evolved inebriation and slurred ‘wit’.

Lola gets the guy by the scruff and brings him into her body: shutting his stupidity with a scintillating display of Bambi-like moves (a little clumsy but adorable) and raw beauty. Like all Lola Coca’s songs: the chorus is instantly memorable but has its own charms. If GQ and Bad Girlfriend were more charged and funky – Ego is more low-down and composed; a calmed version and transposition of Bad Girlfriend; one where the sweethearts might actually enjoy something sensual and pure. There are maturity and level-headed words but some mystique to be found. The heroine never wants to come down and is submissive to the music. That feeling of not wanting to come down could either ascribe a natural ecstasy or certain recklessness. As the nature of ego is being assessed; one feels like the heroine is having a great time and does not want to be sober and calm tonight. On the other hand, you get the sense of someone with underlying vulnerability and emotions – the music and night acting as a temporary tonic and elixir to balm her wounds. If you see the song as a bromide, maxim or self-fulfilling prophecy: you are helpless to resist its ice-cool beats and red-hot vocals. The resultant warm water is one you swim in as the song gets into the head and takes you away with it. Rub-a-dub-a-dub and “mechanical”; a “solo symphony” and warrior queen – all manner of images and characteristic descriptions are being laid out. Whilst the words are tumbling and leaving the (sweat-tinged) tongue; you get fully buckled by the alluring delivery and the fascinating story. The story seems to assess someone who needs attention and is rather sure of themselves. Not lacking any demure or coquettishness: a cocky and self-assured human that is in a self-absorbed state of delirium. Although the heroine has confidence and knows her own mind – is she talking about herself? The man is someone who lacks necessary digression and has been rather impure. You feel Ego is a little dig at him but embracing the virtues and merits of the self. Botanical and magical; all the “flowers in the park” are blooming and a variegated garden of pleasure is in view.

“I’m in love with my charm” is delivered with a sly grin and luxuriated. You get the sense Lola is comfortable in her own skin floating on the breeze but putting the guy down. Songs like GQ have exposed those types that are all about sex and have no soul and depth to them – unwilling and unable to nurture Lola and get to know her. As you imagine the origins of the lyrics and the sweetheart in focus: you get captivated by the fairytale images. It is almost like a Disney song, in a way. Botanical, anatomical and zoological images and sounds and suggested. The casual listener will be struck and transport their mind into the song: looking at all the smells, colours and possibilities there are. The more studied listener will appreciate the depths of the beats and the nuanced lines; the smooth and sweet vocals. There are little embers of Amy Winehouse’s soulfulness and a spoonful of U.S. Hip-Hop divas. Lola Coca keeps her accent true – raised in Portsmouth but based in London – and shows herself as one of the most impressive and varied singers in the country. Always able to run a gauntlet of emotions whilst keeping it together and disciplined – a feat few can match with such aplomb. If Ego’s chorus is not quite as chant-able and dancing as Bad Girlfriend: it has a slow-burning charm and is more developed and seductive. The beats are big and pounding but do not encroach on the foreground. There are lovely details and instrumental notes that create something full, vivid and evocative. It is almost like you are there with the heroine – partying in a flat with all manner of smells and conversations; in a garden enraptured by the scents and plants – and that is no small compliment. A composition that draws you in and provokes such imagery should be applauded: Lola Coca is masterful when it comes to those big but intelligent deliveries.

Past the half-way point, and as has become traditional for Lola, there is a Rap interlude that accelerates the song and brings an edginess that sees the heroine threatening to rain on the parade. One feels, when hearing the new parable, a room full of chauvinistic chaps who all have their balls swinging and cockiness sharp. She is sharpening her wit and pricking their balloons of pomposity and ego – giving this attitude no quarter and circling the room like a lioness. The “Suited and booted…” fellas are those that seem unattractive and nauseating to Lola – she does not want to sit with them and give any of her time up. A “contextual dreamer” with “no plans” seems like a drifter and social outcast – someone who seems comfortable and thinks he’s all that but is a bit deluded. I was impressed by Lola’s slick and clever lyrics that never seem lazy or filler. She looks at the monster fame; one that is hard to maintain: like a Great Dane let loose in the park; something you struggle to control. Maybe the guy(s) are intimidated by the heroine and unable to handle her. “I know you wanna free me” is the declaration – the guy sees her on the T.V. and a wave goes to his brain – and the heroine seems comfortable letting that happen. At various points, you get that dichotomy of reluctance and distain - someone teasing the guy in. Whether purely depicting a (ill-fated) romantic attempt or a general assessment of those luring after Lola Coca – she is making sure they are put in their place. The two-and-a-half-minute chorus introduction seems the perfect spot and the prime example of Lola’s gifts. It gains new light and meaning at this point and pushes the song in new directions. To start, I was wondering whose ego was being checked and examined – there was a little bit of vanity from Lola at times – but, here, there is some clarity and revelation. The chorus is the most unifying sentiment and one that will be echoed and embraced by listeners and fans. Simple and catchy; never sloganeering or trite; it is a singular moment that swims in the bloodstream and compels the voice to sing loud.

