INTERVIEW: Alessandra Grace

INTERVIEW:

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 Alessandra Grace

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THE Italian-born artist Alessandra Grace is a Pop sensation…

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who has just released her first single, Something So Good. She talks to me about moving to London and the inspiration behind her new track; what it feels like having the song used by Vodafone Italia (for their #ConnectWithPride campaign) and whether she’d like to see it help promote other L.G.B.T.Q. events/festivals. There is an instant appeal to Alessandra Grace’s music: I ask the artists that helped foster that and when music first came into her life.

I get an insight into the forthcoming E.P., I Do It for Love and the themes addressed; working with producer MOZ; how important London is to the spirit and nature of her music – and, whether, there are any tour dates approaching. 

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

Hi. I am well.

it’s been an incredible week, thank you!

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

Hello, everyone.

I am a singer and songwriter - originally from Milan, Italy. I am proudly Italian - but I consider myself a world citizen.

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Something So Good is your debut single. What can you tell me about the song and the idea behind it?

It all started with a White Party on 4th of July - where I fell for the only guy wearing all black. I think it’s happened to us all: that one person you want says they don’t want anything serious…yet, the feelings are there; together you are amazing and you both know you’ve got something special.

Someone once told me that the songs we love are the ones that tell us what we are afraid to say out loud…I had to write this song.

The next day, I met MOZ: what an incredible writer and producer. I heard a track he was working on at the time (yet-to-be-released) called We Own the World - and I immediately set up a session to work with him. I had a song to write: one that would have to connect on a first listen: catchy, mid-up-tempo; direct and to-the-point. MOZ and I immediately clicked and we wrote Something So Good in (just) a few hours. It was our first track together and we have been working together ever since.

That’s what this song is about. It’s about capturing the love that’s in front of you without any fear: if you have the luck to find something so good; don’t let it go.

It has already caught the ear of Vodafone Italia. What was it like hearing the news Something So Good was being used for their #ConnectWithPride campaign?

It was absolutely amazing.

The best feeling in the world is to know that your song is being used for a great cause - that you believe in and support.

The song has a buzz and ability to connect the community. Do you hope Pride festivals in Brighton and London use the song in the same way?

Absolutely. It would be such an honor.

I Do It for Love is the forthcoming E.P. What stories and events inspired the songs? How much of your own experiences are included?

Everything I write is personal and the E.P. title is about the struggle of pursuing your passion: it’s about putting up a fight for what and whom you love.

Each single addresses a different aspect of love: romantic love; love towards our family and close friends and, finally, love towards ourselves. I Do It for Love is dedicated to each and every one of us.

It is an anthem of love; of believing in yourself and in never giving up.

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You were born in Italy but moved to L.A. What were the biggest changes you noticed when moving to the U.S.?

I lived in the U.S. for many years...

At first, when I was a kid. It is very different living in Europe and in the U.S.  

L.A. was a very positive surprise for me as an artist - because I had the luck of meeting incredible writers, managers and producers to work with who believed in me and in my music. You’re immersed in this parallel world where everyone around you is a creative and is going after their dreams (with all the ups and downs this entails).

How did music come into your life early? Which artists inspired you to take up music?

I started playing the piano when I was five. I loved the romantics: Chopin, Schubert and Beethoven. The emotion I felt when playing music became that one thing that I took with me through all journeys - all of the moves to different countries; through all the ups and downs of life.

It was at twelve that I realized I could write my own songs…and I never stopped.

So many artists have inspired me in different ways: the power and presence of Whitney Houston and Etta James; the timeless songs of Oasis and Coldplay; the strength of melodies of piano-led ballads by Elton John; many Italian artists I grew up with such as Antonello Venditti, Laura Pausini; Giorgia, Mina - and then; truly listening to as much music as I possibly could.

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Now in London; how important is the scene here? Do you travel a lot promoting your music or are you more focused here?

I still travel quite a bit between London, L.A. and Milan - but I absolutely love London and the music scene here.

It is so vibrant and varied that I am trying to stay here as much as I can - to perform live and to promote my music.

I believe you have a Classical background. How much of this, and the disciplines you learned, go into your music? Do you take more influence from the likes of Hip-Hop and Pop?

I think it has been such a big influence on my music and in the way I write Pop today.

It has made me a more emotional writer and I believe everything we hear, in some way, becomes a part of us and can influence our work. I always try to listen to new music, though, when I hear a song I love.

I play to it over and over a million times before I can jump to the next!

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Any dates in the diary? Can we see you perform anytime soon?

I will be announcing fall dates next week on my website, socials and newsletter!

I hope to see you at one of my gigs!

What are your plans for the rest of the year? Any ambitions in regards collaborating with other artists - or releasing new material?

I am currently planning the next few single releases - I cannot wait to share more of my music!

I am, also, about to start producing an album I started working on earlier this year - to be released after the E.P - definitely, some cool collaborations are coming up next!

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IN THIS PHOTO: Picture This

Who are new acts you recommend we check out?

Picture This (Everything I Need) and Kevin Ross.

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IN THIS PHOTO: Kevin Ross

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

Such a hard choice…

I am positive I could change my mind a million times - but here are three of my favorites:

At Last by Etta James

I love every track: it’s a collection of some of my all-time favorite songs.

Anything Whitney Houston - so let me pick the Greatest Hits album

Because I absolutely love every single tune - and I Have Nothing is, probably, one of my favorite songs ever.

Norah Jones: Come Away with Me

It takes me to this beautiful dimension: soft, romantic; the sound of the piano…I love it.

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

Always be yourself: accept advice and criticism but never lose your essence, your message and the meaning to what you do.

Create a world of music we can enter and explore: don’t try to fit into someone else’s.

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).

Amazing.

Then…I’d like to choose a track that I discovered through you…

Someone by Anna of the North

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INTERVIEW: HVMM

INTERVIEW:

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 HVMM

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I am not sure I have ever put the words ‘Worcester’ together with…

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‘Rage Against the Machine’ but, in the case of HVMM, there is a natural link – Worcester is where they based and, take one sip of their confident swagger, and one is reminded of the U.S. giants. There is theatricality; a sense of the subversive and stylish about the group: contrasted by a rawness and directedness that few possess. I talk to the guys about their double A-side, Beggars and Thieves/Going Postal; how the band came together and what their E.P., Talk to Me Like I’m Dead, is all about.

