INTERVIEW: Emma Conybeare

INTERVIEW: 

 Emma Conybeare

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THE last time (I think) I interviewed a D.J…

was when speaking with Carly Wilford last year. It is exciting to learn more about Emma Conybeare because she is a bit of a triple-threat talent. She is a prolific, respected and innovative D.J. who has worked for Hoxton Radio.

She is with Capital XTRA and is one of the most exciting talents in London at the moment. Conybeare is a sport’s brand model so I ask her about her work – including her campaigns with Puma. In addition, she is a keen collaborator and eager to promote and back fellow D.J.s and artists.

I ask the London-based D.J. about her radio and presenting work; what she has planned for the future; the new artists she recommends we take a look at – and how she transitioned from life in sleepy Tring (Hertfordshire): emerging like an ambitious butterfly into the buzz and light of London…

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

Hectic…super-hectic!

Juggling D.J. sets with live radio presenting and hosting a BT cycle event…. I wish there were more hours in the day (just so I could sleep)

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

Hello.

I’m a British T.V. presenter and Radio presenter (for Capital XTRA) – doing early-morning breakfast - D.J., model...

Recently, you worked at a MADE Festival and got to interview a range of artists. What was your highlight from the Festival?

I come from a small town in Hertfordshire (Tring) and, growing up, I was into my Drum and Bass music. At this festival, I got to interview all the D.Js. I was growing up with.

So, I had some of those star-struck moments when I got to speak to Chase & Status, Subfocus; Camo & Krooked.

Can you tell me when music first came into your life? What kind of artists did you grow up listening to?

Growing up in Tring: we didn’t really go out clubbing.i

It was a rare occasion because we were pretty far away from clubs; so, we ended up having house parties every weekend. This meant everybody was a D.J. (I mean…everybody).

The sort of music people played was Jungle and Drum and Bass. I was heavy into this until I went to university. It felt weird.

Quite literally, overnight, I was converted into a House and Deep-House Queen.

After you completed your Mathematics and Statics degree at Portsmouth University; you came to London to follow your passions. How important was the move to London and what compelled you to go from academia to something quite distinct from what you were studying?

I knew that I wasn’t going to get anywhere in Tring: It was too far away from things and, let’s face it…it was the place you go to retire. I’m a confident girl and I knew I had to knock on a few doors. I felt Tring was restricting.

London is a small city in a big place: you ended up bumping into people all the time and it is all about meeting the right people.

Many might recognise you from Capital XTRA. How did you become involved with the station and what drew you to being a D.J. in the first place?

I was working on Hoxton Radio for two years and I got head-hunted by Capital XTRA. Music is in my blood: I love creating new sounds; pleasing people with my music selection – plus, the adrenaline-buzz that you get from each set that you produce can make you happy for days.

My favourite albums of this year are from Lana Del Rey, Dizzee Rascal and Sampha. Which discs have been setting your world on fire in 2017?

Ok. So, I know this is a little weird - because I love my House music, Techno etc. - but the albums I am in love with at the moment would have to be Post Malone (Stoney), Jay-Z’s 4:44 - and I’m a massive fan of Joe Goddard (Electric Line).

I Interviewed him at Wildlife Festival…such a nice guy.

I am a big fan of your (recent) House Teck D.J. mix. Is it hard getting that mixes together and where did you get inspiration for them? How often are you out there seeing other D.J.s perform? How important are streaming sites when it comes to your discoveries?

Ok. So, when I got into D.J.-ing, I almost feel as though the music comes to you: when you’re mixing, the two songs should come together to create a magical ‘third song’ - with the two different beats.

The fact I have always been brought up with D’n’B, Dubstep; House and Techno, means you have to almost feel the beats of the music - rather than sing along to the lyrics of the song….

I have my go to D.J.s who always produce great tunes after tunes - then, tend to send me their new songs.

But, I always recommend compilation albums: it is good to be introduced to new D.J.s and their style of music. 

You spent, what I presume, two happy years at Hoxton Radio – where you produced and presented shows there. What did you learn from your time there and how important was that experience to you?

When I was at Hoxton Radio; it was a great training ground.

Each show was two-hours-long but the preparation time must have been four hours. I had to find all my music; I did all roles - from presenting, producing and editing my shows. It was fun but was also hard work.

It wasn’t paid so I was working full-time as a waitress - as wells other jobs – so, on top of everything, I had to sacrifice a lot of time to my radio shows.

Sport and fitness, alongside music, is obviously very important. I believe you work with/model for Puma. How did that association come about and is it easy to disconnect from D.J. work and getting into a different headspace?

I’ve always been a model for sports. I’ve done many campaigns of Adidas. Puma kind of fell into my lap (who you know). They invite me to events and try out their product: it’s super-fun.

Sport has been my life from the age of six - where I swam competitively and I represented Hertfordshire for cross-country. Exercise gets rid of my tension because, let’s face it: London can be quite suffocating sometimes.

I know I can go out for an hour’s run and, by the time I get back, whatever upset me before the run will have been forgotten.

You are very busy on social media and get a lot of love from your followers. How important are the vibes you get from your fans? What message would you give them?

Social media is key to success.

I know it's fickle to say that but you need to interact with people that like your work. if someone off the street stops you and says “I like your shoes you”;  don’t carry on walking: you say “thank you”.

How is it any different on Twitter or Instagram?!

We are all same. I don’t think I’m above anybody and I’m very friendly - so I will always say hello.

Summer is (apparently) coming up. Are you remaining in London or are you doing any performances/sets abroad?

What?! Summer is coming up?! I thought it had finished, already?!

My August is really busy at the moment. I have a couple of T.V. gigs on top of radio  - which will take up a lot of my time. Plus, a couple more festivals have been lined up - to cover with DJ Mag TV.

But, if I’m being honest, I can’t wait to be going away on holiday. I haven’t had a break since Easter. I’m heading off to Cornwall with the family…walking, surfing; fish and chips… bliss!

Who are new acts/D.J.s you recommend we check out?

Ok, So, I’ve been a massive fan of Solardo since interviewing them last December with DJ Mag TV - and this year, they have blown up (going to sooo many festivals). They also did a mash-up of DJ Will Clarke (Techno)... 

Will Clarke - also a D.J. to look out for. He has some cool different vibes to his music!

PHOTO CREDIT: Adrian Lee

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

Ok. So…

Camo & Krooked - Cross the Line (2011).

Turning point of my life: finishing university and making the decision to leave friends and family in Tring and move to London on my own.

Sting - Mercury Falling

This reminds me when I was a little girl. Our family used to drive to Spain and this album was played on repeat!

Rihanna - Anti

I can’t help it: I have such a girl-crush on ‘RiRi’ - and this album is incredible.

What advice would you give to artists/D.J.s coming through right now?

Practice makes perfect, and…find music that you enjoy and that inspires you. Also...watch and listen to other D.Js/people that play in clubs.

We all make mistakes sometimes - so no-one's perfect.

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

Highly addicted to this song…

It’s the Solardo and Will Clarke (and BOT) remix of Techno (Not Techno)…. the beat is insane.

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INTERVIEW: Bang Bang Romeo

INTERVIEW: 

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PHOTO CREDIT: Ben Bentley

 Bang Bang Romeo

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ONE of the first things I wanted to discuss with Bang Bang Romeo…

PHOTO CREDIT: Ben Bentley

is how they came to work with Ralph Ineson in the video for Chemical – their awesome and much-lauded new track. It seems the trio have a great eye for visuals and filmic aspects. I probe them (Anastasia fields most of the questions) about the new track and the inspiration that goes into it. With festivals still ahead; I was curious to know where the guys were heading; how they all came together in the first place; what the origin of that unique name (‘Bang Bang Romeo’) is.

Bang Bang Romeo choose the albums that mean most to them; the new artists that have made an impact on their minds – and how, when they get the chance, they unwind away from music…

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Hi, guys how are you? How have your weeks been?

We're great, thanks!

Had a mental summer so far; so we've got a couple days’ breather!

I'm saying that, but we're back in the studio this week putting the finishing touches to our debut album.

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

We're a three-piece from Doncaster called Bang Bang Romeo: made up of Anastasia Walker, Ross Cameron and Richard Gartland.

Heyup!

PHOTO CREDIT: Ben Bentley

Can you just explain the origins of the band name – I have omitted research because I had my own idea. Is there a Shakespeare link or is that a rather simplistic deduction?!

We were in a tapas bar in Sheffield at the time, a little bit intoxicated...

We wanted the band name to encapsulate the lyrics and the vibe of our music. The 'Bang Bang' signifies the music: hard-hitting and a little dramatic!

And, yes, you got the Shakespeare link with 'Romeo' just right. Our lyrics tend to be about love, death; life and hate - so that's the connection there.

Chemical is the new song. What is the track about and how easily did it come together for you?

Ross wrote Chemical when he was seventeen-years-old!

The song is about love being the most powerful thing of all - more than just a chemical reaction. It's actually the first song we ever worked on together - so it holds a special place in all our hearts!

You filmed the video in Rossington Hall. Considering it is an epic and, at times, messy video; how much freedom did they give you to do what you needed?

Thank you!

We wrote the script, chose the actors; chose the venue and the theme, so, in terms of 'control', we really had our stamp on all of it. David Dutton (the Director) brought our dreams to life.

We'd been conjuring up ideas for the shoot for a long time - and for us to finally see on screen, what had been taking over our dreams/nightmares for so long, was a very special moment for us. David is an artist and we can't wait to work with him again. Watch this space.

Rossington Hall is local to us and was the 'go-to' place in our minds when writing the script. The staff and the team there were brilliant and we can't thank them enough for letting us use their beautiful, and very haunting, building!

Haha.

PHOTO CREDIT: Ben Bentley

Of course; one cannot help notice the presence of Ralph Ineson. How did you connect with him and what was he like in person?

Ralph has been a supporter of ours for a number of years now.

He's been attending our shows since day one and has never stopped the support. Again, when dreaming up the video, his was the only face we saw as the Evil Lord of the Manor character. We're still pinching ourselves now that he actually said 'YES!'.

Watching him work was so special. We all had goosebumps the whole time. Thank you, sir.

It seems Bang Bang Romeo has an eye for visuals and theatrics. Is video-making a side of the industry you all enjoy?

Films and visuals are so important for us.

Even in our writing process, we don't tend to think of a song, as just a song - more of a soundtrack for a film - with a proper script or storyline. We'll be in the studio and one of us will end up saying: "This song feels like Bond" - or a Tarantino picture, Spielberg: anything like that.

We like our songs to paint a picture and a landscape. I think after putting out a couple of albums we'll (maybe) get together and write a film.

Haha. We'll see.

You’ve just put an isolated vocal (of Anastasia’s) online. It is a clip, I presume, from your upcoming debut album. What can you tell us about the themes and songs that will appear? Can you reveal any titles yet?

Yes, it is a clip from a track that will feature on the debut called Unstoppable.

I think the key is to expect the unexpected. We've thrown our hearts into making this! Don't be surprised if you open the packaging and there's blood, sweat and tears on the record. Haha.

We don't hold back and this album is our best and biggest creation yet. The front cover is designed, by us; the name has been chosen - it's all there; but we're not revealing it yet, haha.

Ideas for album-two are already underway, too - purely inspired by what we've already been doing in the studio.

When the vibe is as good as it is, it's best to just keep working. If a thirty-track album was logical, we'd go with it.

Haha.

PHOTO CREDIT: Ellen Offredy

I am interested in how you all got together? Did you all arrive from different backgrounds or did you have mutual friends? What was it about one another that formed that attraction?

Myself (Stars) and Ross were both playing at a festival in Doncaster, separately, at the time when a mutual friend introduced us. We hit it off straight away!

Ross played me his catalogue of songwriting he'd built up and that was it. I was sucked in and, 'till this day, it's still an honour to sing his songs - they're like presents! He's helped me work on my songwriting too - which has been priceless for me.

We were recommended Rich. He's from Leeds and, twenty mins into our first jam, we just knew we had what we needed - "This is it".

We've been inseparable ever since.

I saw your live video from Pirate Studios. What was that experience like? Are you going to be putting more live videos online in the future?

The Pirate Studios sessions have always been wonderful for us.

We've got two under our belts now: the Sheffield session and the London one. Their live recordings really are second to none. We love playing them and we'll always be up for doing more - the team are great there and really support what we're doing.

We also use Pirate Studios as our rehearsal space, too – so, if you're in a band, go check 'em out!

Great spaces.

Doncaster Pride is an upcoming gig of yours. How pumped are you about that one? I guess Reading and Leeds is a huge one, too?

We can't wait for Doncaster Pride!

They've always been so kind to us and we'll never stop supporting them. Growing up in Doncaster, a lesbian myself, it's been wonderful to have a strong community around you that is so accessible and willing to listen. We love 'em.

Reading, of course, is another exciting one for us. We played Leeds Festival last year: so it's only right we go for Reading this year!

Looks like you are busy right through until the end of autumn. Which gigs are you most looking forward to? Is touring and live performances something you all love to do?

The October This Feeling Alive tour - with The Shimmer Band, Black Waters and The Blinders - is going to be pretty fuc*ing crazy. This Feeling are leading the way when it comes to bringing new, up-and-coming guitar music to the people – so, when Mikey Jonns gave us the nod for this tour, we were beside ourselves.

Travelling the country with a bunch of talented, handsome; up-and-coming men? Yes please. (This is 100% Stars, by the way).

PHOTO CREDIT: Ben Bentley

Do you guys get to hang outside of music? How much downtime do you get, realistically? Do you have any hobbies or perfect ways to relax?

At the moment, we're living in each other’s pockets!

We have an awesome place we stay near Birmingham when we're recording. It's kind of like a log cabin in the middle of nowhere - with a swimming pool and a pool table surrounded by bats and pheasants. Haha

So, when we're not in the van or on stage or in the studio, we're there. Down-time we spend with our family and friends - as it comes far-and-few-between. In saying that, me and Rich went to a pub quiz last night and got totally robbed. Bastards.

We all enjoy art; whether it be drawing, painting or graphics. Ross also owns a designer menswear store in Doncaster calls Revolver - so he proper fashionable and that.

Who are new acts you recommend we check out?

If you're looking for fresh, inspiring, new guitar music; you don't really have to look any further than the This Feeling catalogue.

We love Paves, The Wholls; Hello Operator, The Sundowners, The Elephant Trees - to name a tiny, tiny few.

The list goes on!

PHOTO CREDIT: Tarquin Clark 

If you each had to select the album that means most to you; which would they be and why?

For me, it's Radiohead's OK Computer. It gives me happiness and nightmares, all in one. My dad brought me up on it. It was the first album to really make me want to create music myself.

Thom Yorke is a genius.

Ross: Ok Computer is my fave too, but, because you chose that, I'll go with The White Album. It's so varied. There's classic Beatles songwriting like While My Guitar Gently Weeps and Happiness Is a Warm Gun - but then there's plenty of humour, fun and weirdness on there, too. 

Cry Baby Cry is on there too - and it's an absolute masterpiece!

Rich: Yeah, I was going to go OK Computer too, but maybe something a bit more obscure…

Big Whiskey & the GrooGrux King by Dave Matthews Band: amazing songwriting - and I was going through a tough time when it was released. It was the first time I sat and learned an album from back to front. Carter Beauford is a massive inspiration on my playing. He's ambidextrous too - I'm sure you were wondering. Haha.

Suffice to say: many hours were spent pouring over the album in a rehearsal room on my own.

What advice would you give to artists coming through right now?

Don't succumb to the pressures of modern-day music: don't try and make yourself into something you're not. The whole ‘we need to be edgy’, ‘weird’ or ‘cool’ questions may pop up from time to time - and take away the focus from what's important…but fu*k all that. Stay totally true to yourselves and work hard.

Respect each other and don't forget why you picked up your instrument. You're all on the same team!

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

I'll go for The Shimmer Bands’ What Is Mine (please, Mr. D.J., sir)

Ross: Baby - Paves

Rich: Brave New World - The Blinders (top new tune from our Doncaster brothers)

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INTERVIEW: January

INTERVIEW: 

  January

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SOMETIMES she is known as ‘January Thompson’ but…

on a warm and bright day (had to get the corny weather/time-of-year joke done); I get to connect with January. She was born in the U.S. but is based in Britain – recording at her studio in Brighton. I ask about her album, Whelmed, and shooting the video for Too Soon.