As the chorus styles itself down to land – “E-G-O” always sounding fresh and cutting each time it is sung – you get a final burst of ripe, House-infused pianos that are both grand and drunken. The beats patter and strike to the last and the song comes down to land. Ego is another stunning song from Lola Coca and one that could only originate from her. The Internet was abuzz when the single dropped and many were relieved to see it arrive. Not that there has been a big gap since GQ - that was released a few months back – such is the desire and demand for new Lola Coca music. The prayers have been answers and Ego is another step forward from an artist who seems ready to take that leap to the mainstream. She has a great team behind her – manager and producers – but is someone who resonates and shines on her own merits. She is not an artist like Beyoncé – not taking shots as I love her music – that has a plethora of writers and producers to get the music out there. Those words and ideas are all Lola’s and one feels a big hand in the production direction was down to the heroine – ensuring they were as she heard them and not tampered with. Following the song’s release: immediately, people have flooded to social media to share the song and lay down their mini-reviews. Ego has garnered a huge reaction so far and many are starting to realise just how huge and impressive Lola Coca is. I am not sure whether any new material will come before 2017 but the spotlight is definitely on her. Ego reinforces just how incredible Lola is as a songwriter and what a sensational performer she is. Ego is simple and complex; colourful and witty; adventurous and emotive – all of the elements one could want from a song! Huge congratulations to the London-based artist; she is going to own 2017. Not only will she be releasing new music but performing across some wonderful venues. Ego is mind-blowing business-as-usual.

It must only be a matter of time before Lola Coca is releasing an album or E.P. I hear rumblings and suggestions but nothing concrete yet – hopefully more will be released in the (forthcoming) interview. What we have now is another incredibly confident and addictive song from a true one-off. Many suspected a single was afoot – knowing the impact GQ has before – but few could predict when it would drop and how it would sound. Lola Coca keeps her song titles short and her opinions shorter still – each pf her previous songs have been focused, concise and filled with personality. Bad Girlfriend blew the boy off – not the way he had hoped – and put him in his place. GQ poured scorn on those city types that letch and cat-call in their over-priced suits. Ego flows, jumps and struts its stuff. The heroine has that need for attention and wants eyes on her – cool and commanding from start to finish. More luscious, Reggae-tinged and seductive than anything she has put her name to so far – it has that unmistakable Lola Coca vibe. Experimental, tropical beats with electronic interceptions; an authoritative, beautiful vocal and sticks-in-the-memory lyrics. All of these fuse with seductiveness and ease: a songwriter who is able to impress upon the first listen and keep the listener coming back time again. There are not many that have that biblical sense of hook and nuance. Each time you hear Ego you get something new and delightful – a song for those who love their music funky, deep and sexy. Between the release of GQ and Ego there was a gap that suggests Lola Coca could have been studio-bound or taking a breather. One assumes there is new material afoot. I have not heard Lola Coca in the form she is in - inspired, ready and completely in charge. If you thought Bad Girlfriend was a fluke – a song that must have been a rare flick of inspiration – then Ego proves that assumption is foolhardy. It is hard to say just how far she can go and when the next move will be. Make sure you listen carefully and take the time to seek her out – one of our finest and most interesting young artists.

Before I close this down, I wanted to come back to my early points and sum up Ego/Lola Coca. There are a lot of new singers and new musicians making their way into the public consciousness. As part of my reviewing, I get to see some fantastic acts start their careers and make their first impressions. A lot of them impress – but you feel more could be done – whilst a few build on early promise and hit their stride a few months down the tracks. It is worth hooking onto the social media feeds of Lola Coca, for a few reasons. To start, that bright and intoxicating personality comes to shine and shows just what she is all about. Even in her most strident and confident moments (Ego); she is someone that yearns for love and has that sensitive side. A mixture of outright bullishness and accessibility: you do not get that combination with many people, let alone musicians. With Love Songs, Bad Girlfriend; GQ and Ego out in the atmosphere – it seems like an E.P. must be around. The track order I have just listed sounds right and you can imagine a cool title: something that sticks in the brain and an awesome cover shot. I will not get ahead of myself – the future is very much down to Lola. I am always bowled away by London music and the sheer vitality and energy that emanates from our capital city. Other cities/towns have ample talent and ammunition – I have not seen any that match that of London. The Hip-Hop/Rap acts being created are among the finest in the world. If you though the U.S. was the natural leader with regards those genres, then think again. Britain is on the offensive and providing so many leaders: from Grime hustlers to Rap heroines. Those musicians that strike out and let their personalities onto the page are those we should proffer and commend. Everyone gets a bit tired of the roster of chart acts that follow the whistles of record bosses and committees. There are enough fake tinsel and vanity in music: encouraging more artists like that is insane. Luckily, many are feeling this annoyance and rebellion against it. I am unearthing some genuine musicians that play their own way and want to make a lasting impression in music. Lola Coca is a brave and exceptional artist that has overcome some niggling doubts but continues to press and impress.

Even though Ego has been out a few days: the reception, love and response have been magnificent. The magnitude of positivity is not down to social media bias or any hyperbole. Those who have heard the song have responded to its instancy, colourful layers and hypnotising sounds. Whether affected by the dope-sweet grooves or alluring vocal playfulness; the sharp edges and the charming, brassy lyrics – a song that demands a lot of affection and repeated assaults. Let us hope Lola Coca has a Christmas treat in store for us or else a New Year’s resolution – that something full and E.P.-shaped will be under the stocking. Who knows where she will go from here – but knowing her – it is going to be stunning. I have mentioned the wonderful London acts and the inspiring Hip-Hop-cum-Rap blends: the women of music and how solo artists are ruling the roost. Lola Coca fits into all these categories and in a world of her own. I cannot think of any that have the same charisma, passion and sound. A truly unique talent that has a long time left in music. Over the course of her career, she will go to the U.S. and perform around the world; own venues and festivals and release a series of E.P.s, albums and singles. The sights, faces and joys she will meet will not be forgotten – she will have her world rocked and heart broken before her career is complete. As of now, the young heroine has a lot on her mind and has laid it into the infectious, staggering Ego. If you have a problem with Ego then you have an issue with music. If Lola Coca’s ego is proud and undeterred; it should not be temporised…

EMBRACE and adore it.