They tell me about the L.A. label, ILA; a pub scuffle and certain girl; what tour dates they have coming up and the music that is important to them – in terms of their favourite albums/songs and a new artist we need to observant of.

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

Yeah. Good, thanks.

It's Monday but, so far, so good...

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

Andy - Vocals

Ebony - Guitars

Jack - Bass

Sam - Drums

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Tell me about the video for Beggars and Thieves. What was it like shooting that?

It was hard work - but a lotta fun.

We did everything ourselves - which was a first in this area. A lot of good people helped us out on this one. It is the character, in both location and people, that really make the video what it is (if that’s anything?).

It’s down to the kind nature of these people.

Can you explain the origins and the song and what inspired it?

Well, lyrically, it’s completely fabricated - no form of reality - which is what inspired it - another song about ‘a girl’ just wasn't cutting the mustard…

Going Postal is the other half of that double A-side release. What was the reason for releasing a double A-side and do you think more bands should?

We were in a position where we could put two songs out (rather than one) - which seemed to feel right at the time - as we had video ideas that linked the two songs.

It's hardly cutting-edge but it was different to what we had done before! 

It is taken from the forthcoming E.P., Talk to Me Like I’m Dead. How did the songs come together for the E.P. and what was inspiring the songwriting around that time?

Going Postal has been around for a while - but the rest of the songs were written for the occasion.

What inspired this? The pressure of a recording date and not being happy with our selection of songs at the time.

Take me back to the beginning and how the band came together. How long have you guys been playing?

We met at a house-party a good few years back...

We were all playing in different bands at the time. We have all been playing for a very long time but, as a collective, I think it’s around a-year-and-a-half now.

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Is it true a pub scuffle played a role?! How did you go from that to forming a band?!

That is true, yes.

Well…the pub scuffle was over a woman. She soon after left town - so problem solved!

HVMM are the first British band signed to L.A. label, ILA. How did that feel and what is it like being signed to the label? Do you have a lot of artistic freedom?

Yeah; it was cool!

We do yes: they’re a great bunch to work with!

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Worcester is where you are from - it doesn’t seem like a Mecca for exceptional music! Is there a big scene where you are?!

There is definitely some great bands around by us...

The Worcester Music Festival is coming up and that’s probably the biggest thing we have as far as a scene goes.

Your sound recalls the likes of Rage Against the Machine and Jack White. Are these the kind of artists you grew up listening to?

They certainly are! 

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What tour dates have you got coming up? Where can we see you play?

We have our E.P. Launch this Saturday (2nd Sept) at The Marrs Bar, Worcester, followed by an in-store show at the local record store, Rise (the next day at 1 P.M.)

After that; Hackney Wonderland in October – and, then, our first London headline show on 22nd November at The Seabright Arms. 

Can you explain what life is like on the road? How much of a buzz do you get bringing your music to the people?

We love playing live: spending hours in-transit...not so much.

It's always worth it, though.

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Who are new acts you recommend we check out?

Enjoying The Cracked Actors very much at the moment.

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

Jack: Kate Bush - Hounds Of Love

Because it's the first record that made me realise an album doesn't have to be just a collection of songs.

Ebony: Cream - Fresh Cream

I have many albums that mean a lot to me - for different reasons. This was the first that took me past just listening.

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Andy: Led Zeppelin - Led Zeppelin I

So many reasons for this…

It was the first time I woke up to great songwriting, musicianship; structure, tone…I could go on...

Sam: MC5 - Back in the USA

Tutti Frutti - say no more.

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

I don't think we are in a position to give advice on that subject.

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).

PJ Harvey – Down by the Water

Black Sabbath – Supernaught

Hozier - To Be Alone

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INTERVIEW: Me for Queen

INTERVIEW:

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 Me for Queen

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AFTER growing up on a mixture of sounds…

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and studying Classical music – not to mention, a Blues-guitarist father – it is not surprising seeing Me for Queen instil and combine so many different aspects and elements into her music. The moniker of Mary Erskine; Me for Queen is the result of a bright and passionate young artist who grew up in a rural part of Scotland by the sea – making music as a way of dodging the washing-up!

I speak to Me for Queen about being compared with Regina Spektor; the story behind the new track, Jessica, and how it differs from her previous track, Slow Train. She talks about the albums and artists that have impacted her most; the role music has played in her life – and what gig plans are afoot.

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

I am in the middle of touring – so, it’s busy but good fun.

Today, I left the house at 5 A.M. for a video-shoot - after driving 450 miles yesterday.

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

I sing songs under the name, Me for Queen.

I would say they could, roughly, be described as piano-led (sometimes) Soul-Folk (songs).

Can you tell me about that moniker, 'Me for Queen'? Where did that come from?!

Very sorry to disappoint… but I just liked the sound of it when it popped into my head, one day.

Jessica is the new single. What can you tell me about its creation and meaning?

Yes!

it's the first song I have ever written and recorded on the guitar. It's, also, probably the song that has taken me the longest to write in terms of brain-time…and editing.

It was inspired by a conversation with the mother of a good friend. It happened around the same time that I was questioning/mulling over the idea of what the role of an artist is…“Am I allowed to be an artist? Is it/am I "useful" enough?" and so, in some way, this song took on a bigger role in mind - almost becoming an anthem to motivate me through/celebrate me starting to find my way out of that mental wobble.

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It follows from your previous track, Slow Train. Have you been buoyed by the positive reaction to that song and the E.P., Who I Am & What I’m For?

Slow Train felt like the beginning of a new chapter...

It came out so simple as an idea; I tried to fiddle with it thinking, surely, I can’t just have a song with only three chords in it…then, realised, I just needed to back off and leave it alone! It feels assured and at-one-with-itself, which is funny, because it sort of foretold the next six months.

I love how a lyric can just present itself to you at first, without you knowing where it has come from…before some sort of further meaning reveals itself to you much later on; a year, or sometimes longer, further, down the line.

Big Magic is out there!