She talks to me about the themes explored in her songs and some of the albums/artists that guide her work; what she has planned for the coming months and whether her musical upbringing – listening to Classical and Electronic sounds – has impacted her now.

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

Heloo! Great, thanks.

I’ve started writing again: recording at my studio in Brighton. 

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

Yes, of course, it would be my pleasure:

My name is January Thompson. I grew up in a household saturated with music - as my mother is a Classical pianist. I’ve always loved and wanted to be a part of the world of sound and one way was through singing - which has led me on the road less travelled: collaborating and working with different Electronic producers and D.J.s – and now, in releasing my first album, it has quite a bit of Classical influence mixed with subtle Electronic overtones.

PHOTO CREDIT: Hugh Fox and Lou Petty

The nominations for our very own Mercury Prize have been revealed. Did you catch the list and what is your view on the nominations?

I did.

Happy to see Kate Tempest getting some proper acknowledgement – also, love The XX and alt-J.

These are people that wouldn't normally get nominated for anything big in the States so happy to see that they are. 

Before addressing your album; can you tell me about the song, Too Soon, and shooting its video?

The inspiration came from the feeling of a relationship coming but having to wait for it - because it’s too soon - “What’s too soon for us, too soon to find we’re not alone/we echo in time/I’ve questioned why It’s later/isn’t this our time and place?”

So it’s a so-close-but-so-far-away kind of scenario.

The video was shot in Ojai, California - sort of giving the lost-and-waiting-in-the-wilderness feel. 

Whelmed is your latest album. What kind of stories and events compelled the songs on the album?

The title is an old sea term for when a ship would capsize. In this sense, the album is very much about being immersed in feelings.

Each song has a very distinct emotional correlation to an event or person in my life.

My world is built on my relationships with other people. Every time I start writing, it is with someone in mind: not always romantic, but mostly, of course (it is).

Romantic love always has highs and lows and twists and turns that need to be expressed; to better understand. Music and writing songs have always been cathartic for me in dealing with the good, and yes, some bad – or I’d like to say, ‘challenging relationships’.

Romantic love is never easy.

Is there a song on the album that is especially meaningful and personal?

I’d say Whelmed - the second single. It really sets the tone for the whole album, being immersed in feeling for the other person. 

How would you say this album differs from your earliest work in terms of sounds and the song subjects one can discover?

I’d say it’s much more developed: mainly because of the calibre of musicians and the producers that worked on it. I also had co-writes on a few of the songs - which was a first for me. I quite enjoyed the process. 

I believe you grew up listening to a lot of Classical music. Your music has elements of Electronic and Alternative. Who are the artists you take inspiration from? 

Enya.

I love her layering of vocals and the synths and, of course, Björk and Chopin (to name a few). 

In a lot of ways, you remind me of innovators like Björk. Is she someone you take guidance from?

Absolutely.

She’s groundbreaking and bold; her voice and how she emotes are incredible. She’s a hero for sure.  

How important was your time collaborating with British D.J.s when it comes to your music? What did you take from them?

Incredibly important.

From finding my actual ‘sound’ to recording vocals and learning how to record - and produce myself and use Pro Tools and Logic.

I was really lucky with my teachers. 

Any plans for later in the year? Do you already have more music in your head?

I do, actually, yes.

I’ve started writing again after a year-long hiatus. Feels lovely and am starting to work with some new musicians - which is always a source of inspiration, collaboration. 

PHOTO CREDIT: Adeline Sumney 

What sort of tour dates do you have approaching?

Nothing set, yet. T.B.A.

Who are new acts you recommend we check out?

Anything released on Erase Tapes, really: Ólafur Arnalds and Nils Frahm (to name a few). 

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

Arthur Rubinstein – Chopin: Nocturnes

I grew up listening to my mother play Nocturnes (and this album). They really express the sentiment of my heart and inspired me learning the piano.

Björk – Homogenic

The Electronic elements blew my mind and she managed to mix in Classical instrumentation with great songs - in a way no one had before that. Groundbreaking. Set the musical bar for me.

Linda Ronstadt – Greatest Hits

Another one my mother would play all of the time when I was a little girl – through her split with my father. We would sing it at the top of our lungs. I think it’s safe to say Linda taught me to sing: “Love is a rose but you never can pick it, only grows when it’s on the vine/Handful of thorns and you know you’ve missed it/Lose your love when you say the word mine.”

PHOTO CREDIT: Adeline Sumne

What advice would you give to artists coming through right now? 

Just keep writing what’s in your heart.

It’s good to learn and borrow sometimes from the giants before us – but try to stay as true as you can to your vision and your sound.

Never give up…ever.

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

Hyperballard by Björk

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INTERVIEW: Anthony Touma

INTERVIEW: 

  Anthony Touma

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HE made it to the semi-finals of The Voice….

in France (Season Two) and won Dancing with the Stars in the Middle East. The Lebanon-based sensation Anthony Touma is, in addition to all that, an incredible artist who is a triple/quadruple-threat – few can boast the same range of talents and achievements! Toumas was born on the Western edge of Paris’ 16th arrondissement and grew up listening to the masters of Soul and Pop. I ask Touma about his idols and how important they are in regards his music.

I find out about Touma's new single, Walk Away, and what it was like shooting the video on the streets of Lebanon. There is an English-language album arriving and plenty of important gigs for Touma. He selects the three most-important albums in his life and words he would offer his (mass of adoring) fans.

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

Hello!

My week has been hectic but great! Hope you’ve had a nice week as well?

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

My name is Anthony Touma. I’m twenty-five and I’m a singer-songwriter from a small, but beautiful, country in the Middle East called Lebanon.

Just a guy with a dream - led by a couple of words and melodies.

Walk Away is your new single. What can you tell me about the inspiration behind the song?

Walk Away is a feel-good song: it’s full of positivity and it’s all about surrounding ourselves with positive things and people - and asking any negative person around us to simply ‘walk away’ - because we’re in a good mood and nobody’s taking that away from us.

I was first inspired by people who didn’t initially believe in me but then walked up to me, years later, showing “Fake Love”, as Drake would say. We can all tell when someone actually has good intentions towards us and when they don’t.

That’s where the idea for the lyrics of Walk Away first came from.

 Its video looks like it was insane fun. Where was that shot and what was the experience like?

It was crazy-fun, indeed!

We shot the music video in my home country, Lebanon. We shot in many different places and regions including Tripoli and some of Beirut’s suburbs. We had two cameras filming the whole time so that we don’t miss any reaction. We took the risk of going out there without really knowing what kind of reaction we would get.

Every person we met on these two days of filming was extremely nice and cooperative.

We could tell they just wanted to have some fun and I’m really happy the song was so positively welcomed. It was truly an experience: I had never done anything like that before and I had never had this much fun shooting a music a video before, either. Thumbs-up to Ingrid Bawab who directed the Walk Away music video.

Slemian Damien and Tarek Marjdalani helped produce and put the track together. What did they bring to the song in terms of expertise and insight?

Geniuses.

After I wrote the lyrics and the melody for Walk Away; Tarek and Sleiman took the song to a whole new level. They first came up with the idea of having the bass guitar line lead the whole song and we started having fun with that idea.

Once we had that riff; Sleiman and Tarek started producing all the percussive elements of the track - and that’s when the song took a turn towards the African theme that we have today on Walk Away. They sent me the track and it inspired me to come up with all the African vocals.

The result of all that was a track I’m very proud of.

I believe there is an English-language album arriving. What can you reveal about that?

The album is being produced as we speak. It’s a Pop album, in English.

So far, I’ve written all the songs on the album but I’m always open to the idea of someone writing for me. It just hasn’t happened yet. Most songs are inspired by personal experience: some happy; some not.

Wouldn’t want to reveal more than that but I’m as excited as one can be.

What kind of sounds and themes will be included? Is it quite a broad album or can one expect a similar flavour to Walk Away?

It’s definitely a modern Pop sound that the album will have. I would say it’s broad while remaining in the Pop spectrum.

The themes vary from heartbreaks to ‘sexy time’; to love songs, to self-reflection songs - just the regular stuff we go through on a daily basis!

In the past; you have been a semi-finalist on France’s The Voice; winner on Dancing with the Stars Middle East and, outside of that, you've had a great deal of success. How important were these experiences getting your name and music to more people?

I definitely wouldn’t be here if it wasn’t for these shows I was a part of.

I would still be working as hard as I am today but fewer people would know about it. I’ve learned a lot from these experiences: I went through good times and tough times and they all taught me a lot about today’s world and about myself.

Born in France; you moved between there, Jordan; Dubai and Lebanon – before settling here. Did this itinerant childhood influence your music? Did you pick up from the cultures of each nation or was it quite an unsettling and confusing time?

I was three-years-old when my parents moved back from Paris to Lebanon. I spent most of my childhood in Lebanon and moved around Dubai and Jordan (when my father worked there). After The Voice, I lived in Paris for three years and, after that, I lived in London for a little less than a year - to study music production and songwriting. I definitely picked up a lot from the different cultures I was exposed to. It’s both a blessing and a curse.

A blessing because of it’s extremely enriching aspect but a curse because of the confusion it could lead to. The feeling of not knowing where you belong is a very unpleasant and difficult one.

I’ve come to believe that what matters more than where you are is who and what you surround yourself with - and the way you treat yourself.

How early did music come into your life? Do you remember the kind of artists you grew up listening to?

My mom having a beautiful voice and a guitarist; music was a part of my life from the day I was born. I would say I really fell in love with music around the age of seven - which is when I went on-stage to sing for the first time during a school concert.

I grew up listening to Michael Jackson, Stevie Wonder; Ray Charles, Scorpions, Whitesnake - and whatever albums my father left lying around the house.

Your fan numbers on Twitter, Facebook; Instagram and YouTube are incredible. How important is your fans’ support? What message would you give to them?

My fans’ support is everything.

They got me here and they keep me going. I love interacting with them and trying to get to know them better - and social media allows me to do that. I try to be as honest as possible with them. I always hope to inspire some of them or simply encourage them to go after their dreams.

I would thank them for always being there and tell them to stay tuned - because some great things are coming next!

PHOTO CREDIT: @venusvania

What kind of gigs do you have coming up? Where can we come see you play?

I’m performing at a couple of summer festivals here in Lebanon during this season: the next one is happening on the 5th August in a city called Aley.

For those outside of Lebanon, I make sure to give a little intimate concert every now and then live on my Instagram!

Are there any new acts you recommend we check out?

Check out a band called Safar - it means 'travel' in Arabic. It’s a two-member Lebanese band based in New York, North Carolina and Beirut. They’re awesome.

Elie Abdelnour, one of the members, used to be my bandmate in Homemade: the High School Rock band I was in (yes, I was in a Rock band: long hair and all).

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

1. Bad by Michael Jackson.

This album was on-repeat in the house, car: anywhere I could play it. I knew every song and in the right order! It was, probably, the album that made M.J. an idol in my eyes. I might have been struck by… “a smooth criminal”.

2. FutureSex/LoveSounds by Justin Timberlake

Such an awesome album. J.T. is an inspiration to me in so many ways. He just keeps getting better and he always takes the music to (yet) another level. He takes risks and I love that about him. That album was my most played album for 2006 - and all the years after that. My personal favorite from the album is Until the End of Time. That was later on recorded as a duet with Beyoncé. What a song.

3. Unorthodox Jukebox by Bruno Mars

I mean; how I can I not include that album in my list?! The first time my mother heard When I Was Your Man; she called me and asked me if I had released a new song without telling her. That album is fire! Every single song takes you to a different place - and Treasure is (just) that song that I can’t listen to without dancing and singing along.

What advice would you give to artists coming through right now?

Being an artist is not easy.

It’s a lot of hard work with no guaranteed recognition; no guaranteed success and a million different ways to achieve the same objectives. It’s a lot of trial-and-error and you have to want it really bad - or else, you’re gonna end up quitting. It never gets easier!

That being said; my advice to any artist is to take all the time in the world to really figure out what they want to do, what they want to sing; who they really are as an artist and what are they willing to do or not do to make it.

Be true to yourself, basically, and take the time to figure things out...patience is key.

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

Following this interview, I really feel like going back to 2006 and listening to Lovestoned by Justin Timberlake.

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INTERVIEW: Milo Gore

INTERVIEW:

 Milo Gore

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IN the ever-increasing sea of musicians…

PHOTO CREDIT: Matt Bramston

one struggles to get their head above the water. Every example proffers their goods like an opportunistic stallholder at a foreign market – seeing a tourist approach from afar. I always love it because, in this line of work, it is good to be as busy as possible. There is something almost off-the-radar and elusive about Milo Gore. I talk to the talented songwriter about his lo-fi, D.I.Y. sound and some exposition regarding the new E.P., Watch the Tide.

He talks to me about the band members and producers that help put the music together; his influences and what role music played during childhood; how the rest of his year is shaping up and the kind of themes addressed through his music.

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

Hello, hello. I’m good, thanks.

It’s been a mad week actually. Me and my drummer, Luke Parkinson, just got back from a week-long busking tour of Cornwall. We stayed in my little red Piaggio Porter for the week - staying on cliff-tops and beaches. Then (just) hitting-up cool locations like St. Ives and Porthleven to do some music.

It’s been sweet-A.-F. - but we are knackered now.

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

I’m twenty-one; a student living in Falmouth, Cornwall - and I’ve just released my first E.P., Watch the Tide.

I’ll throw in that I’m a Chelsea fan, too.

Watch the Tide is your debut E.P. What can you reveal about the kind of stories and ideas represented in E.P.?

That’s a question I like.

I think, in today’s music industry, there is too much, as Trump would say, ‘fake’ music. I (just) don’t think enough artists back up their music with a thought, an idea or concept that would enhance their message.

Justin Vernon is a massive influence on me and, if you’ve listened to his latest album, you’d understand why. The thought that has gone into, not only the music but the album cover, artwork and music videos of Bon Iver, are so clever.

It allows the music to draw you in further as it adds the important visuals. For Watch The Tide, I tried to do the same. The record is a very personal one: each song explores a significant point in my life.

A big thing I write about is mental health and depression. The title of the E.P. and the artwork of the faces that represent the moon phases are meant to represent the ups and downs of a mind/mood. For me, depression is something that needs to be voiced a lot more – so I hope, through my music, I am doing that in some way.

I have a bunch of symbols on the back artwork that all have a relevant meaning - and each definitely has its own underlying message.

Max Waymark produced Watch the Tide. How did you come to meet him and what did he bring to the recordings?

I had already met Max in the first year of university - as he lived next-door to our guitarist, Jay Beale. Then, in the second year, I put a message out of Facebook as we needed a bassist - and Max was the first to respond.

That’s it I guess. We just all clicked with him, and even better: he is a dope bassist!

There is a range of sounds and instruments played on the E.P. It has a rough-around-the-edges charm. Did all the music come together quite quickly or do you like to experiment with sound/genres?

I think we already knew the sound we wanted so there wasn’t much experimenting.

We first set out to get the foundation down for all the songs, i.e. Bass, Drums; Guitars and then, from there, we started to add in the little bits of magic.

Next time, I think I will definitely take more time during the writing period to think about new ways to evolve our sound. It’s certainly rough-around-the-edges as it was recorded in my small shoebox of a room (haha).

I think it adds that something to our D.I.Y. sound - written and recorded in its natural location.

Tell me about the musicians you play with. How did you come to meet and perform alongside them?

The band is made up of all my musical friends I have made at uni. They are such awesome people and, without them, my music would not be the same - so much love for them I can’t explain.

-          Luke Parkinson: a rad guy; is my unbelievable drummer.

-          Max Waymark: a glorious bassist and the producer of the E.P.

-          Jay Beale: sexy guitarist (who also has his own stuff up Spotify - and all and it’s so sick.)

-          Kieran Clark: another sexy guitarist (who will have his own stuff up online soon - he goes by the name, Luke Moss.)

-          Christina Smith and her lovely vocals (she is recording her E.P. at moment under the name of FARE).

Your band mantra, ‘Forever Whatever’ seems very apt in these times. What does it represent and symbolise to you?

Luke and I actually (just) got matching ‘Forever Whatever’ tattoos while on tour recently!