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_____________________________

Follow Lola Coca

 

Official:

http://www.lolacoca.com/

Facebook:

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

Twitter:

https://twitter.com/lolacoca

Instagram:

https://www.instagram.com/lolacoca/

SoundCloud:

https://soundcloud.com/lolacocamusic

YouTube:

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FEATURE: The November Playlist: Vol. 1

FEATURE:

 

The November Playlist: Vol. 1

______________________

WHERE the hell has this year gone to, already?!

In terms of work, it seems never-ending – the year never goes that quick when you’re behind a desk. In terms of music, there has been a mass of wonderful albums and singles – I can’t believe 2016 is almost through. With minds on bonfires and fireworks: what better time than to introduce some explosive and colourful gems from the best music has to provide. This month is liable to put some tremendous sounds into the ether and warm the cockles. The nights are getting shorter so it is high-time we get down to the first edition of The November Playlist.

__________________

Ingrid Witt - Babies Gonna Cry

[soundcloud url="https://api.soundcloud.com/tracks/290202353" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Section Boyz (ft. Skepta) - #Worst

[youtube https://www.youtube.com/watch?v=RTn3b3EPTWo&w=560&h=315]

Olly Murs – Grow Up

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

Emily Reo – Spell

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

Goo Goo Dolls – Over and Over

[youtube https://www.youtube.com/watch?v=ZH0Ab0AzF-w&w=560&h=315]

 

The Charlatans – Tellin’ Stories

[youtube https://www.youtube.com/watch?v=SHKUy7MA4Ds&w=560&h=315]

Emeli Sandé - Breathing Underwater

[youtube https://www.youtube.com/watch?v=bKZ6_cL0yzA&w=560&h=315]

Michelle O Faith - Birthday Blues

[soundcloud url="https://api.soundcloud.com/tracks/287284819" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Alex D'Rosso - Stand By Me

[youtube https://www.youtube.com/watch?v=8JN7W1Jdqx8&w=560&h=315]

Sting – I Can’t Stop Thinking About You

[youtube https://www.youtube.com/watch?v=RKyh2kYOdOk&w=560&h=315]

Dua Lipa – Room for 2

[youtube https://www.youtube.com/watch?v=gkXncMvr9gM&w=560&h=315]

Harper – No Love in the Jungle

[youtube https://www.youtube.com/watch?v=SmKfJ0uPfec&w=560&h=315]

Little Mix – You Gotta Not

[youtube https://www.youtube.com/watch?v=jo7xOxV_E90&w=560&h=315]

Saint Motel - Move (360 Virtualiser)

[youtube https://www.youtube.com/watch?v=QOhTNUBQ7xQ&w=560&h=315]

Louisa Johnson – So Good

[youtube https://www.youtube.com/watch?v=WBZZn62xtIU&w=560&h=315]

Pharrell Williams - Runnin'

[youtube https://www.youtube.com/watch?v=9jXQBMNe01c&w=560&h=315]

Anohni – Hoplessness

[youtube https://www.youtube.com/watch?v=5ZW1BBkquFA&w=560&h=315]

Superjoint – Ruin You

[youtube https://www.youtube.com/watch?v=IWO6nDoCBjE&w=560&h=315]

Pixies – Classic Masher

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

Crowded House – Fall at Your Feet

[youtube https://www.youtube.com/watch?v=kW_5YdPL9Go&w=560&h=315]

Sad13 – Less Than 2

[youtube https://www.youtube.com/watch?v=eG_isB2_APw&w=560&h=315]

Jim James – Same Old Lie

[youtube https://www.youtube.com/watch?v=3gvQ8RPfTlM&w=560&h=315]

Shura – Nothing’s Real

[youtube https://www.youtube.com/watch?v=b5gTeyruvC0&w=560&h=315]

Kungs (ft. Ephemerals) – I Feel So Bad

[youtube https://www.youtube.com/watch?v=0SVk3adkchY&w=560&h=315]

Röyksopp (ft Susanne Sundfør) - Never Ever

[youtube https://www.youtube.com/watch?v=JDBzeM6KLlQ&w=560&h=315]

 

Pixie Geldof – Sweet Thing

[youtube https://www.youtube.com/watch?v=5T2a2xjBN7k&w=560&h=315]

Pretty Maids – Kingmaker

[youtube https://www.youtube.com/watch?v=EV6ebCgH-dI&w=560&h=315]

Shirley Collins – Death and the Lady

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

Metallica – Hardwired

[youtube https://www.youtube.com/watch?v=uhBHL3v4d3I&w=560&h=315]

Stevie Nicks – Think About It (Alternate Version)

[youtube https://www.youtube.com/watch?v=fRdNJhfoT0Y&w=560&h=315]

Bruno Mars - Versace on the Floor

[youtube https://www.youtube.com/watch?v=d2UZlwTDGbY&w=560&h=315]

Super Furry Animals – Something 4 the Weekend

[youtube https://www.youtube.com/watch?v=D1QyO4TkWts&w=560&h=315]

Enigma – Push the Limits

[youtube https://www.youtube.com/watch?v=9D6KhquBf5Y&w=560&h=315]

The 1975 – She’s American

[youtube https://www.youtube.com/watch?v=3ZhE-T9zw1w&w=560&h=315]

Loscil - Monument Builders

[youtube https://www.youtube.com/watch?v=VaSbPmX3_4E&w=560&h=315]