The likes of Tom Robinson (BBC Radio 6 Music) have backed your music. How important is that kind of support to your confidence and motivation levels?

Really great.

Everyone needs a quote from a famous person. Haha. I’d love to get him down to a gig, one day.

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PHOTO CREDIT: Ângelo Valente

Tell me how you got into music. I believe classical training and a Blues guitarist father had an influence?

Yup.

I started learning piano by the Suzuki method (by ear) when I was very young. I was a proper little Classical buff and got very into practising and playing concerts - and just adored my piano teacher. She was like a second granny.

We listened to a lot of Scottish traditional stuff too (at home) like dancing music. I still know ALL of the Hits from the '60s cassette we listened to most days on the ride home from school.

Then, Dad would have Muddy Waters blasting out one evening; Eric Clapton the next..a delicious and nutritious cocktail.

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What was it about music that appealed to you? Can you put, into words, what it means and how it makes you feel?

To be totally honest; I realised, fairly early on, that music practice was my passport to getting out of the washing up. I’m the youngest of five and you’re always trying to find that way to be heard! So, I suppose it was inevitable.

I just caught the music bug thing quite early on. I loved playing fast and loud! I still do. I have good muscle memory and I learn very quickly and I soon realised that if I just practiced every day, I could get through a LOT of music! Then, I started noodling more with my own things; writing my own songs - around the age of twelve - but was too shy to sing in front of anyone for about another ten years after that.

Music is a language: simple as that. Anything you can just go into the zone with and lose yourself for a while…you want to hold onto that. If you can make a living from it, all the better.

From a songwriting perspective, there are very few things I love more about being alive than getting that little glimpse or flash of lightning - where you know a song is starting to cook and an idea that’s been knocking around in your head for months suddenly finds a shape or a voice.

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Was it quite easy and natural forging that rich and unique sound? Did it take a lot of experiment?

I don’t know.

I still feel like I have a way to go, but the E.P. felt like a good jumping-off-point.  It’s funny. I had this whole anxiety around the piano that it wasn’t right/that I didn’t like the sound of my playing/that piano was going to push it in one direction/make everything sound the same…

James Yorkston, a songwriter whose work I really admire, said, at some point along the way: “Write some more good songs. Make them so fuck*ng good that you only need you and a piano for them to shine. Everything else will fall into place.”

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PHOTO CREDIT: Carl Osbourn Photography

So; I started trying to just dig in and really focus on the piano and see what I could get out of it - making it more of the focal point. Then, it was just working with my friends, who also happen to be brilliant musicians, bringing along their own respective magic touch into the studio. Sam Johnson, who I met just before Iron Horse, has played a huge part - apart from, literally, playing on the record (beautiful, dreamy space-guitar) but, also, in encouraging me to think more about production.

He’s so fun to work with and is always up for running with whatever idea you throw at him.

You have drawn comparisons to Regina Spektor and Laura Marling. Who are the artists that have inspired you the most?

From age sixteen-eighteen; I was obsessed with Jeff Buckley. Then, Björk (to that when I was at uni) - as well as Parliament, Funkadelic and Can!

Then; Beth Orton, and more recently, Judee Sill.

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You are heading out on your fourth tour of the year. Where will you be visiting?

All over the place!

I just got back from the Scottish-leg – we played some of my favourite shows yet! Mull was just a delight - and it was very special to play my very first ‘hometown’ gig in Crail with a full band - where my dad opened up with a few songs! 

Is it hard finding the energy to keep going on the road or is it a place that calls to you?

No. I absolutely love touring.

I didn’t really get how it worked before, but then, I worked it out and that’s, presumably, why I’ve ended up doing four in a year!

I have to be strict now and get this album done before I go out again…

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PHOTO CREDIT: Allman Brown

Who are new acts you recommend we check out?

He’s hardly new, but I’m doing some shows with Allman Brown (on keys) in October.

JAEVA and Lloyd Jerwood are both joining me at my next London show – so, I’m looking forward to checking them out.

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IN THIS PHOTO: Lloyd Jerwood

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

Björk - Post

I find it hard to pick my favourite album of hers – but, I discovered Post and it, somehow, just grabbed me when I was living in Paris - and I became quickly obsessed. I remember feeling so astonished and inspired that all of that could come from one human brain.

The scale of a song like Isobel or All the Modern Things; the imagination, those arrangements…it reminds me of a time where I was a student living in Paris and the world felt enormous and exciting - and ready to be devoured.

Jeff Buckley - Grace

It (just) woke up my teenage angst! I think my brother got me onto him. I listened to it, pretty much solidly, for a good two years. I could never pick a favourite song from it.

Lauryn Hill - The Miseducation of Lauryn Hill.

Again, in terms of albums I have listened to so many times that they have crawled under my skin and stayed with me, this has to be in there, too. It’s a brilliant, timeless album. Even if she did say, at some point, she didn’t write it for white people…but, fair enough…

…this and Jill Scott, Aaliyah; TLC…I felt like I was finding my own way while friends were listening to Britpop/guitar stuff. I (just) loved that silkier, soulful thing with assured, confident female voices.

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

No idea!

I have hardly ‘come through’ myself. Have I? Perhaps I have crawled through the hedge; stung myself on some nettles - but can at least see through to the clearing; while they are still in the back garden?!

Play better. Write better. Try and find something that feels authentic to you. Don’t look for any sense of logic in the workings of your industry.

Work hard and don’t expect anything.

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).

Prefab Sprout - When Love Breaks Down

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INTERVIEW: HOPE

INTERVIEW:

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PHOTO CREDIT: Riccardo Bernardi 

HOPE

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I am spending a lot of my time in Germany…

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PHOTO CREDIT: Riccardo Bernardi

it appears – and with good reason. There are some great artists playing in the country that, between them, are doing something very different and exciting. HOPE are a fascinating and enigmatic band whose music, right now, is part of their ‘dark phase’. I ask the guys about the new track, Kingdom, and how they all got together; what we can expect from the approaching eponymous album – and the artists that have connected hardest with them.

HOPE talk to me about the music scene around the Berlin area and how much of their music is based in symbolism; whether they are coming to the U.K. and what lies ahead for the band.