I can’t really remember when it came about, to be honest: it just happened naturally. It’s not meant to portray a meaning of ‘do whatever you want’ but more a kinda-saying to help let go of the past and bad things you may be holding on to.

Take whatever feels right from it – forever, whatever!

Who are the artists you (and the band) grew up listening to – give me an insight into your idols and influences.

Straight-up, I have to say, Ben Howard as my biggest influence. Without him, I just wouldn’t be songwriting at all.

Listening to his music taught me a lot and I really connected with his lyrics. Justin Vernon is a genius, too. I also listen to a lot of Catfish (and the Bottlemen), The 1975 and another favourite, Bears Den.

I guess they all really pushed me to the sound we have now. I wanted to create records that were anthemic, climactic sing-alongs - as well as being intricate, meaningful and delicate. I think I’ve done that in places?

Music seems like an industry where it is becoming harder to make money and endure. Do you ever worry you have to gig harder to get recognition or does the passion and drive for music overcome all of that?

Definitely not in it for any of the money.

I mean, money is great - I would absolutely love to earn a decent living off my music but, as you said in this industry, it is harder to make a good wage.

I am happy as long as I get to keep making music and keep making records. Gigging, in my opinion, is also the best part - the band and I love it; no better experience.

What does the rest of the year hold in terms of material? Are you working on more songs?

I’ve actually just finished a song that Luke and I were writing on tour. It’s my fave so far.

We’re gonna release that alongside another single and a tour vid. -so stay tuned!

Do you have any tour dates approaching? Where can we come and see you play?

We are playing on the 5th August at Langaland Festival - as well as playing the Hurly Burly Stage at Boardmasters this year.

I’m also putting on the music every day from 12-3 P.M. at the Hurly Burly – so, if you're around, come on down and see some mad artists from Red Van Records.

IN THIS PHOTO: Jay Beale/PHOTO CREDIT: Matt Bramston

Who are new acts you recommend we check out?

Jay Beale, absolutely. He is a genius.

A Blaze of Feather and Matt Maltese.

Again...genius.

 IN THIS PHOTO: A Blaze of Feathers

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

I Forgot Where We Were – Ben Howard

Taught me a lot about myself.

Islands – Bears Den

Writing-style; the way they build each track with layers and harmonies.

How to Save a Life – The Fray

Golden Oldie. A bit more Pop-y but I just think they are bangers from when I was younger - I still know every word!

What advice would you give to artists coming through right now?

Get confident; understand your band and practise…then gig, gig, gig.

Just write as much as you can - you develop further every time.

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

Ooh, amazing!

Urm...Jay Beale – Retiro

(Jay is my housemate and guitarist - and he is making some unbelievable music right now).

Cheers, thanks very much.

Milo Gore x

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INTERVIEW: Rising Appalachia

INTERVIEW: 

 Rising Appalachia

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IT has been a real joy getting to know…

the sisters of Rising Appalachia. Their music has been lauded by the likes of NPR, Paste and No Depression. They are household names among festival-goers and played alongside Damien Rice. I talk to them about the new live album, Alive, and what we can expect from its lead-off single, Lean In.

They talk about the earth and their surroundings; how inspiring the land is to them and the ethos behind their music. I learn about the sound and cultures that go into their music; the West Coast tour dates they have coming up – including a series of gigs around California – and whether there is new music coming next year…

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

Good. Long.  

Lots of planes… lots of naps (L.o.L.).

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

We are sisters Leah and Chloe Smith: born and raised in Atlanta, Georgia by some incredible Appalachian Folk music parents and extended community.

Rising Appalachia is also Biko Casini on Global Percussion and David Brown on Stand-Up Bass; Baritone Guitar and Banjo. We play a melting-pot of Folk music that is simplistic and textured with both Southern-American lineages as well as global roots. The band has songwriting that highlights vocal harmonies and incorporates elements of clawhammer banjo, fiddle; double bass, and acoustic guitar - along with World percussions such as the djembe, barra and bodhran.

We also like to feature a lot of Spoken-Word. Our goal is for Rising Appalachia to be both genre-bending and familiar at the same time. We also work to utilize our platform as musicians to help promote social and environmental justice causes - with the aim of educating and inspire positive change.

We wanted to form our own business standards as well as break out of the formal stage barriers…bring music back to the streets and creating space for different artistic collaborations along the way (poets, dancers; painters, non-profits, speakers; education initiatives, farmers; youth groups, etc.).

We ask the question: “How can we make music that reaches further than the edge of the stage…further than the Sat night dance party?” - one that has lyrics that speak to a human experience and a concert-model that asks the audience to come ready to participate - it is not just a passive entertainment.

We are asking our ‘fans’ to help us shape this work: to bring us their stories, their songs; their local beacons, artists; environmentalists, justice worker; local medicine, wild foods; regional lore…so that we can showcase all the collective efforts it takes to move towards that “more beautiful world our hearts know is possible” - as author Charles Einstein calls it.

Can you tell me the inspiration behind the name, ‘Rising Appalachia’? Is there a particular significance behind it?

We were urban kids: born and raised in Atlanta (near North Georgia) and the beginning of the Appalachian Mountains. But, our mother was involved in the traditions of Southern Appalachian Folk music. We aren’t trying to retell Appalachian traditions or re-live urban traditions, but, instead we are trying to take all of our influences between our exposure to Southern Appalachian Folk music and our relationship with the deep urban South and Jazz - and create a sound that is rising out of Appalachia; a new tradition rising out of all of these old traditions.  

Leah had a dream that specifically held the name ‘Rising Appalachia’.  

As sisters, you share a love of music - but can you remember when you decided to go into music together?

Leah: Because we are sisters; there were very natural and unstructured beginnings to this project that formed a different sort of foundation than your standard band approach. We grew up with music so we’ve sung together ever since we were babies. I am three-and-a-half-years older than Chloe and, ever since we were both little kids, we were in music circles.

Our mother used to sing us harmony parts to various songs in our ears at a young age - so that we could hear how the sounds stacked up and complemented one another - and how some notes would bounce or create tension with other notes.

It was always a big part of our lives but we were both doing outreach, education and activism in college and beyond. We made an album as a holiday gift to our family. We recorded it in a day. It was just a fun thing that we did - mostly takes of old songs. That was the beginning. This was about nine-and-a-half-years ago: way before the name Rising Appalachia even existed. We would play tunes with our family and at the farmers market sometimes and it got picked up by a community of music appreciators - and we started getting asked to perform.

Without fully realizing it; we forged our own music management concepts - and basically learned how to run a business as well as an expansive art project. Art makes industry: industry does not make art. Industry helps art but can’t create it. We felt that the standard way that musicians worked was not the structure we wanted to pursue. The fact that we are sisters has helped us stay true to our vision...

I think our sisterhood has kept this project alive and breathing for the most part. When one of us is just about to collapse the other one can step in and take the touch. We know that about each other so well. We also know every button to push, but mostly, we are allies to each other. We try to take time off to just hang out together and keep our friendship strong - and there is never any doubt about where the loyalists lie. So, perhaps sometimes we might crave a little more space than we get - but we keep a strong balance.

What kind of music did you grow up listening to?

We grew up in downtown Atlanta, GA - rather immersed and happily-steeped in both traditional music - Appalachian, Irish; Jazz - and World harmony - singing from our parents and their musical community - as well as (in) the urban pulse of underground Hip-Hop, Soul and the Spoken-Word movement.

Although that might seem an unusual combination of influences, we had fun navigating the cultural melting-pot and bouncing from fiddle festivals in the Appalachian Mountains - on the weekends - to our downtown high-school and underground Dance clubs in the city. We have found the overlap to be a huge creative inspiration in our work as musicians, performers; story-tellers, and bridge-builders.

Lean In is the lead-off single from the live album, Alive. What is the tale behind that song?

Written in the streets of New Orleans in homage to Etta James - and the deep Soul traditions of the South - Lean In is a song of giving love a softer second try.

It seems you have a real passion for conservationism, environmentalism and positive change. Do you feel few artists project spirituality and a sense of responsibility through their music?

We believe that the role of the artist should be to question social norms; the walk of the underserved, poverty; racism, land loss and other deep seeded injustices that have followed the story of humanity. Music is a tool and a catalyst for betterment in our communities. It’s always available to be a resource for social change and a platform for dialog around justice issues in our world. We work to utilize our platform as musicians to help promote social and environmental justice causes with the aim of educating and inspire positive change.

We wanted to bring the music to places where it wasn’t and offer it as a collaboration. We want to see a return of music as a community experience and a tool where musicians are held accountable to be carrying the stories and the dialogues - and the messages of their communities. We believe it’s a bigger responsibility than just entertainment— that the role of the musicians is a public service and an important fabric to the folklore of a society. We wanted to be storytellers: not just drink sales at the bar.

Music-making should lend itself to the whole community: the struggles, pains; celebrations, and spiritual paths of us all.

Alive is your first live album. What was the decision behind releasing a live album and what was the experience like?  

Our past two years of touring Wider Circles has been an incredible amalgamation of creativity, cross-pollination; spiritual and musical growth; dog-tired days on the road - and all sorts of other bits and pieces of the story. Our band really solidified our sound as well as our voice as activists and storytellers in this process – and, so, we wanted to release some music from those journeys that was Alive (in the way that only live shows are).  

Will there be any new music coming later this year?

Yes.

We have lots of other collaborations with other artists in the cooker - as well as some new material of our own.  

We are, however, in no rush.

Your music, Roots-based, is very different from many acts. What is it about this style of music that attracted you?

Folk music has always been By and For the people.

There is a real, true grit and honesty to that - that which we have always found enticing as well as familiar.

The ego can run away with itself in this line of work - and Roots music has a way of keeping the artist close to the ground and on the right track.  

You have been in the industry for over a decade – recorded several albums and amassed a huge number of fans. What has been the highlight of your career so far, would you say?

Oh, there have been many…

Performing at Red Rocks; playing at some of our friends’ weddings; our most-recent Sea to Seed sailboat tour off the coast of British Columbia; performing at a circus festival on the island of Stromboli; playing in a haunted fourteenth-century castle in Southern Ireland; playing our song Medicine at the central fire of Standing Rock - after being invited to the land by the Indigenous Youth Council…

Having our mother and godparents join us on stage in Atlanta; some deep harmony singing… the list goes on and on!

You have a few U.S. dates on the horizons. It seems California, where you will be largely based, is an ideal setting for your music. Do you perform their often and what was the reason for embarking on a tour of the West Coast?

Being born and raised in the South; there is certainly a dichotomy between the Coasts that is a beautiful balance. We have always sought the open air and open minds of the West Coast in our travels - and have been inspired to rub elbows with some of that innovation and bring it back home.

Our West Coast tours are always fully-packed and very abundant - and we give great gratitude to that region for holding us so dear.  

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

We were just there this past month and hope to return perhaps next year!

Who are new acts you recommend we check out?

Arouna Diarra, Dustin Thomas; Femina musica, Leyla McCalla and Aurora Nealand.  

What advice would you give to artists coming through right now?

Put your boots on and know the business side of things - so that no one can take advantage of you!

Hire a good team. Find musical collaborators who are both talented AND healthy - so that your life on the road can be uplifted and sustainable.  

Work hard every damn day… and yet… take calculated time off to slow down and disappear from the rush.  

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

A song we like?  

Ok…

Chloe: Xavier Rudd - The Letter

Leah: Ibeyi - River

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INTERVIEW: Bella McKendree

INTERVIEW: 

PHOTO CREDIT: Joe Lindsay Photography  

Bella McKendree

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THERE is something wonderfully tangible and relatable…

about songwriter Bella McKendree. Not only is she an artist who writes from the heart: she is going to perform in a Jeff Buckley tribute event – and will meet one of his collaborators, Gary Lucas! I ask about Buckley and how his music came into her life; the musicians and albums that influenced her young – and the sounds/genres she employs in her own music.

I get to learn about her new song, Grieve, and more about the E.P., Waiting. In a city like London; there are hundreds of agile and promising artists all vying for attention. There is an edge and luminosity (surrounding a mystique and soul) that has a vulnerability, compassion and intrigue. McKendree discusses her process and how songs formulate; the revelatory and fortuitous musical discovery following a painful break-up – and how it feels knowing Waiting is about to be unveiled to the world (18th August).

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

Hi. I’m great.

Yeah, it’s been pretty awesome. I’ve got this uncontainable excitement since the record’s been out...so, I’ve been songwriting a lot!

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

I am a singer-songwriter from the countryside - now living in London. I write within a range of genres, including Indie-Dream and Alt-Folk - with my roots in Blues, Gospel and Classical music.

My songs are introspective and honest. I often comment and pose questions to society.

Grieve is your latest single. What can you tell me about the song and its inspiration?

When I wrote it, I thought: can I be this honest or is this a song just for myself? I decided to go for it and I’ve seen how people find a connection through my vulnerability.

It is taken from the E.P., Waiting. I have heard the tracks and am struck by the emotion and rawness of some – especially songs like Don’t You Wanna Be Loved. How much of your own relationships and experiences go into the E.P.?

To be honest: I’ve been very transparent.

My songwriting stems from my heart so, whatever I’m feeling, flows out of me.

Bell3.jpg

Was it quite difficult to record, emotionally? It seems like you put your heart out on every track!

I’ve found a huge strength and confidence in not holding back: plus, it’s pretty cool that every time I sing a song I can relive that experience...like time travelling.

Waiting was produced by Brett Shaw (Florence & The Machine, Roisin Murphy, Daughter). What was it like working with him and what did he add to your music/sound, would you say?

Ah, it was so great!

I loved his studio with bird-origami on the ceilings. There was a calm atmosphere thanks to his easy-going nature. I had an open mind and no fixed sound in my head – so, we literally just went for it and saw what happened.

Brett added a fullness and ethereal quality.

 I hear shades of London Grammar in your music. Are they a group you look up to?

YES.

I would always play their album to and from college in Brighton. I love the colours in Hannah’s voice. Their whole vibe is grounded but epic!

You are one of five siblings. Is music your way of finding your own identity and, in a way, feeling less alone?

Through music, I find a deeper, grounded place.

When I play, I feel like I’m somewhere else where time and reality disappears. It’s always been like that for me. It’s highly addictive and soothing.

There’s such an ecstatic level of freedom when I write that I feel fearless and that empowers me. It’s how I process, reflect and see the world.

Recently, you have moved to London and started to gig in the city – working with some top names. How important is London and how much of a difference has it made moving there – in terms of opportunities etc.?

A lot changed when I moved here...

The music scene and charisma of the city is so exciting - with lots of incredible artists to bounce ideas off.

It’s a springboard for living out my dream.

Sofar Sounds is a gig-series you have been involved in. What it like playing those intimate shows and where will you be playing more this year?

It feels like stepping back in time and exploring more of what music was before the emphasis on production. I love how it brings people together.

In a culture which always uses as much as possible: it’s really beautiful to see music stripped back - there’s a power in breaking off the layers. I’m playing Southampton on the 22nd and Sheffield on the 29th August.

Jeff Buckley is my music idol so I am interested in the fact you are playing in a tribute show on 9th September! What is your connection to Buckley’s music and, without getting nerdy, which songs of his touch your heart?

Ah, same!

My sister introduced me to his music. I remember it was a dark December day and I had just ended a relationship. Then, Lover, You Should’ve Come Over came on. I literally was like: “DID THAT JUST HAPPEN!?”.

It was incredible because I could tell Buckley was not afraid to show his emotions and that’s where his strength lay. He shaped my early music and musical expression.

IN THIS PHOTO: Jeff Buckley/PHOTO CREDIT: Anton Corbijn

My favourites are Grace, Last Goodbye and Lover, You Should’ve Come Over.

Gary Lucas, who co-wrote a couple of tracks on Grace and played with Buckley in the early years, is there. Are you excited about meeting him?!

Yes!

Absolutely: it’s surreal. Excited is an understatement!

 Can you tell me the artists you grew up listening to and what sparked that passion for music?

My siblings were always swapping songs around.

The Fugees, Radiohead and Rod Stewart spring to mind. My dad was always playing Blues-guitar and my mum singing Classical and Opera songs. I remember very clearly, when I was eleven, watching Alicia Keys sing Fallin’ on Top of the Pops - and feeling so empowered by her performance. Being a woman too, it unlocked something within me and triggered a desire to perform. 