Simian Mobile Disco - Remember In Reverse

[youtube https://www.youtube.com/watch?v=PhZBhRaAx3k&w=560&h=315]

  Luke Temple - The Birds of Late December

[youtube https://www.youtube.com/watch?v=Jj3QMQAKoP0&w=560&h=315]

Adele – Water Under the Bridge

[youtube https://www.youtube.com/watch?v=H1kx6tyKAFg&w=560&h=315]

  Martha Wainwright – Traveler (Live @ Stingray PausePlay)

[youtube https://www.youtube.com/watch?v=Alk_nH8tIzg&w=560&h=315]

The Chemical Brothers - C-H-E-M-I-C-A-L

[youtube https://www.youtube.com/watch?v=SFk2Vxw9dAo&w=560&h=315]

Papa M – Bloom

[youtube https://www.youtube.com/watch?v=yiQ8tfkk5Kk&w=560&h=315]

  Sleigh Bells – Hyper Dark

[youtube https://www.youtube.com/watch?v=gLCZDsd2E10&w=560&h=315]

Lanikai – I’m Glad

[youtube https://www.youtube.com/watch?v=J5gLrKzRG5k&w=560&h=315]

Miranda Lambert - Keeper of the Flame

[youtube https://www.youtube.com/watch?v=gMY270Otu_s&w=560&h=315]

Thee Oh Sees - The Poem

[youtube https://www.youtube.com/watch?v=TW4kzKAFRpI&w=560&h=315]

You will agree there is a lot of variety and quality to be found in that list. From remastered and released gems to some right-off-the-press singles - showing the full spectrum and depth music provides. It has been exciting getting a great bunch of songs together – I hope you enjoy them and find something to recommend. Until another instalment, I shall leave it there and say: November is shaping to be another bumper month with a high calibre of music. Keep your eyes alert and aware of all the terrific music that will arrive between now and the end of this month.

TRACK REVIEW: Emnibis - Home

TRACK REVIEW:

 

Emnibis

 

Home

9.2/10

Home is available at:

https://soundcloud.com/emnibis/home

RELEASED: July 2016

GENRES: Alternative-Rock

ORIGIN:

Surrey, U.K.

PRODUCER:

Ben Sansom _______________________

FOR this particular outing, I not only get to look at the kind of Alternative-Rock…

bands coming through - I will be able to assess the validity and strength of new bands in addition to those who expend texture and consideration; a look at artists emanating outside of London. I have been concentrating on a lot of solo artists and neglecting the bands out there. That is folly because, as my featured artists prove, there is a great deal of terrific ones out there. The reason I have been focusing on the solo star is because of a need/desire to help those starting out – those that have few other bodies helping their music and tackling everything alone. It is scary and hard entering music and having to foot all the responsibility and labour without any intervention. As fun as it’s been to look at solo acts and the best out there: one has that desire to come back to bands and see what is happening at that end of the market. One of the reasons I was a little shy towards bands is (the fact) I was hearing a lot of uninspired and samey artists. I feel there are not that many bands in the mainstream that are leading the way and inspiring those coming through. If you really think about it carefully: how many new bands can you name that are on your mind? When I think of mainstream acts: I am either attracted to solo artists or those bands that are established and been playing for years. There must be some great new bands but they are either not standing out sufficiently or being buried and overlooked. One suspects there is a mixture of the two and that is quite troubling. The band market used to rule music and provided so much inspiration and wonder. Over the past few years, there has been a definite shift away from groups and to other areas of music. I have bemoaned the absence of Royal Blood – a duo I keep bringing into reviews – but maybe that is a good thing. They were, when their eponymous debut was released, tipped as one of those bands to watch – one that would crack the mainstream and command huge crowds. Whilst they have raced off the blocks, they failed to capitalise on that momentum and early energy – where are they at the moment?! If you were excited by their inventive and urgent album: you will have to wait until next year for a follow-up it seems. That is a big gap between albums and something a lot of bands are doing. I know touring demands take groups away from the studio but, in a busy and competitive scene, you cannot take too long between albums. Solo artists are, perhaps, a little less constrained and in-demand – given the time to record albums more freely and with a shorter gap between. Moving into Alternative-Rock and it is one of the busiest and most exciting areas of music. In terms of the outright quality and table-topping places: there are not many Alternative-Rock bands there.

Once was the time the end-of-year lists would be stuffed with hard-rocking bands and some sensational albums. This year, the likes of David Bowie and Nick Cave and the Bad Seeds are on that list – Leonard Cohen too. The seas and tides are shifting but that is not to say there is imminent danger of collapse. It is true the band market is still producing great acts but one has to wonder this: what is the reason behind the (comparative) decline and quality drop? Maybe it is just the way music is progressing or something else – I’d like to think the media is being remiss when promoting bands. I feel it is more difficult for bands (coming in) to get their voices heard and make an impression. That is a shame, because, as Emnibis show, they are worthy of detailed reviews and fond acclaim. I will continue my point, but for now, let me introduce the boys to you:

“Emnibis’ journey has been one filled with trials and tribulations, leading them to be the four-piece alt-rock/pop-punk band they are today. Hailing from the darker depths of Surrey, Casey Newman, Sam Cowlam together with newest members Elliott Davis and Matt Clark have just released their most exciting single yet. All ages between 19 and 22 they may seem fresh on the scene, but this band have beenbest friends and gigging together for years. Formed in 2012, Emnibis have been a solid cog in the pop-punk machine in Surrey for almost four years, with the founding members of the band playing together for almost eight. The four-piece have a list of influences anyone would expect to find from a pop-punk band, from Blink-182 to Alkaline Trio, Lower Than Atlantis to All Time Low. Their sound reflects this, but as with so many bands in the genre Emnibis have something ear-catching and slightly unexpected to bring to the table, to set them apart from those in the scene. Bassist Sam Cowlam said of their sound: “I like to think that, even though we are pop-punk in our style, we bring something slightly different to the table with a sound similar to that of current UK rock bands with heavier guitars.”. Their process begins with lead singer Casey Newman, who writes the lyrics, then is put out to the rest of the band for creative criticism and hard graft to make the finished piece. Emnibis’ three releases have been met with high praise, the first being their five song eponymous EP released in March 2014. The first song ‘Trapped’ is striking and fast, with crunchy verses and a chorus that begs to be belted at full volume, and penultimate track ‘Nightmare’ has a true 90s pop-punk feel.