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

Thank you; very good.

This week has been (a lot) about getting going - talking to our agent about the release tour; to our label about spreading the word. After being busy with the making of the record for such a long time; this outlook (on carrying it) into the world is pretty exciting and fresh.

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

We are HOPE, from Berlin.

Christine Börsch-Supan: Vocals; Phillip Staffa: Guitar; Martin Knorz: Synths; Fabian Hönes: Drums. We named and formed Hope in 2014 - after five years of playing together.

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Tell me about your new track, Kingdom. What does the song represent and was there a specific influence behind it?

It talks about an absurd struggle...

A struggle between super-elevation and submission: hardness and discipline versus powerlessness. There is a lot of energy in that struggle. When we wrote the song, we wanted to make that energy palpable.

We felt like writing a song that is physical and powerful - allowing this anxiety – but, also, allowing the power and freedom when you let your energy go wild.

What was it like filming the video? Is there symbolism in the piece or was it inspired by any particular filmmaker?

We filmed the video in a huge subterranean hall, a former cooling area of a Malthouse, for ten hours straight - temperature round about freezing-point. Super-imposing and super-raw at the same time; emphasising these aspects of the song even more than we had thought before the shoot.

For us, it's not about symbolism but about finding a visual metaphor for what the song expresses - and playing with its extremes. 

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PHOTO CREDIT: Oliver Beige

I know HOPE are in their ‘dark phase’. Everything is draped in that blackness. Is there an emotional catalyst for this decision?

Strangely enough, after we decided to name the band HOPE, the music subsequently became darker and darker.

I understood that ‘hope’ has everything to do with acknowledging darkness; your own darknesses. The word itself already implies a struggle…and a path; the path of going towards light. As I mentioned before, there is a lot of energy in struggle; a lot of vividness and power. Liberating this energy and power is definitely a catalyst for us.

There is a self-titled album arriving. Given the band’s name; it seems like it is an ironic title! Would it be fair to see there is quite a lot of intensity on the record?

In my understanding of hope, it's not irony - but the only consequent thing to do.

For sure, this involves intensity and I think intensity is what each one of us is looking for in making music. It's also a lot about making the music physical: throwing your whole self; your whole body into it. The non-existence of intensity never worked for us in music – we dropped all songs that turned out to be only scratching the surface.

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PHOTO CREDIT: Sascha Krautz

What can you reveal about the songs and themes that will be covered on the album?

I think each of the songs is a world in its own: going from very fragile to very brachial.

The album deals with this exact ambiguity; an ambiguity which I think lies within every human being - and is the struggle of every human being. At the core, we all are brutal and loving; we want to be touched and refuse to be touched - are loud, quiet; full of despair and hope at the same time.

How did HOPE get together? Where about in Germany are you based?

We met in the Bavarian provinces – studying Jazz music. After Conservatory, we settled in Berlin and Leipzig.

What is the music scene like where you are? Is it quite active and diverse?

I thoroughly love Berlin.

It’s a great place to be - to be yourself, especially; to live; to make music. Of course, the city is buzzing with stuff and music from all kind of scenes - genres and places all over the world. We don’t really consider us part of a particular scene, though, and I couldn’t say that Berlin, or the music scene here, itself had a direct impact on our music.

But, it had (impact) on our lives and our minds, for sure – and so it has an impact, in the end again, on our art.

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IN THIS PHOTO: Sascha Krautz

Is it quite difficult bringing your music to the stage? What do you change between the studio and the stage – or it is quite a natural transition?

Basically; we don't change anything between studio and stage.

We recorded the album live because it felt like the most natural thing to do. We always defined ourselves by playing together: craving that moment of making music. Actually, the recording process and working with Olaf Opal, pushed us and the music even further - and made us realise what the songs demand.

This, again, bounced back on our live playing afterward – I think we play way more free, daring and resourceful since recording the album.

Are there any particular bands or artists that have inspired your sound/direction?

We do obsessively listen to Busta Rhymes in the band van at the moment...

But, on the larger scale, each of us has his/her very own musical histories and influences. Some, we share - Jazz, obviously but also Hip-Hop, Techno; Classical music - some we introduced to each other.

We adore Marina Abramovic, Sleaford Mods and John Cage alike for doing their art. I think all of these strands are within us and have influenced the music – (sort of) a pool of experiences to draw from.

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PHOTO CREDIT: Dominik Wagner 

Do you have any tour dates planned? Any intentions on coming to the U.K.?

We will be touring the Baltic states and Poland in October, and then, a longer run through Germany and Europe when the album is released.

Yes; we are definitely hoping to come to the U.K. along the way.

Who are new acts you recommend we check out?

Check out Gewalt (from Berlin) - very thick, very brute.

Friends of Gas (from Munich) are seriously great.

Also; check out White Wine (from Leipzig).

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IN THIS PHOTO: Freinds of Gas

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

At the moment, for me: Bon Iver - For Emma, Forever Ago

Makes me cry and makes me fly. 

The Jimi Hendrix Experience - Electric Ladyland

It opened Phillip’s eyes and ears quite some years ago to the unrestricted and raw powers of music.

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PHOTO CREDIT: Dominik Wagner

In the same sense; Fabian absorbed Tool - Ænima

Martin would choose ArvoPärt – Fratres - for its minimalistic reduction to the essential. But Pärt, at the same time, creates music that is touching and reaches out to you.

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

Be true to yourself. Do something unique. Commit yourself.

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).

Bon Iver - The Wolves (Act I & II)

Sleaford Mods - I Can Tell

Arvo Pärt – Fratres

Gewalt – So geht die Geschichte

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INTERVIEW: Adore Delano

INTERVIEW:

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 Adore Delano

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IT is understandable one would get some snappy answers and cheeky chat…

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from Adore Delano. In an unexpected and refreshing side-step for my blog; I chat to the U.S. drag artist/songwriter - who has won legions of fans because of her success on American Idol and appearances on RuPaul’s Drag Race. She gives me an insight into coming-out – how ‘Danny Noriega’ became ‘Adore Delano’ – and whether there was a lack of understanding and acceptance.