I remember telling my whole family to get out the sitting room so I could play the piano. I knew then I wanted to be a singer. I think even though I didn’t have a name for it I could feel some kind of restraint on being a girl growing up. So watching women like Kate Bush, Shania Twain and Tori Amos on stage affected me even more so than male musicians. 

What do you have planned for the rest of the year? Touring and recording or will you get a chance to unwind?

On the 7th September, I have my E.P. Launch at St. Luke’s Church, Kentish Town – and that's a couple of days before the Jeff Buckley Tribute.

We’re playing the following festivals: Sunrise Celebration (Bristol), Camper Calling (Birmingham); Gorjys Secrets festival (Wales). In December, I’m playing a Streets of London charity gig.

I’d like to record another E.P. before Christmas. At the moment, I’m enjoying the buzz and loving performing. 

Are there any new artists you recommend we check out?

I saw this band, Concrete Caverns, play the other night.

The frontman was very charismatic.

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

1. Cat Stevens – Matthew and Son

 It reminds me of my childhood and walking around school singing: “Don’t be shy/Just let your feelings roll on by”.

Each song is perfectly carved.

2. Tori Amos - Little Earthquakes

I love the intense level of engagement you get in her voice - and the movement in the takes.

3. Jeff Buckley – Grace

Timeless.

It helped navigate and let out the emotional rollercoaster of my teens.

What advice would you give to any new artists starting out right now?

Have a clear vision of what you want to do but, more importantly… why.

Have integrity, drive and resilience.

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

The 1975 - Somebody Else

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INTERVIEW: Louise Jordan

INTERVIEW: 

 Louise Jordan

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MOST of the interviews I conduct are designed to promote…

a song/album/E.P. - but that is where I will leave it. There is, rarely, a sociological or political importance to the release. We are seeing a lot of reports on the news about wars around the world: the turmoil and daily horror many people face. We, here, cannot get a tangible sense of what that would be like. World War 1 was, in full flight, one of the most harrowing and destructive events to happen to our people. We often assume it was a man-made and fought affair: neglecting the role of women and the importance they played. Louise Jordan is preparing an autumn tour of the U.K. for her album, No Petticoats Here – in the form of a one-woman show.

The album is a collection of songs that concentrate on characters - real-life characters – from the War and what they contributed. Jordan talks about her research process and getting funding from Arts Council England; some of the songs and stories behind it and what her one-woman show of the album/concept possess – it has been performed in over fifty venues so far and is building up a lot of attention and acclaim.

Ensure you check out the No Petticoats Here website and keep up-to-date through Twitter - as it is an extraordinary show/album from a talented young performer/songwriter keen to highlight the fantastic and invaluable contribution women made in the War effort.

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

Hello, Sam. I am feeling creative!

It’s been an incredibly busy couple of weeks bringing everything together ready to start rehearsals for No Petticoats Here stage two – in-between gigs and workshops!

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

Of course – hello, lovely to meet you!

I am a singer, musician and composer whose writing focuses on storytelling and forging connections between people.

No Petticoats Here is your portrayal and representation of real-life women from the First World War. What compelled you to get the project started?

On a visit to the Somme area in France during November 2014, I saw few references to the ways that women experienced this remarkable period of history. I returned determined to find out more about the women whose images I had seen in museums and chapels and to explore the experiences of those I had not yet learned about.

What kind of things can one expect? Is it a series of songs or is there dialogue and theatre-type acts?

No Petticoats Here started with one song which I hoped to place alongside my other material at gigs.

It quickly developed into an album which I released in September 2016 and toured during the autumn 2016 and spring 2017. I have always been keen to talk about songs when I perform and to give some context about where the songs come from – for example, why they were written. No Petticoats Here is a concept album and it comes with an illustrated booklet containing images of the women whose stories are shared - and some explanation of their connection to the First World War.

When performing the songs from No Petticoats Here live, I have always taken time to give the context of the women’s’ remarkable achievements – in what way were they involved in the conflict? How did they come to find themselves in that situation and what happened to them afterwards?

No Petticoats Here gained Arts Council England funding after an album in September 2016. How important was that funding and did it allow you to explore more ground than you would ordinarily?

I am now at a really exciting stage of developing No Petticoats Here.

Throughout the two previous tours, I have been speaking with members of the audience as well as promoters and venue managers - to identify ways in which the performance could be brought more to life. I personally want to find ways to connect people more deeply with the extraordinary lives of these women who lived during the First World War. The development of No Petticoats Here is supported using public funding by the National Lottery through Arts Council England.

This has given me the opportunity to work with innovative theatre professionals so that we can re-create the sound worlds which the women themselves experienced. With the addition of a soundscape of recorded actors and sound effects (and images of the women on stage), I hope the audience will become much closer to imagining for themselves how these women lived and experienced the war.

How much research went into the project? Did you talk to relatives of anyone involved in World War I?

The research began when I returned from my visit to the Somme in November 2014 - and is ongoing.

It stems from a personal interest and determination to keep learning about the events of the First World War and their ongoing impact and resonance. I have been in touch with a number of relatives of the women whose stories are shared by No Petticoats Here - and these have been amongst the most moving experiences whilst developing the project. Finding out information through a family’s oral history – passed down through generations – and through relatives’ memories is precious and can also reveal details which aren’t available in books, journals; museums, history centres and cemeteries.

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I have also benefited from speaking with biographers such as Patrick Vanleene and Gail Newsham who have collected extensive material over years of research in their respective fields: Patrick with regards women who worked in Belgium on the Western Front and Gail with regards women footballers - and the Dick, Kerr’s Ladies football team, in particular.

There are songs about women football players (Shoulder to Shoulder) and women workers (Toil, Women, Toil). Is there a particular song that was tough to write? Is there one that stands out in your mind?

The final song, Who Will Remember, was, perhaps, the most difficult to write as it deals with issues of mental health, unpublished records and touches on issues of sexual abuse.

I had originally intended to focus on the strength of the women’s characters - and yet, there is extraordinary strength and resilience in all of these women’s experiences; whether these are classified as positive of negative. I was entirely driven by a passion to preserve these women’s experiences and make them better known a- nd this helped me to overcome any perception of difficulty along the way.

Given sexism in society today – and the music industry – was there a personal desire to put this project out there – to celebrate how inspirational and pioneering women have always been?

I have drawn strength from these women’s experiences and I continue to be grateful for the experience of writing and performing No Petticoats Here.

I believe there is great relevance in sharing these stories now; not least because we are commemorating the one-hundred-year-anniversary of the First World War. It was an extraordinary set of circumstances and a time when women not only experienced change but pursued it too.

That recourse to action and the taking of power for oneself is something I believe and hope anyone who seeks equality can identify with.

You worked with producer Lizzie Crarer and sound designer Jules Bushell. What did they bring to the project and how important were people like Ellie Rogers (videographer) to visualising your music?

Lizzie and Jules both possess wide-ranging skills in bringing stories to life - and both were on board with my vision for No Petticoats Here from the start.

Lizzie has extensive experience of developing pieces of theatre around female perspectives (through her theatre company, The Heroine Project Presents, and, also, of interpreting the First World War (she worked on the critically-acclaimed project, We’re Here Because We’re Here and produced a piece called Over the Top: The True-Life Tale of Dorothy Lawrence). 

Lizzie and I have gone back to my research of the women’s stories in order to devise ways through script and dialogue of invigorating the performance. Jules is a maestro and understands the world of sound like no other! - a musician, sound designer and noise manipulator.

Jules specialises in creating sound for theatre and events – from atmospheric underscoring to layered effects. From simple to conceptual; Jules captures a range of scenes and emotions - which help to immerse the audience in the piece.

A trailer video is out now. What can you reveal what the trailer is designed for and how it came together?

Film-maker Ellie Rogers is putting the trailer together using footage from the development and rehearsals process - as well as interviews with the creative artists involved.

I am confident the trailer will offer an insight showing the audience what to expect at a live performance on this autumn’s tour.

I believe there is an autumn tour. Where will you be heading and how can one book tickets?

The tour will take me from Falmouth to Farnham on the South Coast; from Sale to Stirling further north. There’s a mixture of rural village venues and cities and the tour takes in libraries, museums; arts centres, theatres and house concerts.

You can find a full list of tour dates my website - with links to venues and box office details.

No Petticoats Here has already been shared with dozens of audiences. What has the reaction been like and do a lot of people come up to you after the show to express praise/feedback?

I have been fortunate to enjoy some really interesting conversations with audience members after performances of No Petticoats Here. It is fascinating to hear the many and varied ways that the themes and songs resonate with other people – from self-styled ‘sod-it spinsters’ to people who have written their own songs about relatives who served in The Great War.

After No Petticoats Here’s completion, what comes next? Can we expect a new album in the future?

No Petticoats Here will tour throughout 2018 as we continue to commemorate the centenary of the First World War - and as we celebrate one hundred years since the Representation of the People Act brought the vote to a number of women in the U.K.

In addition, I have received a commission from Vote100 to write about the impact of women’s experiences of the First World War on suffrage.

There will almost certainly be a release in 2018 as I have had a number of requests to record First World War-related material which is not part of No Petticoats Here - such as What Will You Leave Behind (about a kilt I saw in a museum in France).

Do stay in touch on facebook and twitter for latest news - and I have a mailing list which you can sign up to on my website.

How easy has it been transitioning from your normal song themes and focusing on something unique like this? Was it a challenge getting into a different headspace?

No Petticoats Here has drawn on a number of song themes which I have visited before; however, the project has focused on how these human themes – such as resilience, determination and using the resources you have to make the best of a situation; presented themselves within women’s experiences of the First World War.

The writing period was certainly intense. The project involved inhabiting the worlds of these extraordinary women to understand as best I could how they experienced barriers and obstacles: it was a constant reminder of the experiences I have found difficult and yet it was worth it. I felt a connection with the women through the fact of these barriers.

What advice would you give to people who want to create a similar project?

Thorough research is very rewarding; be prepared to persist and persevere.

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

I read about two brilliant musicians this week who have written a song about a veteran of the Great War. I was truly moved to hear about their research...

The song, Home, Lads, Home (words Cecily Fox Smith: adapted by Sarah Morgan) also has great meaning to me. If you can’t find a version of Sarah singing this; Belshazzar’s Feast do a great version.

Thank you for your time!

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INTERVIEW: Jessica Rotter

INTERVIEW: 

 Jessica Rotter

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IT has been a long time since I have featured Jessica Rotter…

on my blog. It has been a while since her track, Porch Song, came to my attention – I have never stopped following her music. She is a terrific solo artist but is part of the trio, JEMS. I talk about those twin responsibilities and whether there is new material afoot. She discusses life in L.A. and how it is for a young artist there.

Plains, Rotter’s terrific album, was released last year so I was eager to know what the rest of the year has in store - and whether there are tour dates; if we can see her in the U.K. and the artists that have driven and influenced her.

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

Hi, Sam! I’m doing well!

Things are busy right now - so I’m taking a minute to respond to emails and relax!

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

Of course.

I am a singer and a songwriter. I released my first album last year, Plains, along with a dance film for it – and, I also have a career as a vocalist for a variety of projects (movies, T.V. shows; albums, live performances etc.)

I am currently working on my next album and taking my Folk sound up a notch - with a little Rock/throwback air.

PHOTO CREDIT: @abby_shoot

It seems you have wrapped up a new single. What can you reveal about that and the kind of things we can expect from it?

I have a new single out August 18 called Other Side of the Sun.

It is an upbeat vintage sounding song complete with soulful backup vocals. I wanted to release the song with the Total Solar Eclipse that is happening on August 21 (which just so happens to be my birthday.)

The song is about a relationship with bad timing (I’m sure we’ve all had one of those) where the desire flips from one person to the other constantly. Not too close, not too far - as if orbiting on opposite ends of the universe - but still controlled by the same force.

I believe you perform as part of a trio, JEMS. Can you tell me about the girls you play alongside and how you came to meet? How important is their friendship and music to you – not only as a fellow musician but a human?

So. JEMS was formed VERY recently out of a common desire to get out and play more...

Emily Colombier and I have been friends since we were babies and she was the person who encouraged me to play my music in the first place. She and I found viral success with a mashup we did of the song Stay, by Rihanna, and (the song) Animal, by Miike Snow. She’s been singing backup for me at all of my shows since the very beginning - and I would sing backup for her.

Sarah Margaret Huff was a new friend who moved to L.A. from Nashville and, in an attempt to help her find her footing in L.A., we started playing together and hit it off. She came on tour with me as a backup singer and the three of us bonded like crazy! A lot of people were talking about how our voices sounded together and how our personalities filled the stage in such complementary ways.

So, we decided we should team up and play out. We are excited to be playing a series of shows in late-August and September!

Will you be working on an E.P. or album – either as a trio or solo artist?

I am working on an album as a solo artist.

Our trio will hopefully be recording some songs soon! Our cover of Dolly Parton’s Wildflowers has gotten a lot of praise so I hope we can get that out soon.

For now; you can see our video on YouTube.

You describe yourself as a ‘musical storyteller’. How important is it making your music honest, personal and relatable? It seems like your music really connects with people. How vital is that in terms of inspiring your creativity?

I think every opportunity a singer has is an opportunity to take other souls on a journey.

Musical moments shared are powerful, so whether the story is a narrative or a sensory journey, I like creating moments. For my own music, I really do write honestly and from experience – so, I try to find the universal truth or the common thread that a listener will be able to connect with. It’s not even something I overthink though. I don’t know if it’s from writing poetry or directing theatre...but I feel like finding the common thread in emotional experiences is second nature to me.

I still hope people take the time to get to the bottom of a metaphor in a song and let it sink in for a minute. It can’t all be face value.

Was music big in your childhood? What kind of musicians do you fall for at a young age?

My parents are both musicians and so were my grandparents - so music was definitely huge. I listened to a lot of The Beatles and Motown - a lot of ‘oldies’ and a ton of Classical music.

I appreciated that kind of musical foundation because I think it trained my ear from early on to hear harmonies and count beats.

Music you have written has been heard on T.V., film and around the world. How humbling is that and what is your reaction when you hear one of your pieces on the screen?

Hearing my music alongside other art forms is INCREDIBLY satisfying.

I love seeing how different artists can merge crafts so effectively! It’s always an honor to be entrusted to share someone else’s creative moment.

I have heard your latest live performance, Porch Song, which was captured in Woodland Hills – playing as part of JEMS. What was that experience like? Will you be recording any more intimate videos like that?

I’m sure we will.

We have one more video like that to roll out as JEMS along with a few concert videos. JEMS is fun because we all feel like we can take more risks with it - and I kind of wonder if we will put ourselves out there more because there seems to be less to lose.

I haven’t even released a live performance video of myself - and JEMS has three!

The first exposure I had to you was when I reviewed Porch Song – when it first came out. I love that song and never asked where it came from. What is the inspiration behind that?

Strangely enough; that song was written before Emily Colombier’s step-dad (Geoffrey Lewis’) memorial.

I was driving there and thinking through these words and when I parked my car; I turned on my iPhone Voice Memos app. and recorded the song start-to-finish. It was almost like Geoff brought those words to me. Geoff was an actor/author/artist. Their whole family is creative: so there’s a very strong powerful energy around their house and everyone Geoff touched.

You probably know at least one of his children.

Based in California; how important and influential is the area and its people? What is the music scene like where you are?

Living in Los Angeles is crazy.

The stakes are always higher. You never know who's going to show up. It’s good because you get comfortable performing for influential people - I get much less nervous performing in any other city. The music scene in L.A. is very split, geographically. Certain venues are known for certain things and I find the acts that start Indie - and break out of L.A. - are usually East-side, Indie-Rock bands - and everyone else (are) usually Pop artists on labels.

There’s a small singer-songwriter community that does a little Pop-writing, too. It is cool to live here, though, because you can kind of conquer your hometown - and it means a little bit more than if I lived in a city with a population of 100k - or something similar.

Are there any new musicians you recommend we investigate?

I’ve been really digging Phoebe Bridgers, Waxahatchee and Sweet Spirit.

You should check out the band LEAN, too. They are also a production team and they produced my new single. They have a new song out called Come Back. It’s a fun, summer jam.

Have you any tour dates coming up? When can we see you in the U.K., perhaps?