Single ‘Origami Heart’ released in February of 2015 boasts a more mature sound with solid vocals and remarkable production, and most recent track ‘Breakthrough’ is lyrically impressive. The band shared a stage at Guilfest 2014 with the likes of Gnarwolves, Gallows and The Blackout. Their first major festival, they were second up on the Sunday on The Big Cheese Cave stage. Their live show is explosive, ramping up the energy that is so evident on record. While previously searching for a new drummer, the band spent some time working on their acoustic sessions. Their alt-rock style lends itself unexpectedly to the fragility of playing without amplification, and intensifies the vocals on a more intimate and personal level. In 2016, Emnibis approached Ben Sansom of Lower Than Atlantis, one of the band’s key influences, to produce their new single. This opportunity has come at a time when the band are just beginning to make a name for themselves within the scene, and have a real sense of moving on towards bigger and better things. With two singles and an EP under their belt, the band are going into studio time with some experience and a big name behind them; all feedback coming from recent sessions being positive it seems as though the only way is up from here”.

The brave gang does not do things by halves it seems. Too many bands are rather effeminate and slight when playing in the Alternative-Rock arena. I hear and see so many groups coming through – one assumes will be tough and memorable – but fade with a whimper. Emnibis are not your average muscle-flexing group that throw everything at the wall and overwhelm you with force and brutality. There us a lot of nuance, depth and intelligence to their compositions. That gets me thinking about bands and the way sounds are mutating. There seems to be a shift towards Electronic acts and a push against pure guitar music. You do get some great guitar bands but I am finding there are more electric bands – those playing Synth.-Pop and that sort of thing. Again, it is hard to state what the reason behind it is but perhaps that is a reaction to new demands and tastes. So many artists – those that play heavy – do not linger in the mind and cause necessary repeatability. Maybe employ more synths. and electronics creates longevity and appeals to the senses. Emnibis blend the intelligence and colour of Electronica and the tradition of Alternative-Rock. The guys are inspired by U.S. Punk bands like Blink-182 and Sum 41 – they have recruited Lower Than Atlantis’ Ben Sansom to produce their latest single – but have that British sensibility and flair. I do admire bands that keep that flame alive and understand the need for something youthful, engaging and spirited. They are just starting out but one feels they have the motivation and talent to go a long way. If Home is anything to go by – an obvious and over-used title but one they get away with – then there is plenty more music left in them.

Emnibis are based in Surrey but enjoy that proximity to London. They have a huge music scene not too far away but do not have the face the daily rush and crowds of the capital. I hope, in time, they make a move to London so they can fully involve themselves in the city. Many bands are setting home up in London and it seems to be a natural move for those acts that want to dedicate themselves to music full-time. I know the Emnibis boys are happy where they are but you feel demand and gigs will see them go to London a lot more. There is  validity and benefits to be found staying outside the city. For a start, you get to see a different type of audience and lay down your market further south. Emnibis are not too far from the South Coast and have that near their doorstep. In time, I get the impression they will make their way further north – giving them easy access to bigger cities and wider audiences. For now, and until they decide upon that, it is good watching them grow and seeing just where they can go. Home is a confident and intriguing song that certainly gets into the mind and registers instantly. Not your predictable knuckle-dragging, sex-obsessed Punk/Alternative song – far more wisdom and maturity can be found here. I have posed the question about the London music scene: is it shrinking or in peril; is there going to be a resurgence? With some very notable venues closing, it is putting pressure on those artists that need to get their music heard. Once upon a time, these venues were the stomping ground of the new artist. The ‘toilet circuit’ is quite tough and non-luxurious but is honest and decent – how the big bands got started and what they had to go through. Remove that, and you risk removing the fabrics and spine of the music industry. Perhaps there is a thriving music scene where Emnibis is, but, living there myself; know the opportunities are greater in the cities. If London is starting to struggle, then it may be the job of Manchester and northern realms to lure bands in. It is something I will go into more detail in with future reviews – just something that struck my mind.