I find out about an intriguing and fascinating soul whose music has elements of legends like Marilyn Manson within – although, as I find out in the interview, Adore Delano is keen to forge her own identity. She discusses the single, Negative Nancy and the album, Whatever.

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

It's been chill so far. Just got back from Vegas.

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

'Sup; I'm Adore.

Many might know you as a semi-finalist from Season Seven of American Idol. What has the attention been like since you appeared on that show?

It's been chill.

I mean; it's ten years later: cancelled, then picked back up - and we still talk about it; so I say, “slay”!

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RuPaul’s Drag Race was another show you were in. What was it like appearing on that and what is RuPaul like?

It launched my career, man – so, obviously, it was awesome.

Ru is cool-as-f*ck: she gives the best advice.

When did ‘Danny Noriega’ become ‘Adore Delano’? Was it - apologies if you get asked this a lot - when you were coming out and revealing your sexuality to the world? 

Nah.

I came out at twelve and started performing as ‘Adore’ when I was twenty-one.

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Do you think there is discrimination in music when it comes to gay artists? Have you felt any discrimination because of your sexuality?

I came out of my mom being discriminated, so it's almost like birds chirping now. You just don't notice sometimes.

We've got a lot of amazing L.G.B.T.Q. artists out there, though.

Does being a drag artist give you a sense of freedom and identity? What is it like being Adore Delano?

Definitely.

I can get away with more sh*t when I'm ‘hot’.

 

I want to know about your music. The single, Negative Nancy, is one of your new ones. Can you tell me a bit about the song?

It's loud, fun and raw: I wanted to scare the peeps.

It is from the new album, Whatever. What were the events and stories that went into the album? Was it a hard record to make, emotionally, would you say?

It's never hard for me to tap into my emotions...so not really. I have a manic brain and I can write pretty quickly.

People might look at you and think “She’s going to sing Pop and be quite boring”, perhaps. You do, in actuality, create a sound that has embers of Marilyn Manson. Was it hard making the kind of music you want – and not what, in a way, other people wanted you to perform?

First off, thank you for that, so much.

But, I must say I get scared being a little queer from Azusa - when being compared to a legend.

It's definitely liberating to perform these songs, now.

 

I guess, intrinsically, the message you promote is: be yourself and do not live a lie. This extends beyond image and sexuality. How important is it for people to connect and understand the importance of that mantra?

It's…“Whatever”.

I want them to really just be themselves: stop following your favorite artist; stop listening to T.V. Be ‘you’, for sure.

Can you reveal the kind of music you grew up listening to? What kind of artists did you respond to as a child? Have those tastes changed now you are older?

I listen to the same sh*t, really.

I LOVE POP MUSIC. I really do. It's shaped me as the person I am today. I love listening to Manson a lot, though.

His album, The Pale Emperor, was so good.

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What does the rest of the year hold for you? Is there already more music brewing in your mind?

Absolutely insane. I'm already writing new sh*t.

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

Check them out, here: www.adoredelano.com

Who are new acts you recommend we check out?

Cher in Vegas! L.o.L.

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

Britney Spears - ...Baby One More Time

Marilyn Manson - Mechanical Animals 

Amy Winehouse - Back to Black

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

Stay humble and always text your mother back. 

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). 

Nirvana - Aneurysm

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INTERVIEW: Sam Way

INTERVIEW:

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 Sam Way

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THE video for his new single, Share Your Stone, sees…

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Sam Way handing out flowers to Londoners – an experience, as he explains, that was met with a combination of smiles and confusion. I talk to the model-turned-songwriter about the song and what compelled it. He discusses his week and how his forthcoming mini-album, Archetype, is coming along. Way provides access to his creative process and the people he has been working with; the music that has inspired him the most and how he has evolved as an artist.

I ask whether it was easy to transition from modelling into songwriting – and whether he gets recognised a lot – and what message he would give his legions of adoring fans.

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

Hello. I’m good, cheers.

Well….this week, I’ll be in the studio for pretty much all of it.

On Monday, I swear we were recording ‘shakers’ on one of the tracks (on the new album) for three hours. It was depressingly slow progress.

Tuesday was a random one: I ended up partying in a small room with thirty other young creatives - as a ‘director' (he was a very loud man) shouted over the music - as he instructed, not only us - the unsuspecting cast of misfits that we were - but also a cameraman to create what must have looked like the best house-party of the year.

Wednesday; I was suitably hung-over and back in the studio, but my cellist was taking the reins that day - and has really brought some beautiful lines to the track. It’s starting to sound pretty exciting...

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

My name is Sam Way. I’m a singer-songwriter, hailing from Devon (why did that feel like I was standing up at an A.A. meeting…L.o.L.).  I like ninjas and dragons - in equal measure - I play the guitar and piano - and am just about to release my new mini-album, Archetype.

Share Your Stone, your new single, is getting a lot of praise. What was the inspiration behind that song?

I’m so happy that Share you Stone is moving people and I was overjoyed that Clash premiered the music video.

It’s a deeply personal song about loss and solidarity in the face of pain. I won’t go into it specifically (anymore) but I’m sure, if you hear the song and listen to the lyrics, you’ll get it and you’ll relate. 

Its video sees you walking around some of East London’s most noticeable sites spreading the love. What was the shoot like and did you enjoy working with Andrew Richardson on it?

Andy is a rising star and a friend of mine - which is a bonus.

He was great to work with and I’m so happy with how the video turned out. It was a gruelling process in a way: I was so done with giving out flowers at the end of the day!

In the video, you see loads of people being open and receptive - but I’m sure you could have watched even much more footage of me being refused!

That’s just Londoners for you: we think everything comes with a catch. 

The song follows Pretty Liability and your earlier E.P., Architect. Would you say you have matured and evolved as a songwriter since those releases?

The evolution is constant, I’d say - but not linear.

I also (just) find it interesting to work with other people and see what they bring out of you. I look back and smirk at my older recordings - though, I stand by them totally, too.

I feel like the best is yet to come...

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Archetype is your forthcoming mini-album. What kind of themes and subjects do you address throughout?

They are a collection of stories - some of the ‘archetypes’ that exist in me and, I believe; in others, too. Relationships and conflict are always up there for me, as the things that inspire my words - and that is reflected heavily in the release. 