We are playing in Nashville and the Californian West Coast in August - and I’ll do a proper slew of Jessica Rotter shows once I finish my album.

I am planning on mastering the album in London so I would hope to play a few shows there! 2018?

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

Neon Bible by Arcade Fire

Because it was my first album that made me feel like the darkness inside of us wasn’t weakness - and was a shared human experience.

Carole King - Tapestry

 It is so obvious but it really is the best. Those songs kill me and she has the best heart and soul. I have, like, thirty more albums I could put in this meaningful album list…but…

I will say I most often put on Bon Iver - Bon Iver when I’m looking for a record to listen to.

I listened to it tonight. Holocene and Michicant are two of my favorite songs, ever. They’re perfectly melancholic.

What advice would you give to musicians coming onto the scene right now?

Find a way to make money that doesn’t suck out your soul and it will all be a lot more fun.

I have so many artist friends that are trying to make ends meet in the silliest jobs - that are not paying enough and take up too much time. By singing and writing for other people’s projects, and even teaching a few students, I have the freedom to work on my own art.

So, I guess my advice is do everything you can to not let your soul die and spend as much time as possible creating.

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

Halfway Home by Broken Social Scene (this song made me feel EUPHORIC when I saw them play last month.)

Thank you!

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Follow Jessica Rotter

INTERVIEW: Bella Barton

INTERVIEW: 

 Bella Barton

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DAUGHTER is a sensational and unique song…

I urge one to stream and investigate - Buy/Stream: https://bellabarton.lnk.to/Daughter; Listen on Spotify: http://sptfy.com/1q7N. Not only it is a confident and original song from seventeen-year-old Bella Barton but it is so different to anything out there. One would think, looking at a singer of Barton’s age, she would be producing commercial Pop or machine-suffocated Electronic jams – designed for the meat-and-sweat of the club floors. Perhaps I am being terribly stereotyping and prejudicial: Bella Barton is, refreshingly, a musician who mixes soulful Jazz of, say, Tony Bennett - with sumptuous, romantic Pop elements of (1965/'66-era) The Beatles.

Barton talks about Daughter’s story and what one can discover from her upcoming album, 10 Songs – and which of the tracks hit her the hardest. She talks about the BRIT School – where she is studying – and the three albums that mean the most to her; where she will be performing and (sage) words of advice for any artists coming through at the moment.

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

Hi.

I'm about to go to France for a couple of intimate gigs which will be nice - so I’m feeling great, thanks!

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

Well.

I’m a seventeen-year-old singer-songwriter - and I go to the BRIT School; where I studied music for two years. I'm continuing to study there for another year.

I'm releasing my first album very soon - which I'm really looking forward to. My music is mainly acoustic with Jazz/Blues themes throughout.

Daughter is your new single. Can you tell me about what compelled the song and what the track is all about?

Ironically, Daughter is the most-recent song I wrote for the album - but one that I've wanted to write for, probably, two years. When I was fourteen, I realised how often it was: that men would cat-call and hit on me in the street. It was, basically, every day – middle-aged men would follow me and harass me etc.

So, about a year later, I went on Radio 4's The Listening Project to discuss the effects this had on me - and all of my female friends - and how vulnerable it makes young girls feel. Then, I was invited to Parliament to a select-committee to talk about this topic - and I remember realising that we are never taught how to cope with it or how to get out of the situation.

My passion (in this) compelled me to write a song from my own perspective.

Listening to the song, and it has Jazz elements and, oddly, reminds one of a smoke-hued, mystica night-time walk through Paris. It is classic-sounding and has a coolness and suave swagger. Was it quite easy putting the song together or did it go through various versions?

Thank you!

I knew that I wanted a fast-paced Motown beat with a Jazz feel, and so, from there, I found it quite easy to write lyrics to the groove of it. I played around with the conversational outro for a while - because I didn't know how much scatting I wanted.

Who are the musicians you grew up listening to and inspired your career in music?

I remember seeing Ed Sheeran at a festival - when + had just been released - and it definitely inspired me to learn how to play the guitar and start writing my own songs.

Amy Winehouse, on the other hand, got me into Jazz and I've always aspired to create music as distinct and beautiful as hers.

I also saw Tony Bennett in concert recently: he's a massive icon of mine…I loved it!

10 Songs is your upcoming album. How does it feel having it completed and are you excited seeing what reaction it gets?

It feels great to have it done as I spent almost a year on it - so it's nice to be able to finally put it out there.

My friends are definitely getting me hyped-up about it because they're all very supportive and excited to hear it...so I can't wait!

Which of the ten songs, would you say, is dearest to your heart?

I Want You is very dear to me because I feel that it depicts the pain I was feeling a while ago and, when I sing it, even now, it brings back the emotions I felt then.

Serenity, on the other hand, is my favourite - I love the trumpet solo!

I believe the record tackles issues like misogyny and sexual advances. Is this approach been motivated by personal experiences and was it important, to you, distancing from predictable love songs and obvious themes?

As I was saying before: it was definitely motivated by personal experiences - but also from many of my friends who have also been verbally harassed. I did feel that it was an interesting topic for a song: especially the contrast between such a fast-paced and happy tone with quite dark lyrics.

But, most of my album has other, more emotional songs about relationships and emotions.

As a young new artist, you could have created something commercial and chart-based – Daughter is the opposite of it. Do you feel having your own sound is more important and inspiring than penning something generic and mass-produced?

Having my own sound is important to me because I would love to have a very distinct style - so that my music is noticeable.

I write from the heart and I feel like I have to write honestly.

You are, hard to believe, still in your teens. How do you balance academia and growing up with the demands of music?! Are there times when you want to disconnect and have some ‘me-time’?

Well, for the past two years or so I have been practising Mahayana Buddhism - which definitely helps me to feel at peace with myself and not get too stressed out with exams; also, creating an album at the same time.

The actual act of writing and playing comforts me, too.

The BRIT School is somewhere you have cut your teeth and won awards at. How important is what you learned there (and still do) to your own music and creative process?

BRIT has been great.

I've had help with my singing techniques and just learned a lot about creating music. The main thing for me, though, is that the people there are so supportive and lovely. The laid-back atmosphere at BRIT has really helped me to come out of my shell over the last few years – and actually record these songs.

What sort of gigs do you have coming up? Where can we see you come and play?

I'm doing some gigs in the South of France and (doing a gig) next month at The Star and Garter pub in Putney Bridge on 25th August.

I'm hoping to also perform at the Lost Rivers Elephant, soon.

IN THIS PHOTO: Frankie Cosmos

Are there any new artists you recommend we check out?

Frankie Cosmos is an act who I've just started listening to - and I love her raw acoustic vibes. My favourite song of hers is Outside with the Cuties.

My backing singer and oldest friend, Sylvie Holder - who also goes to BRIT - is really talented, too.

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

+ by Ed Sheeran

It means a lot to me because of his influence on me at a very early age. His lyric-writing in this album, for me, is so personal and distinct that it doesn't seem cliché at all.

It's so hard for me to pick only one album by The Beatle but I would have to say Revolver

It is one of my favourites because it was at a period in their career where they still had a live gigging vibe - before it became very studio-based and experimental (which I love, too).

The last one would have to be Frank by Amy Winehouse

Because it is what made me fall in love with her - as well as Jazz.

What advice would you give to any new artists starting out right now?

I'd say to have confidence in themselves and just go for it because, for years, I was embarrassed to share my music with people.

But, once I grew in confidence and began doing gigs, I realised how important this was...

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

I Left My Heart in San Francisco by Tony Bennett

Because it's my favourite Jazz standard.

Thanks!

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INTERVIEW: Anna Tosh

INTERVIEW: 

Anna Tosh

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ANYONE who has a love and passion for Talking Heads is…

alright by me but, with Anna Tosh, there is so much more. I talk to her about her single, Weightless, and what, in her words, it means. She talks about her sound and putting music together; what we can expect from her E.P., One Big Fire, and what will lead from that.

Tosh discusses her influences and how much came to her life; the importance of London and picking up the guitar as a teen. I understand about Anna Tosh’s gig schedule and the relevance of love when it comes to song-inspiration – and whether bands like Talking Heads are pivotal in her success and sound.

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

Hey!

My week has gone swimmingly. We have been in the studio mixing tracks for my E.P., One Big Fire.

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

I’m a singer/guitarist and songwriter from London. I have recently gone solo and am putting the finishing touches on the E.P. - which will be released in October.

I am intrigued by your new single, Weightless. Can you tell me how the song came together and what it concerns?

The song was written by me and a long-term collaborator, Herman Stephens. We started it in the final days of a previous band we had together several years ago (Shotgun Venus). It languished half-finished on a hard drive until last year - when we started working together again on this project.

It’s about a recurrent dream I had, of walking across a beach and into the sea, drifting underwater and ending up in the Land of the Dead.

It is the first single from the E.P., One Big Fire. What can reveal about the title’s significance and the sort of sounds/themes addressed?

One Big Fire is about relationships and the journeys we go through with other people: trying to discover who we are ourselves.

Based in London, you must take a lot from the people and surroundings. How influential is the city as a source of inspiration?

The funny thing is that, even though I am born and bred in London - and spend 90% of my time here - I have to get out of town to connect with what it inspires in me.

I usually need to leave the city to get enough perspective to write about what I have experienced here. It’s too intense otherwise.

IMAGE CREDIT: Paul Rowson

I start most of my songs holed up in the countryside somewhere, trying to decompress from London. I constantly encounter the most diverse range of people I could ever hope to meet… I am lucky to live here.

As a teen, you learnt your guitar skills to a number of bands/musicians. Was it a valuable experience and when did you decide you needed to go solo?

I have had so many priceless experiences and I still play with (and collaborate with) other people on their projects. I love it and am constantly learning - But, last year, I knew that it was time to stick my neck out.

There’s less risk involved when you are sharing responsibility for a project. It can be easier but life is not about always taking the safe option.

Plus..I got sick of compromising!

How important were relationships – fractured and fraught – to you stepping out and getting your voice out there?

Integral.

Every relationship is a mirror to myself: a constant education and source of inspiration.

Can you tell me about your musical roots? It seems like you are compelled by a range of genres. What kind of artists and sounds did you grow up listening to?

As a kid and teenager, I was listening to a combination of ’60s Pop music, Heavy Metal and ’90s Indie. I had a cool older brother who influenced my musical tastes pretty hard.

I was most interested in Nick Cave, Sonic Youth; The Jesus and Mary Chain, Mike Patton; The Beatles, Ben Folds Five; Sheryl Crow, PJ Harvey; Guns N’ Roses, The Doors; The White Stripes…

I hear elements of Talking Heads in Weightless – with some Punk edge. Are they a band you are driven by and do you think they deserve more attention/exposure in the current age?

I got into Talking Heads about ten years ago: someone made me a mi-tape of them while I was sick. I think, in my feverish state, they wormed their way into my brain instantly.

They are the epitome of an ‘Art Band’ to me - more so than Sonic Youth, even. David Byrne has reasons why he does everything and never stays still.

I think they have the legendary status they deserve.

How far ahead are you planning? Will there be new songs later in the year?

I’m planning another E.P. next year and am about to go away for a couple of weeks to start writing it. New songs are coming all the time: I try to get at least one brand new one in the set every time we play.

Can we expect any tour dates to coincide? Where can we see you play?

One Big Fire will be released in early October and we’re having a launch party at Servant Jazz Quarters (in Dalston) to celebrate (10th Oct).

As for a tour… I’m up for it if you are!

PHOTO CREDIT: Youyang Yu

How do you spend your time away from music? Do you have time to explore the city?

Music is never far away.

There’s not a time where I clock off from thinking, planning; getting inspired… but if it’s doing my head in and I need a break, I’ll flight-mode my phone and try to get lost on Hampstead Heath - near where I live in North London.

Are there any new artists you recommend we check out?

VITO CAMARO, Black Hay and Wildhood.

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

David Bowie - The Rise and Fall of Ziggy Stardust

The (most) perfect story ever told in Rock ‘n’ Roll.

PJ Harvey - Let England Shake

Sad, beautiful; intelligent, ambitious; melodic–as-hell: I hear something new every time I listen.

Iggy & the Stooges - Raw Power

If I ever need to be reminded why I chose a life in music; I listen to this.

What advice would you give to any new artists starting out right now?

Do it only if you know you can do nothing else...

Don’t be afraid of what you thought was amazing when you were seventeen. The Internet is the greatest tool invented in the last century but it will never replace real-life experience.

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

Cool!

Let’s stick with the Talking Heads theme: This Must Be the Place (I don’t mind if it’s the live version or the studio version).

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INTERVIEW: Fond of Rudy

INTERVIEW: 

 PHOTO CREDIT: GG Photography 

Fond of Rudy

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DIVIDING their professional existence between…

Brighton and London; the exciting, fertile and stunning quartet, Fond of Rudy have provided us with their latest single, LOVE. Fond of the upper-case-pride (OMG! was their last) – they must know I am not a big fan of it! – the boys make up for it with an interview in which they discuss London and Brighton; what the story behind their new song it – and their band name – and how it evolves from OMG!

I was eager to discover how they unwind and more about their music; the elements that go into their vibrant, summer sounds and how Matt – who provides the answers, for the most part – creates a slow-jam-style smoothness with the vocals.

The band are primed for future success: a pleasure chatting with the guys - and learning more about their songs.

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

We are well!

This week has been hectic. Just got back from a micro-tour of the North…great fun, however, energy levels are sapped now!

Ha.

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

We are Fond of Rudy: a Brighton/London-based Indie-Alt-Pop four-piece band.

Can you tell me – apologies if you have been asked, endlessly – where the band name, ‘Fond of Rudy’, comes from?

Haha…only a couple!

Our music, essentially, tries to encapsulate the feelings of being in and out of love; and the pursuit of it. ‘Fond of’ generally means really liking and being drawn to something - but the ‘Rudy’ part; you can consider as a blank space… you fill it in.

What is the story behind the new single, LOVE?

The track represents our take on a modern slow-jam. It's packed full of lust and emotion; tuning into that persona of missing opportunities out of fear.

It follows from OMG! and seems like, with every release, you are becoming more confident. Did you notice any differences, in terms of writing and recording, between the two songs?

Every track is carefully crafted and planned: a lot of time is spent in pre-production; making sure every element is perfect before we think about releasing it.

We just want to keep grinding out track-after-track!

Is LOVE going to feature on an E.P. at some point? Anything in the pipeline?

LOVE belongs to an E.P. titled, TWO.

Watch this space in the future - we are always putting out little clues.

Can you tell me how you all got together and how those early days were?

The band, itself, has been going for a couple of years: developing and experimenting with various styles and members. It was only last year that all the groundwork laid down - previously equated to make this formation.

Brighton is your base. How important is the city and its mix of people to your music and creativity? What is the music scene like there at the moment?

We feel like we have two home: one in Brighton and the other in London. There are some great bands in both cities.

With Brighton you can see more bands coming to fruition recently - long may it continue!

PHOTO CREDIT: MJB

You have drawn comparisons to the likes of The 1975 and Blood Orange. Are these bands you admire or do you think it is more important proving yourself on your own terms?

Both The 1975 and Blood Orange are incredible artists; we love their music. Equally as important we want to be our own entity and get audiences to long for our creations.

In describing your music, you have described it is as a sort-of South East version of Calypso-Pop. What kind of artists and sounds were you all raised on?

Being in any band, you are all bound to bring different influences and sounds to the table. On our road trips, we’ve created a playlist roulette-type game: we take turns in selecting a song throughout the journey.

The artists played range from Pop to R&B to ’80s’ Classic-Rock etc.…so many weird and wonderful sounds (too many to name!)

Fond of Rudy have a string of live dates in the next month. Which dates are you most looking forward to?

We are playing at Carfest North this coming Sunday (in Chester) and have been selected as the stage highlight for the day - so that should be pretty epic!

Also, we (always) love playing to an intimate audience in London, too.

What do you guys like to do away from music? Do you get much chance to distance yourselves from the music life?

We all work the day-shift, keep fit in the gym; running or playing sports so we are constantly busy. However, music is always on our minds when we are distanced from it.

It’s a hard to get too far away for a long period of time as we all love doing it.

Are there any new artists you recommend we check out?