When coming to Emnibis and their latest song: one must look back and see where the band has come from. If you listen to some of their earliest work – Trapped and Fairytale – you get a sense of a band that was still finding their feet. Instant and memorable for sure: they are both lo-fi tracks that have the feel of a group experimenting and employing their heroes. Trapped has a combination of early Green Day and Blink-182 – you can definitely place it in that area of music. The more time progressed; the more original and confident the boys became. That said; their music also became more adventurous and nuanced. Less reliant on straight-ahead jams and pure energy: Home is their most developed and fully-realised song so far. On their eponymous, five-track E.P. – where those two early songs appear – you got a lot of adventure and passion shining through. It was a solid and ambitious E.P. and showed plenty of promise and strength. Despite some weaker moments cropping up: a far stronger and more fascinating offering tan most of the records of the time. I hear a lot of new bands but Emnibis definitely resonate harder. Turn the clock forward and one can find little E.P.-era strands in Home but new light and colours coming in. Their new single (whether it will form part of an E.P.) recalls their earliest work but adds more to it and is their strongest song yet. What makes it different is a combination of confidence, production sounds and lyrical themes. The band have pushed their musical and lyrical palette: they are showing more wisdom, maturity and intelligence; adapting to the times and ensuring their words are not easily forgotten. Brining Sansom in to produce not only fleshes their music out but gives it more atmosphere and edge. Less D.I.Y. and lo-fi than their E.P.: a more professional sound emerges but it is never too polished. What you get is shine and epic-ness with plenty of dirt and honest sweat. That is quite a hard combination to pull off but one the band (and Sansom) does with aplomb. It is, perhaps, the increased touring that has gone into their song. Having travelled around the country and performed alongside other bands – you get a little of that in Home. The guys are getting feedback from crowds and ideas of what people are looking for. This sonic maturation and confidence leap is going to be exciting to see into 2017. I know the band will have more music in them and I cannot wait to hear it.

It is exciting hearing Home – albeit, a bit later than most reviewers. One gets a beautiful blend of scuzziness and elegance in the opening seconds. Tender and finger-picked electronic notes dart and race across the speaker – so fine and delicate you are chasing to catch them. After that, a drum parable enters and gives some kick and dance to the introduction – taking it up a gear and giving Home some drive and passion. After that, everything tightened and starts to explode. The guitars get more intense and fuzzy; the percussion more brutal and solid – the song transforms and really gets underway. A lot of bands would go in full-steam and exhaust themselves by the time the vocal arrives. Emnibis play it cool and tease the listener in; keeping everything dainty and pure before unleashing the big guns. Even in the introduction, things are never too heavy and intense. I was particular impressed by the percussion which gives so much direction and weight to the song early on. Flat-pack and hollow at once; bolder and expansive the next – a fantastic sound that sticks in the mind.

When our hero arrives on the microphone, so much has already been laid down. You get a sense of what the song is about and what the lyrics are going to contain. It seems like there is some domestic recriminations and imbalance in a relationship. The sweethearts are arguing or trying to settle their tempers. The heroine suggests (they) forget the times they fought and argued – maybe that is all in the past. Straight away, I was looking at two people at home and going through some tough times. Maybe they have been arguing and fighting before but get to that point. The need to settle and calm things is evident. The die is cast and the wheel is turning: fates are sealed and there is some mystique in the song. One gets impressions of a relationship quandary but also thinks more widely. That chorus line asks (if the hero can be) taken home and find some comfort. Maybe assessing the state of the world or the desire to escape bad vibes and hatred – there is that need to find some safety. It is good to hear the vocal high in the mix and clear. A lot of bands, who play similar sounds, bury the voice and it can be heard deciphering it. The fact you can clearly hear the lyrics make the song stand out and truly connect. There is a lot of stress in the air and one feels a relationship is being talked about. I looked at the wider world – there is a little nod to the uncertainties of life – but you feel a bond is going through some strains.

After the seeming security and agreements of the earliest lyrics: it seems like there is more fraught air and some splits occurring. One gets hooked by the band’s performance which retains a certain homemade sound to it. Bringing in a producer like Sansom could have run the risk of an overly-dramatic and inflated sound. What you get is something that comes across live and raw but has a definite professionalism to it. The sound is never too full which means you get room to move between the notes and arrive at your own conclusions. It ain’t “what it used to be” it is said: the lovers are on different pages and going through something quite Spartan and breakable. The hero is trying to create conviviality and happiness – perhaps it is falling on deaf ears. Recalling a mix of Blink-182 and Sum 41: there are definite U.S. influences and one could transport their mind to ‘90s-‘00s L.A.; that evocative and memorable time for music. Emnibis keep things mature and level-headed in the face of some struggles and oppression. Maybe the girl is playing games or being too demanding; not being straight and spinning webs. Whatever the truth, the hero is trying to make amends and correct it. In spite of the turmoil and turbulence that is around him; you get the impression he has a plan and idea.

There is never too much anger and sadness in the performance. Perhaps this decline is inevitable and has been in the making for a long time now. Home is that place one can feel rooted and comfortable in – not having to face the heartache and uncertainties of the outside world. Following the mature and developed singles Breakthrough and Origami Heart – the band making bigger statements – Home is a continuation of that and another stunning track. The guitars chug and percussion rumbles; the bass guides and drives the song forward. When it comes down to it: the song is about a relationship split and something that has been assessed a lot. Emnibis do not employ clichés and predictable lyrics to the song. Instead, you get a wise and intelligent assessment of a bond that has seen better days. The hero is trying all he can to remedy the situation but feels like there is too much tension and trouble to make it worthwhile. By the closing stages, that is repeated and enforced. The band steps up their composition in the latter phases and really charge forward. Percussion sounds rumble and get really intense; the riffs pound and pummel whilst the bass is at its ecstatic and menacing best. Home gets more spiked and urgent and the entire aesthetic changes. From its bare and nimble beginnings: it opens into a bit of a monster and a jam that is sure to get the crowds jumping. It is quite rare finding a song that can shift tones and shape whilst retaining its core and discipline. The boys are masterful when it comes to this sort of thing but on Home – maybe due to Sansom’s guidance – it is at its most compelling and defined. A fantastic and meaty song that not only sees Emnibis at their finest but will bring them to new audiences. I have heard a few Emnibis songs but they have not sounded as ready and complete as they do here. Transitioning to the big-time and excited about the future – all of that comes out in the latest single. Home will bounce around the brain and ensure plenty of singalong and chorusing. Not much more you can ask from a young band that have the guts, strength and talent to take their music as far as they possibly can.