Is there a standout song/moment that, in your mind, defines the album?

The last chorus of Half a Heart – pretty much nails it as a moment for me – as it’s maybe the most honest, saddest; most-conflicted instance of the album. 

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What was the recording experience like? What was it like working in the studio and seeing the music take shape? Tell me a bit about, in addition, some of the producers and people that helped bring it to life?

Cherif Hashizume was the principal producer of the record, with composer and producer Edward Abela producing one the other tracks on the release. We had Sam Thomas on drums; a four-piece string quartet; Sam Vickary (from The Cinematic Orchestra) on the double bass. It was such a joy to work with all this outstanding talent and seeing the record being brought together.

It’s always a process: sometimes it’s great; sometimes it’s challenging. I’m just happy we got there in the end.

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I know a lot of the songs came together throughout last year. What was going on at the time that compelled prolific songwriting? Does the album mix personal insight and reflections on the human condition?

Songwriting is so much a part of my process; my emotional sounding-board – I know what was happening for me – but, I guess, it’s up to anyone that listens to the release to see if it echoes in their hearts...I feel they will.

So much of my heart is in this record.  

Many might recognise you from modelling campaigns. What was the reasoning behind coming from modelling to a life in music? Do imagery and the aesthetic play a big role in your current endeavours?

I have been known, yes, and the relationship is totally linked...

Without a career that, effectively gave me the time and the ammunition to start writing, my music and songwriting would have never been able to develop. It would be fair to say that, since a late-teens imagery and aesthetic have had such an overemphasis in my life, image was so tied to my sense of worth and success.

As I’ve grown up, I’ve moved into myself more; developed something that feeds my soul. I’m really happy and I think it’s important that my music can stand up on its own. 

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You have a large following on social media. How important is the love of the fans and what message would you give them?

I fuck*ng love my crazy fans!

What tour dates do you have approaching? Where can we come and see you play?

I’m supporting Ships have Sailed on their London date in October - and have a few other private and charity dates in late-September (around the release). 

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IN THIS PHOTO: Anna Pancaldi

Who are new acts you recommend we check out?

My bezzie and fellow singer-songwriter, Anna Pancaldi. Her voice will melt you into bits.

Phoria. They are rocking my world with some of the most beautiful songs I’ve ever heard. 

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IN THIS PHOTO: Phoria

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

The Prodigy: Fat of the Land

I grew up devising weird theatre and drinking cider (underage at the Rugby club) listening to this. 

Fat Freddy’s Drop – Based on a True Story

For me, this is their seminal album…and the album I like to make love too… (*awkward grin*). 

Ludovico Einaudi – In a Time Lapse

Just incredible compositions from this genius. When I first listened to this, I think I had nothing else on in my headphones – and was at home for a solid two weeks.  I find this album an insight and an inspiration - whenever I hear it. 

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

Just do it - and keep on doing it. 

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).

Phoria – Saving Us a Riot

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INTERVIEW: The Girl Folder

INTERVIEW:

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 The Girl Folder

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IT has been a fair while since I featured…

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an Australian band on my blog. The New South Wales clan, The Girl Folder, talk to me about their new single, One More into the Night, and the story behind that. Given the fact their singer is from England – I ask how the band got together and whether it was an instant bond. The guys, Matthew especially, discuss their work and the sort of artists/sounds that influence them.

I wonder whether there is a big scene where they are and, whether, we can catch them in the U.K. anytime soon. I ask The Girl Folder about the artists they all grew up with and whether they get any downtime - to chill in the surf and sand of their homeland…

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

Hectic but enjoyable. Lots of interviews and live radio sessions.

Plus; rehearsals for upcoming gigs.

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

We are a five-piece Indie-Rock band from N.S.W., Australia.

Matthew, the lead singer, is from England, originally - and relocated a few years back.

Scott Clayborough is on Lead Guitar and Backing Vox; Adam Gathercole on Drums; Dave Evans on Guitar and Keys; Dan Cordrey on Bass.

Can you tell me how the name, ‘The Girl Folder’, came about?

Matthew: Literally…folding girls!

My young daughter and I had a game where she would lie on my lap - and I had to try to fold her in half. A game of strength and endurance! Haha. Anyway...after a while, she started calling me ‘The Girl Folder’.

It sort of suited the feel of the band in a really strange way.

Tell me about the single, Once More into the Night. What is the song about and how did it come together?

We have two processes for writing.

One is where Matthew writes and records the track and brings it to rehearsal - where we thrash it out. The other (in the case of Once More into the Night); Dave had the music and gave it to Matthew to work on the vocal line.

Dave: Once More into the Night has some Dave Gilmour-inspired chord-phrasings - but played, rhythmically, in a way that Icelandic band Agent Fresco might do. However, the greatest part of this songwriting process was giving this idea to the rest of the band with no context - and seeing where they took it.

Hearing their own X + Y = ? influences and interpretations - that’s what makes it less of a formula and more of a collective art work.

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Matthew: As soon as I heard the music for Once More', I literally dropped everything and started work on the vocals. It consumed me for a week or so. I loved the uplifting epic feel to it and wanted the vocals to match. The song has two defined parts but the feel is similar. I felt it was my job to marry the two together.

I didn’t want it to get too above itself until the last passage - where the music allows me to push a little harder. I’m pleased with the result.

I’ve always had a fascination with the night - otherworldly things and undercover acts coming to life when most people sleep. Films like Eyes Wide Shut and After Hours, especially, convey this for me. I tried to couple this with a failed relationship: trying to play it straight for a partner and failing; knowing that normality isn’t for you.

Hence, Once More into the Night: back to the shadows where you feel at home.

There is a video for the song as well. What was it like filming that?

Yes. This is the first film clip that features the entire band.

It’s our third clip, filmed at Sawtooth Studios, Newcastle. The song has so much life and energy - we wanted to put that on the screen, so made the decision to film the band performing the song. It’s always an enjoyable experience creating film clips. Usually, we spend months planning and storyboarding it. The actual filming and editing seems to be the easy part. The planning takes the time.

I’m sure, after our tenth film, we might be a little jaded… but, at the moment, we love it!