Good question…hmm.

We’ve all been digging a bit of LANY recently - those guys are creating tunes.

If you had to select the one album that means the most to you; which would IT be and why?

Another good question - which, I’m sure, we would have different answers to!

For me, personally, (Matt) it would be Fleetwood Mac – Rumours

Why? Because it’s THE GOAT.

What advice would you give to any new artists starting out right now?

I’ll pass on the advice that I have received many times: keep, keep (keep) writing.

The more songs you make, the better the quality will become - practice makes perfect, as they say!

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

Not one of our own songs…?! Damn. We would have obviously picked our new single, LOVE. Ha!

Alright…we’ll all go for Spice Girls - Too Much

No explanation needed!

________

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INTERVIEW: Zap

INTERVIEW:

PHOTO CREDIT: Davey Woodhouse    

Zap

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THERE are few people who distills the essence of Zap better…

PHOTO CREDIT: Joris Felix

than the trio themselves. They are, in their own words, defined by this riddle/answer:

“What do you get when you throw a washboard, mini megaphone, ukulele, rubber chicken, some tap shoes, a trumpet, 2 kangaroos and some tzatziki into a blender? Zap grew in the artistic playground of Berlin, blossoming from a craigslist add for swing music lovers, some special feelings and generally nice times. Drawing inspiration from Bob Fosse, Louis Prima, skiffle music and ancient laundry practices, Zap creates much more than just tunes that get your feet and vocal chords loose... It's gonna be a wild physical show to lighten your load and bubble your bath!”.

I talk to the guys about their music and how they came together – sourcing members from Greece and Australia – and how Berlin, their adopted home, is suiting them. They talk about musical plans and artists they recommend; what their music consists and ‘personality quirks’ of each member.

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

Great!

We had Will’s 30th birthday - and Gabrielle has been performing at ImPulsTanz festival in Vienna!

Petro’s walking around Berlin and taking energy!

PHOTO CREDIT: Joris Felix

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

We are Zap.

A three-(and often, also, four)-piece Swing/Taps/Honks group living in Berlin - but originating from Australia and Greece.

We are a theatrical show brimming with smiles and finger workouts!

PHOTO CREDIT: @beboptaranto

You are based in Berlin - but you have two Australians and one Greek in the trio. How did you all come together and why choose Berlin for your base?

Gabrielle moved to Berlin to study physical Theatre; Will chased her, here, penniless after six months - and created an advertisement on craigslist looking for "fellow Swing-heads".

Petros was first to reply, and after about three weeks, we could communicate without the use of Google Translate - and strongly through music. We took it to the streets and markets around Berlin and ended up touring and playing festivals throughout Europe, Asia and Australia for the last three years!

What is the vibe like in the German capital? I can imagine it has a very different scene to Australian cities like Melbourne and Sydney?!

It has been an incredible change from the tight laws and money/time-driven cities of Australia. We have really enjoyed the everyday freedom immensely and met a lot of kindred souls from all parts of the world - searching for the open, liberated and relaxed vibes of Berlin.

Gabrielle. I guess, most of us in the U.K., know you from the Trivago adverts. Does that sort of recognition humble you or can it get quite repetitive? How do they react when you explain you’re a musician?

We mostly perform in countries where my Trivago ads are not aired, so, for now, I am remaining inconspicuous.

What are Zap working on the moment? Any fulsome, multi-coloured stompers currently gestating?! Maybe an E.P. down the line?

We have an E.P. in the oven.

We are going to lay it out in September and put a bit more love and time into than the last two. We’re excited!

We are always making fun clips of our new music and travels.

We have upcoming tours to Italy, the U.K.; Thailand and Australia.

I know you share a love of Bob Fosse and artists of that ilk. In terms of other artists/bands, do you have similar taste or are you forever trying to ‘convert’ members to the acts you like?

Petros and I both have a background and love for Latin music; Gabrielle and Petros love cheesy old Jazz numbers.

The weather is pretty shocking in the U.K. Any chance you guys are coming over here at some point to give us sunshine and a serotonin boost?!

I love it that you slipped in the ultimate British line!

We are heading over for a wedding in September - but haven’t planned a tour there yet. Perhaps, if we get into Glastonbury next year, we will come with a couple of sets of gumboots.

Everbreaking Heart was released last year. What was the reaction like to the E.P./mini-album and tell me a bit about the clip you shared on social media – of Zap in the Philippines?

We released the E.P. for something fresh to sell on our two-month East Coast of Australia tour. We haven’t had any hate-mail - and a lot of people let us know they play it a lot.

Our Unbuccen Lucky clip went off like a frog in a sock. We were lucky enough to have such beautiful and generous friends on the Island of Boracay – so, making it was fun and simple!

It has had the furthest reach thanks to a lot of Pilipino crew sharing it around!

Each trio/band has members with various ‘quirks’ and personality traits. Is there a messy member or the one who falls asleep and snores loudly? Any dirt to dish?!

Will can sometimes have a bit tad too much to drink and gets silly and in his own world on stage. It’s hard for the rest of us to keep up!

Gabrielle can sometimes get a bit grumpy on stage.

Petros snores like an elephant with pneumonia.

Are there any new artists you recommend we check out?

For sure!

Kane Muir

Facebook.com/kanemuirmusic

J.Lamotta すずめ

Facebook.com/jlamottasuzume/

IN THIS PHOTO: J.Lamotta すずめ/PHOTO CREDIT: Helen Mari Mare.

Yvy Maraey

Facebook.com/Yvy-Maraey-1683528038557488/

Harvey

Facebook.com/musicharvey

IN THIS PHOTO: Harvey/PHOTO CREDIT: Lucy Alcorn

The Milkshakes

Facebook.com/themilkshakesmusic

Los Monos Flamenco

Facebook.com/losmonosflame nco

IN THIS PHOTO: Hektisch Kunst

Hektisch Kunst

Facebook.com/hektischkunst

James Chatburn

Facebook.com/jameschatburn

IN THIS PHOTO: James Chatburn/PHOTO CREDIT: Aleksandar Jason Photography

Noah Slee

Facebook.com/noahsleemusic

Malibeau

Facebook.com/malibeauband

The Lips

Facebook.com/thelipsblues

PHOTO CREDIT: @joris.felix

If you each had to select the album that means the most to you; which would they be and why?

Will: Probably Fat Freddy’s Drop - Based on a True Story.

It encapsulates a whole lot of love: life sketches and beautiful relaxed moments that remind me of the last ten years

Gab: Sergei Prokofiev - Peter and the Wolf

This L.P. accompanied my entire childhood.

What advice would you give to any new artists starting out right now?

Busk; sell C.D.s; figure out your tricks that set you apart. Write music and create stuff as much as you can - and co-create with as many new art heads as possible.

Dream big and stay true to your heart.

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

Fat Freddy’s Drop – Seconds

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INTERVIEW: Ben Pryer

INTERVIEW: 

Ben6.jpg

PHOTO CREDIT: Jas Poole Photography    

Ben Pryer

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IT only takes a glance of Ben Pryer to know he is not someone…

PHOTO CREDIT: Jas Poole Photography

who follows the crowd. The music industry has a fluidity and diversity that encourages variation and progression. Ben Pryer, in many ways, alludes to a golden age and style of music one does not encounter too much in 2017. Call it Rockabilly or Rock ‘n’ Roll: it is a fun, toe-provoking and captivating breath of air in an industry that suffers commercial blandness and overly-precise songs. I talk to the West Sussex-raised artist about the music of the 1950s and its influence on him.

He talks about his eponymous debut album and what we can expect from it; the relevance of artists like Elvis Presley and how, with thousands of fans behind him, it feels to be a unique and eye-catching artist – someone who not only captures the heart but plays music to get the body shaking!

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

Hi! I’m great!

My week has been so busy: but that’s a good sign, I think; seeing as I’m releasing my debut album!

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

Of course!

My name Is Ben Pryer. I’m a twenty-one-year-old Rock & Roll singer/songwriter from West Sussex, England - with a huge passion for all things music!

PHOTO CREDIT: Jas Poole Photography

Your eponymous album is out. What has the writing and recording experience been like? Have you learnt a lot from it?

Yes!

Well, the writing of the album was probably the longest part, as I really wanted to focus on creating something I knew I would be really proud of. I think the writing taught me quite a lot about myself; not only as a songwriter but also as a person. I found the purest form of expression and wielded it like a tool - to create an exact musical representation of my mind at that time.

As for the recording; that’s always fun. It’s, quite literally, the icing on the cake: the coming together of your vision.

One track that stands out to me is Heartbreak Town. Can you tell me the story behind that one?

For sure.

Heartbreak Town is, probably, the most personal song on the record. It’s how I perceive my love life, all in under four minutes - which is (also) how long most relationships seem for me. Haha.

But, it’s also how I thought a lot of other people might experience love and lust - which is where the metaphor of this literal ‘Town’ came in: a place where all the lost and lonely would be between relationships - almost like a stopover.

I really liked that idea of creating a real place for a state of mind.

How much of the music is taken from personal experience; how much is fictionalised would you say?

I think most of it is taken from personal experience, with Young J.C. being the exception - which is a fictional story I made up about what I believe it would have been like for a young man to go away to war in the 1940s.

I’ve always liked war stories so I wanted to express my interest for that, also.

Looking at you, as a twenty-one-year-old, you seem to be a man from another time. It is rare to see a Rock ‘n’ Roll/Rockabilly artist in this age. Is that the sort of music you spend your childhood listening to?

 Yes!

I understand it’s not the norm. for a twenty-one-year old to be playing this sort of music, but I think we all need a little change right now. I did spend a large amount of my childhood listening to early 1950s-to-late-'60s music.

Thanks to my grandad, who introduced me to many of the artists who inspire me today - and did back then. He used to play me old records of his and we’d sit there and be in total awe.

What is it about Rockabilly that speaks to you? To me, it lacks critical pressures and seems freeing and expressive. What do you get from it?

I love Rockabilly/Rock & Roll because it’s fun.

It makes you go a little bit crazy and want to get up and dance -that’s what’s always stood out to me. Nothing else really did that for me.

Elvis Presley died, more-or-less forty years ago, now. Is he someone you idolise and emulate, in a sense?

I think, most artists of the last forty years have all been inspired by Elvis, in some form - whether they know it or not! He changed music forever. There’s nothing more inspiring than that.

I’ve always idolised Presley: he was a true hero for many. In a way, Rock ‘n’ Roll has this reputation as being legendry – but best left in the past.

Are you trying to bring it back and give it a cool, contemporary edge?

I don’t think I’m consciously trying to bring anything back.

Don’t get me wrong; it’d be amazing if I were able to do that. I’m just playing my own songs in the style that I love - and hoping that people also like it as much as I do.

But, wouldn’t it be cool to see everyone dancing in polka-dot dresses and Teddy Boy suits? Haha.

What is your view on modern music and the charts? Is being a mainstream artist something you aspire to or do you think you’d have to compromise your sound too much?

I think there’s lots of great music out there: I listen to a lot of new bands, also. I’m a big fan of Mumford and Sons. I love what they’re doing.

What sort of gigs do you have coming up? Where can we see you come and play?

I’m headlining the Radweb stage at Victorious Festival in Southsea with my live band, which should be really fun. We love it over there.

We also have some exciting shows in the pipeline for my fans to get ready for!

PHOTO CREDIT: Jas Poole Photography  

How does your music go down in the live setting? What kind of response have you been getting?

I think people are really taking to it!

I think they find it quite refreshing and different. I mean, everyone’s different, but even the grumpiest of guys can’t help but tap his foot!

Are there any new artists you recommend we check out?

I heard this guy on the radio the other day, Louis Berry.

He seems like a really cool guy and his songs are wicked.

IN THIS PHOTO: Louis Berry

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

I’d have to start with The Sun Sessions from Jerry Lee Lewis

I think that compilation album is really what started me off on Rock & Roll – so, I owe a lot to it.

Secondly, Elvis’ Golden Records

It was another that really inspired me to play the guitar. I loved how diverse it was as an album.

PHOTO CREDIT: Jas Poole Photography

Lastly, John Mayer’s Born and Raised

I think it’s truly one of the most beautiful albums of the last ten years.

What advice would you give to any new artists starting out right now?

Never stop practising - and never give up!

If you truly believe you have something different, you should never let that go.

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

Could you play Don’t Be Cruel (by Elvis), please?

________

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INTERVIEW: Marina Avetisian

INTERVIEW: 

  Marina Avetisian

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I have been finding out about U.K.-based singer-songwriter…

Marina Avetisian and her new single, Shivers. It is from her E.P., All Shades of Blue (out on Friday), and, to me, has shades of Joni and Norah Jones – a hard blend to articulate and easily cohabitate together. She explains how she arrived from Russia (where she is born) and the role of Jazz, Classic and Folk in her early life; what it was like working with Nathan Britton and Brando Walker at EC1 Studios – and the story behind her latest single.

I find out more about her London life and what she has planned; what music means to her; a new artist we recommend we check out – and where she is heading in the coming days.

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

Hi. It’s been really good, thanks.

Getting ready to travel to Greece; the E.P. is out on Friday - so all is just great.

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

I'm a singer and songwriter, born in Russia. I have lived in the U.K. for the past fifteen years. I have many different influences from different folk traditions and my diverse cultural backgrounds - which I take a lot of inspiration from.

My new E.P., All Shades of Blue, is coming out on the 28.07 and it's very exciting. I'm hoping it will tell you a bit more about me.  

Shivers is your new track. It lives up to its title and has romance, lust and purity at its heart. Was there a relationship/person that inspired the song? What would you say the song represents?

It started from just one line someone said to me and a very easy, light; free and beautiful feeling around it - and I think that is the mood of the song.

But, then, the song also evolved into something that has a deeper meaning for me. Shivers is a very romantic song but it is (also) a metaphor for other aspects of relationships - like relationships with life, soul; freedom, yourself and everything.

That is also the main theme for the E.P.

It has embers of modern Soul greats like Norah Jones. Were genres like Soul and Jazz prominent when you were growing up or do you take a lot from modern artists like Jones?

Thank you for such a reference.

I love Norah Jones. I went to see her in Somerset House a few weeks ago and it was stunning. She is definitely an inspiration. 

All Shades of Blue is the new E.P. What kind of memories, events and emotions influenced the songwriting? 

Songwriting is always different...

It can be some emotion, feeling or just a moment; sometimes, a very small moment or feeling that might seem insignificant and then it becomes a song. Sometimes, it's a whole song that just comes like it was always there - and I just had to catch it. Sometimes, it's several stories in one song.

But, it always comes from the heart-rhythm. 

All Shades of Blue has a lot of romance as it’s always inspiring - but it also reflects on many other things like sense of freedom; following dreams, letting things go; connections with ourselves and each other.

I like using metaphors in songs - so it's not always straightforward. 

Nathan Britton and Brando Walker feature. It was captured at EC1 Studios. What was it about those musicians, and that space, that really spoke to you?

I am really lucky to meet Nathan and Brando and work with them. They are just amazing!

I felt they really got me: my music and mood and this connection is precious. They helped me to create the natural, organic sound. They are absolutely incredible musicians - ‘sound ninjas’ - and wonderful people! We had a lot of fun recording All Shades of Blue.

Also, EC1 Studios is a great space; relaxed and focused, which is perfect for recording. It is really well-equipped and, of course, the most important thing is people who work there. They are all very professional and lovely.

There were two other musicians recording with us: Yelfris Valdes played Trumpet for Campervan Blues. He is such a great trumpet player.

Andrea Callarelli recorded Guitar for all four tracks. Me and Andrea have been playing together for few years. He just moved back to Italy and I miss him - and our good times creating music together. 

You were born in Russian and have Armenian-British roots. How does the music scene differ in this country – compared to countries like Russia? How important is your heritage and upbringing to your music?

I was playing piano as a child. Then, I played in my first band when I was fifteen. It was a girls’ band. We played Jazz standards and I played bass, there. Then, I sang in a Funk band but then I moved to U.K. – so, I didn't get to experience music scene there for very long.

But, I know some wonderful musicians out there and I know that there are many very interesting things happening. I think all my backgrounds and the diversity of cultural upbringing are integrated in my music. 

What kind of music were you listening to in Russia? Was it more mainstream Western sounds or did local artists make an impression?