There should be no fear when it comes to Emnibis and their future. It is only natural for any new act to worry a bit and wonder how far they can go. Perhaps my opening was a bit scaremongering: casting doubts and unearthing the harsh realities of the modern climate. That is not meant to put off musicians and scare them but applaud those who are able to overcome this and succeed. I know Emnibis have a loyal local following but will want to expand their horizons and take their music further afield. I know areas like Camden are going to play host to the boys and seems like an ideal spot for them. More and more, London will become a natural home and it is almost inevitable the band will remain here in years to come. For a start, there is not a big enough scene in Surrey and I much prefer the people of London – much more likely to help the band succeed than anyone down here. On that point, artists that play away from the cities – unless they are well-established – always struggle to truly remain. With the demands and weight of competition right now: it is becoming harder to make a crust in the towns and villages. Emnibis will have options and are coming into music at the right time. I have optioned the fact bands are mutating and sounds are transforming. The likes of Royal Blood seem few and there is a shying away from those granite bands that go for the bones. More and more, the consumer is demanding something more enduring, nuanced and original. Emnibis have elements of U.S. Punk/Alternative brothers but keep their voices and themes British – not succumbing to the necessity to Americanise everything. How many British bands do you hear that instantly have to become American in a non-ironic way? It is rather sad but that is not the case with Emnibis. That said, they have a lovely core of American sounds which will mean they have a future over there. I can see the guys enjoying some success in the U.S. and getting a few gigs over there. I am not sure what their tour diary is looking like but next year will be rather exciting. They have already been busy this year and visited London, Brighton and Surrey. The boys are getting about and making sure their music is heard far and wide. I have a lot of respect for their work ethic and the way they are launching into music. I mentioned the band are ‘new’ but have been formed for four years now. In that time, they have released quite a bit of work and laying the foundations. You just now the guys are going to keep growing and are impressing the live crowds.

It is rather worrying the guys have achieved so much at such a young age – perhaps an odd thing to say. They are all in their late-teens/early-twenties and have already been gigging and recording for years. Let’s hope their connection and passion remains firm because they have a distinct opportunity ahead of them. True, there are a lot of other similar-minded bands that are performing similar sounds – that is always going to be the way of things. What Emnibis do – that their peers do not – is put an unexpected range of influences together. Now that Lower Than Atlantis’ key member is in the producing fold: that is a big coup and shows an enormous amount of faith in their music. The boys themselves admit the market is rather crowded and bustling. The way they distinguish themselves aside is combining the U.S. Punk strands and Alternative-Rock together with a hardcore British punch. They are not as simplistic as a lot of their contemporaries and ensure their personalities radiate through. Hailing from the darker depths of Surrey – as they attest themselves – one assumes they will be looking for a new base in the coming months. Given the support they have in cities like Brighton and London: the lure and bright lights will come calling.

I shall wrap things up by recommending you listen to Home and discover a band that have a lot more to say. I am curious to see how their 2017 shapes up and whether they will be releasing new material. It seems like they are primed to reveal an album or E.P. – what form that takes will be interesting. I am not sure whether that is already in the works or something that will arrive at a later date. Home sounds like a natural opening number and one that defines where they are right now. The band have matured and developed over the years and really come a long way. In their earliest moments – around 2012 maybe – there was plenty of spirit and talent – the sound of a band not playing by traditional rules. Since then, they have accrued live experience and really honed their craft. It is that experience that has raised their music and given them the confidence to keep pushing and recording. Coming back to my doom-laden prophesies – about the declining music scene in London – one understands fully the necessity of small venues. Without them, we would not have bands like Emnibis: the future of music and the type of band we will be hearing years down the line. I would love to see the boys live and will make sure I catch them sometime soon. Let’s hope they have big ambitions for 2017 and keep the pressure on. Home is an assured and fantastic cut from the lads and another bold step forward. I am waffling – you should be used to that by now – but Emnibis make me excited about the band market. I can’t remember the last time I properly reviewed a band – my attention has been focused on solo artists – so it is great coming back to this area. I have been fearful about Alternative-Rock and its validity and potential. Over the past few years, there has been a slight downshift – too many bands copycatting and too formulaic. Emnibis recognise this and ensured they do not fall into that pit. They provide familiar sounds – U.S. and U.K. Rock blends – but heighten that with British sensibilities and their infectious personalities. See what all the fuss is about and let Home get into the bloodstream. Even though the band has been around a bit; one knows their best days are still ahead of them. Here’s to the band and we all hope they have…

MANY successful years ahead of them.

[soundcloud url="https://api.soundcloud.com/tracks/271200908" 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 Emnibis

 

Facebook:

https://www.facebook.com/Emnibis

Twitter:

https://twitter.com/Emnibis

Instagram:

https://www.instagram.com/emnibis/?hl=en

SoundCloud:

https://soundcloud.com/emnibis

YouTube:

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

INTERVIEW: James Sayer

INTERVIEW:

  

James Sayer

_________________________

WE often misuse the term ‘real music’ and give it a rather…

subjective pull. In terms of those you can call a ‘real musician’: your choices are always a little limited. Against the sea of reality T.V.-trained Pop singers and short-term chart assassins – the dedicated and refined music-lover knows where their bread is buttered. James Sayer is one of London’s hardest-working and most established artists – having performed for the Minogue sisters and on the same bill as Steely Dan. Sweet Baby Jane is his latest track and frames immaculate piano skills, upbeat songwriting and rousing voice together. I was excited to ask Sayer about his musical upbringing and plans for the future; his views of the London music scene and the musicians that have helped shape and define him.