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Newcastle is the band’s base. Is there a good music vibe there? What is the local scene like?

Really good and always growing.

The venues there are always willing to give new bands a go. There are so many new bands: it makes going out really interesting. Also, playing is great, as we get to hear a couple of new bands play. We can honestly say we have not played with a band we have disliked. Alt-Blues is popular in Newy but there’s also a cool Indie scene (which we love).

There’s, also, little festivals popping up all over the place which we have been lucky to play a few. It’s a good city – plus, bar prices don’t cost the earth.

Priorities…

Was it easy getting the band together? How did you all find one another?

Matthew: Not at all.

I relocated from the U.K. and it took a while to get to know likeminded musicians. People mean well but, sometimes, it’s not always the right fit. Initially, in Forster N.S.W., I started on open mic. night to meet musicians. It was there that I met with Scott - who came along to play and sing. From that point, it sort of snowballed.

I first saw Dave when, for some reason, he popped up in my Facebook feed. He did (and still does) occasionally post a ‘guess the song’ - where he would play a fairly obscure riff. I can’t remember the song but the style and sound really impressed me. I said ‘hi’ and sent him a link to our first single, Call a Halt. Luckily, for us, he jumped on board.

After a couple of changes; we met up with Adam and Dan (the rhythm section). They knew each other but had never played in a band together. 

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 It seems like you all grew up with a wide array of artists. Who are the groups and acts you all fell for growing up?

For me, growing up in the U.K, I was that kid dressed in black; writing lyrics in my room - and my music reflected that.

I listened to The Cure, Pixies; Ride, plus, other not-so-miserable stuff such as Guns N' Roses, The Rolling Stones; The Beatles, Prince…

The rest of the band was listening to Led Zeppelin, AC/DC; Sigur Rós, Red Hot Chili Peppers; Silverchair.

Very eclectic!

How important is melody when it comes to your music? It seems like an ethos and philosophy you all live by…

Yeah; It's an unwritten rule.

I mean, we have sections where there are huge waves of sound - but the vocal melody is still there. Growing up listening to The Beatles - which is like an institution in the U.K. - ingrains their melody and approach into a lot of bands; just reinforces the whole melody thing. We always try to write every track like it’s a single.

We don’t always succeed and those tracks will still make it onto the album.

Melody is what the majority of people gravitate towards when listening to music. But, we try to avoid clichés wherever possible - musically, lyrically and melodically.

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What comes next for you chaps? Is there an album or E.P. in the works?

Well. We’re not done with singles just yet...

We are three singles in but, literally, have at least another five potential singles. The issue is that we are quite prolific: we recorded fourteen songs. During that recording period, we wrote another three, so, we recorded those (also). Then, another two arrived!

I’m pretty keen on the very latest song, Our List of Demands: a politically-motivated, call-to-arms – but, it’s always that way with songs. The very last you wrote is generally your favourite.

So...they’ll be at least two-three more single releases before the album sees the light of day.

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Are there any tour dates approaching? Where can we see you perform?

Always…

We are always playing the N.S.W./Newcastle/Forster area so check out the Facebook page for listings. We would love the chance to play the U.K. and U.S.A. and are looking to head overseas next year.

How do you all chill away from music? Is there a lot of time to detach from the day-to-day demands of music?

Luckily for us, we live in a beautiful place - so we spend a lot of time in the great outdoors surfing, swimming; walking etc. But, to be honest, any spare time we get feels like a wasted musical opportunity: always trying to get in the studio. It’s how we relax.

Maybe we should get a hobby!

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

(After some discussion….)

Disintegration by The Cure.

For me; it’s their best album. I love the synths being used as an orchestra. Plus, it has some of their best songs on there: Lovesong, The Same Deep Water as You; Plainsong, Lullaby etc. Robert Smith wrote (pretty much) the whole album and at the time whilst suffering from depression - so the whole album has that tone…which I love.

Adam: Physical Graffiti by Led Zeppelin

Due to the sheer size of the album. There’s so much going on: it never gets boring.

Scott: Freakshow by Silverchair

Not only did the lyrical content resonate with me. I liked the music and riffs so much I sat down and learned them all without any musical knowledge at all. It’s how I learned to play guitar. I still love to play through that album today.

Dave: Ágætis byrjun by Sigur Rós

Because it made me realise that there was more to music than bar chords and straight rock beats.

Dan: Californication by Red Hot Chili Peppers.

I didn’t get the band until this album was released. I was fifteen and started playing bass around that time. We were playing a lot of songs from that album in my first band - which opened my eyes to playing music for enjoyment and passion.

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

There are soooo many bands and sooo many platforms: it’s difficult, sometimes, to stand out in the crowd. Hopefully your material will help but it’s not enough just to release a single to friends and family. Make a noise!

Get help with promotion if you’re not good at that - whatever it takes. Persevere. Every band takes knockbacks…

Sometimes, bands don’t make it for decades. So don’t stop.

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).

We had a gathering after a gig recently and we were all singing this at the top of our voices - even though a couple of us hadn’t heard it before. Live...they’re exceptional…

Ride – All I Want

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INTERVIEW: Dog in the Snow

INTERVIEW:

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 Dog in the Snow

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BRIGHTON is a fertile Muse and a city…

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producing some of Britain’s most original and passionate musicians. This is the case with Dog in the Snow. I speak with Helen – the woman behind the moniker – and what it is about Brighton that provokes such consistently alluring music. She talks about the new single, Child, and the story behind it. The song is taken from the album, Consume Me, so I was keen to know about the album’s creation and the ideas that go into it.

She will be touring alongside (former Cocteau Twin) Simon Raymonde’s side-project, Lost Horizons – the dates and venues we can catch Dog in the Snow play. I ask Helen to choose the albums that have impacted her most and the musicians that have influenced her most.

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

All good here, thanks!

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

I make music and write songs under the moniker 'Dog in the Snow' - and am currently based in the seaside city of Brighton.

What is the story behind that moniker, ‘Dog in the Snow’? What does it represent to you?

It's inspired by The Trial by Franz Kafka – specifically, with what happens to the protagonist at the end of the novel and his final exclamation of “Like a dog!”