I grew up, mostly, on Classical music as my grandmum was a classical pianist; some Beatles and Rolling Stones (as my dad loved them); some Russian and Armenian Folk - as that what was around.

I used to love one Russian band when I was a teen but then I discovered Jazz, Blues and Soul - and realised I loved that band cause they had many Blues elements in their music.

There were few other artists I remember that influenced me a lot. I still remember hearing Nina Simone and Stevie Wonder for the first time.

I also remember my friend went to U.K. for summer-school and brought me a tape with OK Computer by Radiohead. I was blown away. This album is still one of my favourite.

My dad used to take me to different gigs when I was a child and I remember Sting, Ray Charles; Tina Turner and James Brown. It was very inspiring to see them live. 

It seems, when you came to London to study, you fell in love and never looked back. What was it about the city that hooked you in?

I love the diversity here and it never gets boring...

There is always something new to discover in London. It is always moving and changing. I love the fact you can meet anyone from absolutely any corner of the Earth and connect.

Of course, London's art and music scene is just mind-blowing. 

Do you ever get to go back home or does life here keep you pretty busy?

Unfortunately, I don’t go home very often but I see my family and my childhood friends around in Europe.

I should try and go more often. 

Can you define what music means to you? Is it freedom or a sense of unique expression, would you say? 

Music is a journey: it's constant discoveries; it's a connection with everything: a romance between soul and matter. 

What kind of live dates do you have coming up?

I'm off travelling to Greek islands and will be playing around there. Live gigs in London will be set for the end of August/September.

Are there any new artists you recommend we check out?

Thundercat.

It's probably not that new - but I (have) just discovered him a few weeks ago and I love it. 

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

Let It Die by Feist

I just love her: she has been one of my favourite for a long time. I love every single song on this album. 

Shadow Theate by Tigran Hamasyan

It's unique and complex: a beautiful fusion of Jazz and Armenian tradition.

Play by Bob McFerrin and Chick Corea

Just because it's perfect in every single way. 

What advice would you give to any new artists starting out right now?

Always be your authentic self - because there is no one exactly like you.

Always listen to your heart and do what feels right to you and, regardless what anyone says, never give up - and follow your biggest and wildest dream. 

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

Lines by The Hics. It’s pretty magical. 

________

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INTERVIEW: Matt Koelsch

INTERVIEW: 

 Matt Koelsch

________

IT is, after a chat with a North London musician…

over to America and the L.A.-based Indie-Folk singer-songwriter, Matt Koelsch. He is, as I discovered, an artist hard to define and rationalise – in the sense his music takes in many different textures and influences. I was scheduled to promote the single, Incomplete, which he talks about but, in the days after I sent the questions, the new song, Thinking of You, has been released. Koelsch talks about Incomplete but discusses the E.P., Thinking of You – and how, invariably, the title song will fit in.

He lets me know about his early life in New England and some dates he has approaching; the albums that have inspired him and what advice he would offer any new songwriters.

________

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

I’m very well. Thank you for the interview!

I am playing a string of shows on the East Coast - and then heading to L.A.

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

I’m an L.A.-based singer-songwriter - originally from New England. My music is in the Alternative-Folk genre – although, my latest record has a bit of an Electro. vibe. 

Thinking of You and Incomplete are your new singles. Talk to me about Incomplete. What can you tell me about the song and how it came together? 

Incomplete is about falling just outside someone’s radar. 

You really enjoy being around them but they are off-limits. I co-wrote the song with one of my music friends, Alfa Bieselin.

We worked on it in person for two sessions and then passed it back and forth through the Internet for a few months.

The catchy vocals and warm cello sounds go together nicely. Was it quite hard getting the sound right or was it instinctual?

I waited about a year to record the song with the full arrangement so I had several pre-production recordings of my performance of Incomplete.

 This gave us more time to sit with the song and weave in the complementary instrumentation.

Thinking of You is your latest E.P. What has the reaction to it been like? What kind of experiences and influences went into it?

I’ve heard people react to each song claiming it is their favorite.

It’s hard to tell which one is the crowd favorite since it is available on so many different digital outlets - so there is a different one on the top of each of those lists. It seems like people like it; I don’t really know.

Ahah.

Thinking of You is inspired by leaving the comforts of home and building a new network thousands of miles away in a new environment. There is more time and space to explore and discover when you are in a completely new and foreign setting: removed from the comforts of your close network of relationships. The relationships that formed and/or dissolved during this chapter of my life were woven into the writing of this record.

Are you looking at making more music this year?

I’m always looking to make more music but my budget for recording is exhausted for the foreseeable future.

PHOTO CREDIT: Edward Baida 

I know you grew up in New England. What was it like there for a young and aspiring songwriter? Is it a part of the U.S. that has a thriving music scene?

The Boston area has a myriad of colleges and universities: it’s a great place to study music, experiment a bit and get your feet wet in a modest but sincere music scene. There are several places you can branch off to and tour within a four-hour drive: Brooklyn, Burlington, Portland; Providence and North Hampton.

I think the talent level is high and there are great musicians in New England: although, I see a lot of them moving because the opportunities in other music hubs are greater, more diverse - and they’re looking to make connections with the media, management firms and labels. 

PHOTO CREDIT: Peter Zuehlke

What kind of artists were you listening to during this time?

I listened to Classic Rock: Led Zeppelin, Guns n’ Roses and Motown.

Later, in high school, I listened to Jack Johnson, Ben Howard; John Mayer, David Gray and Dave Matthews Band.

In college, I listened to more Electronic/House music and Hip-Hop.

Can you remember the moment you gave up your job in finance to pursue music? What emotions were going through you when you quit?

I had recently been accepted into a general business cover band in Boston while (also) working my desk-job in Finance.

I was busy building client relationships, learning new songs every week - and I was overwhelmed. I was in the Boston Commons on my lunch break wearing a three-piece suit and just sat on the end of a park bench with my head in my hand.

I came to the conclusion that I needed to make a change. I did not feel completely comfortable in either setting - the stage or conference room - but something was telling me to give music more of a shot.

I had a few exit-interviews and, also, met with all of my colleagues individually to break the news first. We were part of an extensive training program and worked hard together and partied quite a bit as well; so I wanted the team to hear it from me instead of our managers that I would be moving on. 

PHOTO CREDIT: Peter Zuehlke

How easy was it moving and transitioning to music? Do you still miss New England or are you settled in L.A.? 

It was a long and windy transition.

I worked for a great music-tech company called Cakewalk which eventually led me to the engineers and musicians who helped me create my first record in 2010.

I miss New England, so I tour there a few times each year and play in New York as well.

I try to stick to locations I can get back to every six-twelve months. 

What is the music scene like in L.A.? Is it quite tough getting gigs or are there enough opportunities for young artists?

I like the music scene in L.A.

My friends are pretty involved and people work hard to keep things fresh. For the past year, there has been a mansion in Brentwood along with a staff of volunteers called SunSeshLA - hosting weekly concerts for artists and their invited guests.

The shows were always free; B.Y.O.B - and the theater fits about seventy people. There are places like this in the Hollywood Hills, too. There are tech and film home-owners who want to create a unique experience and support the arts community.

Like any city, there are plenty of places to play for young musicians to break into; but you have to look beyond the expected areas. A lot of the venues on the Sunset Strip are pay-to-play - so we usually don't spend a lot of time over there.

Most of my best opportunities and experiences have been at non-traditional venues or events. 

On that note; what dates do you have in the diary? Any plans to come to the U.K., perhaps?

I’m performing on the East Coast until August, and then, I am planning on touring more in the fall. I would love to come to the U.K. and I am open to recommendations for venues.

Camden was a lot of fun the last time I was in London.

PHOTO CREDIT: Myke Wilken 

Thinking of You is an E.P. that looks at everything from Wall Street to romance. Do you think that big move and career transition has made you a broader and more diverse songwriter? 

I think I have just opened up more as a person and the diverse array of people I have met have influenced my life and writing.

I am grateful for the journey and I think it helped me break some of the patterns I was in.

Over the course of your career, you have sold thousands of C.D.s are sharing the stage with (members of) R.E.M. What has been the highlight and biggest high?

I think some of the biggest moments happen when I am collaborating with other people on stage or in the studio - and everything just clicks into place. It really is magic. It’s so hard to describe the unifying force of a group of people playing music together.

It feels like you are all on some mission and you’re creating the soundtrack to a chapter of life.

IN THIS PHOTO: Porter Robinson

Are there any new artists you recommend we check out?

Lately, I’ve been listening to more Electro-inspired music: SOHN, ODESZA; Bob Moses, Poolside and Porter Robinson.

Also, check out my friend Alfa’s new record, Spark & Fury. I co-wrote Incomplete with her. She’s doing well: she recently toured the Philippines and just opened for Shawn Mendes.

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

Led Zeppelin - IV

Dave Matthews and Tim Reynolds - Live at Luther College 

Fugees - The Score

I listened to these records on repeat growing up. I was fascinated by them and I would just listen to them over and over and think about them.

Sometimes, a certain record just hits you in a way that is really impactful and shapes the way you appreciate music. I think these were a few records that steered me in the direction of becoming an artist.

What advice would you give to any new artists starting out right now?

Keep exploring ways to learn new styles; whether it is through other musicians: one-on-one teaching, classroom style; videos, articles; online or books. Try not to limit yourself to the method through which the information is being transmitted to you. One way may work better than others when studying and/or writing music.

Stay involved and collaborate: try not to isolate yourself for too long.

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

It would be cool if you could play Alfa’s Incomplete. It’s a nice contrast and produced well. 

Thank you for the interview; have a wonderful summer!

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INTERVIEW: Alex Francis

INTERVIEW: 

 Alex Francis

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FEW people have as much drive and passion for music…

PHOTO CREDIT: JPBoardman

as Alex Francis. He has a series of festivals and dates throughout August – including one at Camden Assembly on 1st – and is showcasing his new single, The Last Time. I talk to him about his new track and what it is about; the E.P., These Words, and the origins and moments that went into it. Alex Francis has travelled and played across the U.S. and big British gigs like the Isle of Wight Festival.

I ask him about his music background and how he came to meet his live band; what dates he is especially looking forward to playing – and the albums that have defined and guided him as a person.

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

Great, thanks - busy!

Prepping for next weekend’s festival show and I’ve got two friends’ weddings to fit in between those, too.

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

I’m Alex Francis; originally from Hertfordshire - and now residing in North London.

The Last Time is your newest track. What inspired the track and was it quite an easy one to write?

The Last Time was conceived a (some) time ago after a relationship that I had come out of; but my co-writer and I felt the theme for it was universal, so we analysed it again.

It follows the idea that it isn’t as easy as simply letting go of somebody once you’ve called it quits - even if you really want to.

Its video sees you travelling and playing around America. Which cities/areas did you film it and what was the experience in the U.S. like?

The U.S. footage in the video is from the time I spent in Brooklyn, New York - back in June. It was the second time I’d been over for music rather than leisure! (Although time was made for leisure).

It was a great trip and we got a whole load done. I’m back in Brooklyn in the autumn.

There is, in that video, clips of you playing the Isle of Wight Festival. What was that like? Is it a career highlight, so far, would you say?

Definitely a career highlight!

My live agent curates the festival so getting to perform on the bill this year was a massive treat. We couldn’t believe how well the set went down - and it was an amazing experience to perform two shows over the weekend in two pretty different settings.

The Last Time is from the E.P., These Words. How would you define the E.P. and were the songs inspired by relationships and friendships? What kind of aspects and people go into the music?

The songs are all inspired from experiences of my own; born out of themes that I feel are personal but also relatable.

I wanted the sound of things to give the listener an introduction to how I write and arrange my music - something more than just a demo. but not a fully-blown production either. The time will come around for that.

I love the idea of there being a genesis of each release. I feel as though I can take listeners along with me that way.

How did you come to meet the band you play with on the road? Do you bring in new musicians or keep the same players?

I’ve been with my core-band now for just over a year. Lucky logistics and a bunch of super passionate, incredibly talented people have meant we have been able to make it work for that long! I’m in a lucky position to have a bunch of guys working alongside me who are as invested in these songs as I am.

From time to time, things do clash and I do have a bank of like-minded individuals that I can call upon (which is a bonus in itself). However, now I have my guys and I’m so pleased with the way it’s going.

Come see a show!

You have dates in Hampshire and Hertfordshire coming up - Standon Calling (28th) among them. How excited are you about that gig – it seems like a pretty big one!

Can’t wait for Standon!

It’ll be awesome to come back to a festival in Hertfordshire: something that I haven’t done for a couple of years. We’ve got two shows on the Friday at Standon Calling - the first on the main stage at 14:00; then the BBC Introducing Stage at 17:50.

Starting life in Hitchin; you moved to Brighton and now live in North London. What was the reason for leaving Brighton and coming to London?

I was a student in Brighton at BIMM: an academy that has now expanded outward all over the U.K. and beyond.

Life got in the way after I finished studying and I actually went back home to Hertfordshire for eighteen months. It was during that time that I began to travel to London more and more often and I began collaborations with new songwriters.

Thankfully, home at the time wasn’t too far away - so I could make a regular thing out of that quickly.

Eventually, I got myself to a place where making a home out of London was the natural and logical next step for me and my career.

How influential is the city when it comes to your music and ambitions?

There are so many different things to draw upon from living in a city: life lessons, new experiences or tiny everyday details that stimulate the creative psyche. I love the diversity - it keeps me creative and motivated knowing that there are so many like-minded folks here all chasing stability and success in their own right.

It fuels me to know that a lot of the opportunities I used to fantasise about exist in the city I live in.  

Do you feel the music you grew up listening has moulded the musician you are today? Can you remember your favourite artists and albums as a youngster?

Absolutely.

I think that almost everybody’s love for music is sewn-in at a young age. Every music-lover I know says the same thing about their youth and how they knew pretty early on that music was going to be a feature in their life.

I grew up on a pretty contrasting diet of Rock and Soul music - very different, at times, but always with the same thing in common: real music that moved me in ways that I still can’t clearly describe.

What kind of live dates do you have coming up?

We’ve got a bunch more festival performances to see out - including one more show in Hertfordshire on 25th August at Goatfest; then a spot up-North (near Newcastle) in Gateshead on 26th August at Chase Park Festival.

I’ve also (just) announced another headline show in London at the Camden Assembly on 1st August partnering Oxjam - all proceeds on the night going to Oxfam!

Are there any new artists you recommend we check out?

I’m really into the current Leif Vollebekk album, Twin Solitude. He’s totally his own thing but the album has got great little subtleties that remind me of Bob Dylan’s Blood on the Tracks - which is one of my favourites ever.

Leif does so much with very little and that’s real power in songwriting as far as I’m concerned. He lets the space sing, too.

I’m also really enjoying Lianne La Havas’ Blood (Solo) E.P. - which is a selection of cuts from her latest album, Blood, performed stripped back with her electric guita.

She’s pretty mystical when she goes it alone.

IN THIS PHOTO: Lianne La Havas

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

Ray LaMontagne - Trouble (2004)

This album doesn’t have any particular sentiment for me more than the fact that it’s just so beautifully crafted in every measure.

I’m into so many artists that channel the organic and the soulful vibe. Not many deliver the kind of conviction and sincerity like Ray does on this album. Beautiful production from Ethan Johns.

The Rolling Stones - Exile on Main Street (1972)

My friends and I were completely obsessed with The Rolling Stones in our first couple of bands – totally immersed with everything from the music to the bravado. This is a particularly long album in general - eighteen tracks, I think.

It got A LOT of spin – mostly because it would survive most gig drives without us having to argue about the next thing to play! You can literally SMELL the damp in Keith’s basement studio when you listen to these songs.

Apparently, Jagger doesn’t dig the production on this record but I absolutely love it. It’s The Rolling Stones at their possible best - with every nuance of their amazing songwriting craft present on this record; whether it’s big ballads or total Rock ‘n’ Roll wrapped up in this ‘rough-and-ready’, sometimes-demo-sounding collection. It’s so visceral to me now - I’ll never stop listening to it.

It’s a great example of bottling up the magic you can get from the live recording: something that will never be fully recreated artificially.

What advice would you give to any new artists starting out right now?

I think; try and be as involved in everything as possible - definitely to begin with and even after you’ve begun to gather your team around you.