________________________

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

Hi there! I’m very good, thank you for asking! My week is going well, thanks!

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

Sure! My name is James Sayer and I sing and play piano (with the odd bit of saxophone and guitar thrown in!). I play Rock ‘n’ Roll/Soul music!

You have played all across London – and farther afield – in high-end bars and restaurants. How did you get into music and can you remember the first venues you played?

I first started playing drums at primary school and started doing little gigs with my dad - who is also a musician. We played all around the pubs and clubs in the West Midlands - which is where I’m from. We eventually got my brother involved and had a little three-piece band playing around Birmingham.

I understand Kylie Minogue is a fan. How did that come about and have you two met?

I was lucky enough to play a party for Kylie and Dannii! They were very supportive and such a fun group of people to play for!

You hail from Birmingham. What is the music scene like there – compared with cities like London – and do you get the chance to play back there?

Birmingham is a great city and it’s definitely changed a lot over the past few years: there’s definitely a lot more opportunity to play live music. I used to play a lot of the Blues/Jazz pubs when I was younger and these really gave me an opportunity to get my teeth into playing live music. I try and get back there at least once a month as all my family is still based around the Midlands.

Among your touring and travels, you have performed at U.S. festivals including Coachella and supported George Ezra. Which gig or artists has been the most memorable to you?

Travelling around America was so much fun! Coachella was a real highlight for me! I was playing with my good friends (the) Ruen Brothers and we were on the same bill as Steely Dan.

They were so amazing to watch and heroes of mine - so that was a real honour! AC/DC were the headliners who were incredible, too!

What compelled you to step away from touring with others and focus on your own music?

I’d always wanted to be a solo performer so I think the timing was right, really. I started to get my music heard and then when it was picked up by B.B.C. Introducing. That was great and gave me the push and confidence to go for it even more.

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

Sweet Baby Jane is your latest song. Can you tell me about its inspirations and the moment you wrote it?

I’m really inspired by old Soul and Rock ‘n’ Roll music - so that was the inspiration behind it, really. I love stuff like Sam Cooke, Van Morrison; Rod Stewart, Stevie Wonder etc. The chorus just seemed to pop into my head and then I sat down at the piano and the rest followed! I co-wrote the song with my good friends Alan Glass and Bex Gregory. When I came up with the chorus I had the idea of an old 1950s/’60s dancehall in my head – so that really inspired me when I actually recorded it.

B.B.C. Introducing has made it their track of the week. What was that like when you heard the news?

That was such great news and I’m so thankful that they are able to support me in this way!

Taking Back My Love was your previous track – and gained lots of love from B.B.C. and other stations. Can we expect to see an E.P. or album anytime soon?

Yes, for sure! Next year I will be releasing something!

I can’t wait to get it out there and have more people hear my music! Recording in the studio is so much fun!

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Your music is uplifting and has that fantastic piano-Pop sound. Do you think too much modern music is too dour and emotive? It is important to bare your soul in music but do you think there is too little positivity?

I do love ballads but I think at this stage I’m just in the zone of creating feel-good music! I just love watching people dance and sing with us when we play live! My iTunes account is about 99% 1970s music – people always call me an ‘old soul’. I do love some new stuff and actually heard a new Emeli Sandé track called Highs and Lows. It’s such a feel-good track – I’d love to jam with her on that!

You have performed across London and travelled far and wide. Is there anywhere you would love to perform?

My dream is to sell out Ronnie Scotts’ in London (a week-long run would be good!). But yes, there’s so many venues around the world I’d love to play in – I’d love to do a headline show in New York, too. I played at Webster Hall with my friends (the) Ruen Brothers - but I’d love to headline that venue.

How does London differ to other cities in terms of the people and venues? Do you feel, with some high-profile venues closing, London’s music culture is in danger?

London is such an amazing city but I do worry about the amount of venues that have closed down in the last ten years. We need small venues to give new artists the chance to play and reach new fans.

I guess the industry has changed a lot over the last ten years with shows like The X Factor but real musicianship will always shine through - so it’s important we have a thriving live music scene in London and all over the U.K.

Who were the artists and musicians that meant the most to you growing up?

I grew up listening to the C.D. collection of my mum and dad (wow C.D.s: almost forgot what they are!). We always had stuff on like The Beatles, Rod Stewart; Tina Turner, Elton John etc. One of my absolute heroes is Elton John – he’s inspired so much as a piano player. It would be my dream to play music alongside him.

Which modern or unsigned artists have caught your attention and recommend we investigate?

Jamie Lidell is one of my absolute favourite artists! He came out about ten years ago but has just released a brand new album. His song, Another Day, is one of my favourite songs of all time! Also, Vulfpeck is another favourite of mine (with incredible musicianship)!

Would you be able to offer any advice to young artists coming through right now?

I would say just stay true to yourself and the music you love and never give up!

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

Thank you!

I reckon you should give Another Day a spin (by Jamie Lidell)! I know you’ll love it! Thank you for chatting with me and playing my track!

[youtube https://www.youtube.com/watch?v=89Qa5rNAeEs&w=560&h=315]

____________________

Follow James Sayer

 

Official:

http://www.jamessayermusic.com/

Facebook:

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

Twitter:

https://twitter.com/jamessayermusic

SoundCloud:

https://soundcloud.com/jamessayermusic

YouTube:

https://www.youtube.com/channel/UCwzpkVeRFgyhBBbhs1EvkYA