Everything from the performing to the digital marketing to the networking is as important as each other, I have discovered. There’s so much to grasp so quickly - whether or not you are professional - and I think it’s important to keep yourself aware of the mechanics of this industry so you can position - what it is you do best with the very best chance at every opportunity.

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

Better go out on the raddest 'Stones tune you’ve never heard: Can’t You Hear Me Knocking!

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INTERVIEW: Crooked Teeth

INTERVIEW: 

 Crooked Teeth

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THE germ of Crooked Teeth spread from Glasgow…

where Rob and Jo met – having played the circuit in their bands, For Abel and Evol. A couple of years down the tracks they moved to London where, following a chance meeting, they were back in each other’s lives. That is the moment Crooked Teeth formed and, after discussions and compromise, headed into the studio with their friend Sam – wielding the guitar. The trio fuse synth-propelled sounds with lyrics that address issues in society - and deeper issues few artists document.

I talk to the guys about their current single, Mirrors, and what it represents. With its LCD Soundsystem vibe; I was curious to know about the song and how it came together. The chaps discuss their beloved home of London and its merits; the differences to Glasgow and what they have in store for the remainder of the year.

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

Crooked Teeth: Jo, Rob and Sam.

How are you enjoying the weather right now? Any chance to hang out in the sun or too busy right now?

Always busy!

But, yes, managed to catch a bit.

Can you tell me about new single, Mirrors, and what the song is all about?

J: Mirrors is a celebration of individuality in a metropolis that’s becoming increasingly homogenised.

It’s, at once, a greyscale and psychedelic-technicolour love-letter to the city of London.

I know the song is a reflection on London’s increasing homogenisation. How do you think this gentrification is affecting the spirit and soul of the city?

S: Well, the joy of London is really the diversity of experiences; that’s it. Once that’s gone, it’s not the same city.

In terms of making art; there’s still loads going on but these days it costs so much to live here - there isn’t the breathing space for many people to put time and energy into projects just for the love of it.

Every square-meter is potential ‘luxury apartment’ - so don’t get too attached because you’ll soon be moving on.

All of us have moved here from somewhere else, though, so I’m a bit hesitant to make sweeping statements about gentrification.

How have you guys reacted to the recent incident at Grenfell and the fact Labour are becoming more popular and desired by the people of the capital?

Grenfell was horrific and totally avoidable so the reaction to that is a mixture of despair and anger, really. As well as being a terrible incident in itself, I guess a lot of people feel it as confirmation of something they were already feeling - about the way Londoners that aren’t rich are almost treated as an inconvenience.

Regarding the election: it’s encouraging. There’s been a long period of government shrugging off responsibilities with very little publicised opposition. People are seeing and feeling the results and it feels like those questions are finally being asked.

I nearly wrote an essay reply to this but decided to keep it short! 

Rob and Jo. I believe you met in Glasgow and were playing the circuit there as part of other bands. How long did it take to realise you should start your own band – and recruit Sam into the fold?

J: Rob moved to London a while before I did.

We’d never worked together in Glasgow (save for one gig where I stood in as drummer in his band (For Abel) and, when Rob found out that I’d moved here, he instantly talked about starting a new project. I suggested, much to Rob’s initial bewilderment, that we make it synth.-based - instead of the usual Rock outfits we’d grown accustomed to in Glasgow.

Rob Invited Sam along to the first jam with his guitar and pedals and we all hit it off straight away.

How does the music scene of Glasgow compare to London, would you say? Does Glasgow offer the individuality and authenticity London is losing?

It’s more constructive, in my opinion, to refer to Hackney’s music scene and the other boroughs individually - rather than an all-encompassing ‘London scene’. Hackney feels a lot like Glasgow: similar grubby little venues; not to mention a friendly sense of community among local groups and promoters/sound engineers.

There is a definite ‘Glasgow sound’ that is absent in London and likewise, but, in terms of scale and breadth of individuality, I’d say Rob and I feel just as at home here.

What are your future plans regarding music? Any E.P. or album approaching?

Yep.

We’ve got a fair bit of material recorded - or nearly there - so you’ll hear some of that soon in one form or another. 

The music is produced in Jo’s warehouse studio in Manor House. How important is that space and is it a great place to record in?

S: That space was vital in the early days.

It meant we could write and rehearse without having to shell out for studio time. For recording, it was very much a D.I.Y. effort - and the warehouse was the space we had available.

Jo knows his stuff and did a fantastic job using limited gear. It just meant we had the time to record and mix the songs how we wanted - not that we spent ages on it - but there’s no way we could have got as much done if we hadn’t had our own space.

J: Warehouse living seems to be fading out with the wave of gentrification.

It was a useful space, but with the current state of music recording technology, you can make great recordings no matter what room you’re in.

As Crooked Teeth; you play Noise-Pop and have your own style and sound. Are there any particular artists who have been influential to you guys?

S: It’s funny, because someone asked this, not long after we started, and we all came out with bands that don’t sound anything like each other.

So, maybe C.T. sounds different to all of us. We didn’t really talk about influences at all before we rehearsed.

J: It feels like we’ve brought several different elements to the table which seem to have amalgamated into something beyond our control, and so, we’re continually surprised what the comparisons people make.

What tour dates are coming up? Where can we see you play?

Our next show is supporting All the People at The Finsbury on Saturday, 26th August. We’re playing with MUX at Paper Dress Vintage on 9th Sep.

Crooked6.jpg

IN THIS PHOTO: AT/ALL

Are there any new artists you recommend we check out?

S: I’ve been listening non-stop to a record that came out about this time last year by an Australian band called AT/ALL (Sun Dog).

It’s super-good. 

J: South London-based Mx World is soon to drop her first E.P.

Her chaotic, colourful synth.-scapes are some of the most exciting music I’ve heard in years

If you each had to select one album each that has meant the most to you; which would they be and why?

S: That’s impossible!

I’ll change my mind in an hour or so but I’ll say No Pocky for Kitty by Superchunk – first, listen to my all-time-favourite band.

J: None of this would have happened if it weren’t for Portishead – Third

It shook me violently out of a creative lull and pushed me into buying some analog gear. It changed everything for me, musically.

R: I just want to choose my favourite album by my favourite band, Guerrilla, by Super Furry Animals

I love how they push the boundaries whilst using a classic songwriting formula. I probably listen to Some Things Come from Nothing every other day.

What advice would you give to any new artists starting out right now?

S: I don’t know if I’m in any position to offer advice but I guess I’d say don’t wait around for the next bit of gear or perfect opportunity: just play and record and you’ll learn and find out what works a lot quicker anyway.

Trusting your band-mates is important: being open to seeing where they take your ideas, but also, all feeling free to say when you don’t think something works.

That’s where the magic is for me.

J: You’re a band, so be in a band. Don’t be a leader: be in a band.

Appreciate your creative team and let it grow organically.

A MacBook will never, ever replace human musicians.

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

S: Young Shields by Casiotone for the Painfully Alone, please

J: Eclipse Total by Aries

Discovered her earlier this year at Primavera Sound. She’s wonderful.

R: STRaiGHT eDGe by Gablè

Short and simple, but I love it and all the different samples they cram into it.

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INTERVIEW: The Hyena Kill

INTERVIEW: 

 The Hyena Kill

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THIS is my second Manchester-based interview of the day…

but The Hyena Kill differ greatly to Sukh. The two-piece have shades of Queens of the Stone Age and Deftones; they rally against the ineptitude and corruption of the current government. RED is their most confident and assured track to date – the best work they have created to date. I talk to Steve and ask him how RED differs from their album, Atomised, and what he makes of the government’s handling of the Grenfell tragedy – and whether it was cathartic funnelling anger through music.

He suggests some musicians that are worth following and what it was like working with Tom Peters at Grand Studios and what the mood in camp is right now - and ripe and productive the Manchester music scene is.

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

Hey. It’s been awesome.

Putting the finishing touches to our next single.

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

We are Manchester-based two-piece (noise bastards), The Hyena Kill.

I’m Steve and play guitar and shout.

Lorna couldn’t do the interview but her job is to basically smash the sh*t out the drums - which she does really well.

RED is the current single from The Hyena Kill. What can you tell me about its origins?

It came out of nowhere, really.

I was in our rehearsal room quite late one night working on another song and just got fed up of not being able to finish it - and just lay on the floor with my guitar. I just came up with the main riff and just kept playing it over. That’s all I had really.

I played it to Lorna the next day and we just jammed it out. It came together really fast.

It sounds like it was a very personal and challenging song to put out. Does it feel quite cathartic now it is released?

Yeah.

Lyrically, it was definitely good to get that down - although it does feel a bit more cryptic when I listen back. I don’t think the subject is that obvious - which I kinda like looking back at.

It was recorded and mixed by Tom Peters at Grand Studios. What was it like working with Tom in Clitheroe?

We did our debut album with Tom as well as a few other recordings. We are really used to how Tom works and he just makes the sessions really relaxed - without losing any work ethic.

He’s always forthcoming with ideas and advice on how the track should sound. We love working with him.

RED is the first new material since your album, Atomised, was released (earlier in the year). Can we expect any more material later this year?

Yeah.

We have just finished another single that we have done at The Nave Studios in Leeds with Andy Hawkins. We are really proud of this one: it sounds amazing.

We feel it’s one of the best things we have ever laid down.

It seems RED signifies a definite turning up of the wick. Do you think this is your most assertive and focused track? Do you feel more together and solid a duo since your earliest work?

Personally, I think RED is just a hint at what we have been working on. Our next album will definitely be a ramp-up from Atomised - I think we have learned a lot more about ourselves as musicians since the last album. 

With such a limited set-up, you really have to push yourself to keep things interesting.

PHOTO CREDIT: Gunnar Mallon

A lot of your songs deal with addiction, self-medication and thrill-seeking. Do you guys have any political anger inside? What has been your reaction to what has happened in London (Grenfell and the terrorist attacks) and Manchester (terrorist attack there)?

The level of corruption and deceit in this country makes me so angry and frustrated. People everywhere are dying just to line pockets. I truly hope we find out the truth about what happened at Grenfell - but I fear there will be a lot of effort going in to covering up the blatant disregard for people’s lives.

This government is a complete shower of sh*t that only work to serve themselves and their rich friends. Fu*king stinks!

What is the music vibe like in Manchester? Is it the perfect place to breed music of all varieties and shapes?

It’s absolutely class!

There is so much quality and variety. It seems to just get better every year. The amount of awesome bands in our rehearsal rooms alone is mind-blowing.

I hear bits of Deftones and Queens of the Stone Age in your music. Are there particular bands you take inspiration from when creating your music?

I, without a doubt, am influenced by Rock and Punk guitarists - I’m a sucker for a filthy riff. 

Warpaint have been on heavy rotation on my stereo for a long time now as well. You can hear bits creeping into our music every now and again.

I know Lorna’s influences range anywhere from cheesy Pop to Hip-Hop. If it has a sweet beat, she’s all over it.

Hyena2.jpg

Do you guys have much time to chill away from music? What do you like getting up to?

We spend a lot of time in the rehearsal room, which, basically eats up all of our spare time.

When I’m not playing music: I like to just get smashed with my friends and let off some steam.

 IN THIS PHOTO: False Advertising

Are there any new artists you recommend we check out?

Our good friends - and fellow Mancs - False Advertising and The Empty Page.

Also, Pearl Harts from London.

We love them bands

If you each had to select the album that means the most to you; which would they be and why?

It has to be White Pony by Deftones.

In my opinion, it’s a masterpiece. I still love it with the same amount of passion now as I did when I was fourteen.

The songs have all aged really well.

What advice would you give to any new artists starting out right now?

Practice and gig as much as possible - and don’t be a d*ck.

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

God Damn - Dead to Me

(I’ll choose for Lorna - Steve)  Warpaint - Undertow

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INTERVIEW: Sukh

INTERVIEW: 

 Sukh

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A doctor by day; pioneering musician by night…

sounds like the start of a should-be-on-the-silver-screen pitch. In actuality, it is the reality for Manchester-based Sukh - he is a sometimes-doctor and writes at all times but that is a bit clunky to fit into a single line! Since releasing his eponymous debut L.P. in 2013; the young musician has been busy bringing his Chamber-Folk and lupine vocals to the general populous. Thriving in a city as compelling and cosmopolitan as Manchester; he is making big strides and creating some of his finest-ever work. I ask him about the new track, Flight, and how important Manchester is to him.

I get an idea of the music that drives him and what his background is; what it was like working with John Simm (Cleft) and the Manchester String Quartet on his latest single and gig plans that lie ahead.

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

Hi, yeah.

It’s been a busy one. It’s been good.

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

Sure. I’m Sukh: a singer-songwriter - and sometimes a doctor - based here in Manchester.

Flight is your new single. What can you tell me about its story and origin?

Flight is a mix of old and new ideas. I had a few ideas for it. It started with the chorus and slowly developed from there. It’s a song about the transience of things both good and bad.

For the ending, I wanted to make the listener feel like they are flying.

 

John Simm (Cleft) and the Manchester String Quartet appear on the song. How did you come to meet them and what do they bring to the music?

I met John way back in a pub - after talking online for a bit - and he’s (just) an overall great musician to work with. I’ve worked with the Manchester String Quartet before and John Purton (another John) helped with the arrangements as well.

They are great to work with and deciphering the ideas I pursue.

It is taken from the forthcoming, Galactic Love Machine. I have to ask where that title comes from...

It was taken from the stars. Haha.

The true story about it is that my friend Rob came up with it when thinking of band names - and I liked it a bit too much.

What kind of themes and ideas do you look at in the album?

The themes in this album are quite simple and direct: love, acceptance; gratitude, and being a dreamer - to name a few.

Firstly, I had to decide on a sonic palate - and I wanted to create something earthy and, at times, a bit '80s. There’s quite a mix of different styles and genres on the album.

I’ll let you decide what they are.

Based in Manchester, you must be aware of how the city is changing. What is the music like there and how instrumental are the people there to your creative drive?

I love Manchester.

It’s a great place and it has a thriving city. It has introduced me to my band and to Fred - who co-produced this record. All of them shape the content in one way or the other.

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Some have compared (aspects of) your music to Coldplay. Is that a band you are inspired by? What kind of artists influences you?

My influences are broad.

Can’t say Coldplay is a direct influence. I liked their Rush of Blood to the Head era, I suppose.

Artists that influence me currently on an ever-changing list include The National, Jason Isbell; Sigur Rós, B.B. King; Alabama Shakes, Beach Boys and Phoenix.

Over the years, you have resided in other cities and tackled the open mic. scene. Was there any particular country/city that had a big effect on you – in terms of the people and music?

London and Manchester have both been instrumental.

I used to go to open mics nearly every day when I first started out in Manchester - and my time in London showed me there are so many talented musicians out there looking for their little piece of something.

Had some great nights there.

How important are authors like Tolstoy and psychologists such as Lyubomirsky? Does literature compel a lot of your music?

The psychologists influence me and Tolstoy was a master of people.

In some ways, the album is about following some of the evidence they lay out about what makes a man happy.

What kind of live dates do you have coming up? Any you are particularly looking forward to?

Kendal Calling is next week and really looking forward to it.

More to be announced soon...

After that, any plans for more music? What are you hoping to achieve over the next few months?

Gonna get the album out first and then we’ll talk more. But yes lots more coming. Still deciding whether to release another single first or whether to get the album out.

Stay tuned.

Are there any new artists you recommend we check out?

Most new artists aren’t new. Haha.

Some people that are worth a mention are people I have encountered on my circuit - including bands like Ivan Campo (extremely charming trio) and The Little Unsaid - who never ceases to amaze me with his musical prowess.

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

It’s impossible to choose...but here are a few:

Bob Dylan - Blood on the Tracks

I remember the first time I listened to it and I (just) thought it was perfect.

Sigur Rós- Takk…

Seeing them on their tour of Takk… was a phenomenal experience. I was a teenager (just) discovering music.

Laura Veirs - July Flame

I have a musical crush on her.

What advice would you give to any new artists starting out right now?

It’s a long road ahead of you - and make sure you’re doing it for the music and nothing else. It won’t pay at first and it means lots of work; not just musically but in terms of almost of being a business and an enterprise.

Be passionate and keep on keeping on. 

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

Tilted - Christine and the Queens

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