I liked the darkness and existentialism I felt behind that phrase  - and how that actually contrasts with how surface-level cute one may assume the project title is.

Child is your new single. Can you reveal the story behind it?

I was just thinking about the idea of protesting in the twenty-first-century and how you can still feel powerless.

I grew up in Singapore, where it is illegal to protest (unless you ask permission beforehand, which very much defeats the purpose) - and I still feel just as powerless as I did then.

So, I thought; in a very idealistic way, wouldn't it really say something if every woman in the world just refused to have children - until humanity actually sorts its short-sighted, patriarchal; selfish bullsh*t out.

That'd really put the ball in our park.

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How easy was it to put together? Did you have to slowly piece it into a whole or was it quite a quick process?

It was very quick!

I wrote the words, phrases and ideas to the whole ten songs when I was out touring in the U.S. - in my friends' band, Fear of Men, last year. When I returned; the melody and structure for every song was very intuitive.

I can't really even remember the specific writing process to Child. I definitely remember that recurring bass-line coming first, though.

The song seems to gain control of your body – not be threatened to express, reproduce and do as you please. Was there a particular occasion or event that compelled the song?

Nothing personal - nor any particular event.

A lot of my ideas stem from more universal thoughts and happenings - which I, then, try and break down.

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 PHOTO CREDIT: Clémentine Blue

It seems like it is a protest song and, in a humorous way, rallies against discrimination and judgement. What is your view on the way we live - and how issues like sexism are treated? Is it something that needs to be tackled more proactively and productively?

All forms of discrimination need to be tackled all the time until the end of humankind...

Society still thinks it can find its identity in the archaic ideas of borders and boundaries. I think that's where the problems stem from.

Child is taken from your album, Consume Me. What sort of themes do you address in the album? How influential are subjects like consumerism and human connection to you?

Finding the ‘real’ in the consumerist-age is a goldmine of ideas and thoughts; they most certainly have influenced the album. Environmental issues are a big influencer, too. How will humanity continue to sustain itself on this unsustainable path?!

The fact that climate change can still be denied as fact is ridiculous.

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Give me an insight into your beginnings. Who were the artists you grew up to and fell for at a young age?

I was born in the U.K. but I spent all of my childhood and teenage life growing up in Singapore.

It was an interesting place to grow up in: always mixed feelings. I was a massive Neil Young fan from a very young age but was then side-lined for a few years by MTV during my teen years. I started to think, maybe, I could try and create music after my dad introduced me to Sufjan Stevens' Illinois album – which, thankfully, put me back on track...

Sufjan's music allowed me to really think about melody and arrangement in a way no other artist has.

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Brighton is your pace and, to me, a place one can reconnect with humanity and feel at peace. What does the city do to you and why are you based there?

No doubt, being by the sea creates a sense of re-invigoration and calm: it's most certainly part of the reason I'm here - amongst more practical things.

The city does have its problems - as does everywhere else, though. There's a lot of homelessness, which I've noticed has gotten worse over the years.

How inspiring are the people and musicians of Brighton to you?

Brighton is a bit of a conveyer-belt when it comes to musicians: a lot of the people I used to know here have all moved away. There's a lot of people in Brighton, who I find inspiring, for sure, but I don't see it categorised nor different - because of them just being in this city.

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PHOTO CREDIT: Rob Orchard

In the past, you have supported artists like D.D. Dumbo. Does it feel weird seeing how far you have come and how positively people are responding to your music?

The music world is far too saturated for me to ever feel weird about my music being out there. It's, of course, nice when people find a connection and appreciative understanding of it.

Can you reveal the tour dates coming up and where we can see you play?

I have two headline L.P. launch-shows and, then, I'm going on tour with Simon Raymonde (Bella Union boss and Cocteau Twins)'s new project, Lost Horizons. I'm, also, part of the live band - so it's a double-duty for me!

25.10 - Human Performance Presents: Dog In The Snow, London†

28.10 - Spectrum: Dog In The Snow LP Launch, Brighton†

18.11 - Lost Horizons at the Rialto, Brighton*

19.11 - Lost Horizons at The 100 Club, London*

20.11 - Lost Horizons at Brudenell Social Club, Leeds*

21.11 - Lost Horizons + Dog In The Snow, Manchester*

23.11 - Lost Horizons + Dog in the Snow (Ex Cocteau Twins), Ramsgate*

†Album-launch show

*Supporting Lost Horizons

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IN THIS PHOTO: Mother Me/PHOTO CREDIT: Pandora Jane

Who are new acts you recommend we check out?

There's a lovely Brighton Indie-Pop duo called Mother Me who makes delicate, but powerful, tunes.

/please/, from Bristol, is the project of Ellen Davies…dreamy gems.

Tony Njoku, from London, is super. If you ever get a chance to see him live, I really recommend it.

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IN THIS PHOTO: Tony Njoku/PHOTO CREDIT: Theo Williams

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

Mirrorball by Neil Young (and Pearl Jam)

The album I used to be obsessed with as a child. I used to invite friends to my house; play the album and jump maniacally on the sofa. They never returned.

Come on Feel the Illinoise! by Sufjan Stevens

It turned me on to creating music. Chicago was, maybe, one of the first songs which made me cry.

Actor by St. Vincent

I loved the story that Annie Clark wrote this all on GarageBand with headphones on - because her neighbours wouldn't let her make any noise. That's when I started properly paying attention to recording software; writing, recording; arranging on the computer.

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

Work really hard; don't expect anyone owes you anything. Do it because you love it.

If you want to make money you're in the wrong profession. Oh...and appreciate people and be nice, please!

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).

4 DEGREES by ANOHNI

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INTERVIEW: Andi

INTERVIEW:

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 Andi

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CANADIAN artist Andi talks to me about her…

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life in the country and how she evolved into the artist she is today. Half Home is her latest single and being met with acclaim and huge love. She has, in the past, crashed in her car between gigs: now, she is part of a large group of musicians that offer the support and incredible confidence!

I find out how her early life, and keen mind, led to the rich sound we hear in her music.

Her debut E.P., Sketches, was released last year and, since then, she has been busy – more tour dates are coming up.

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

It’s been crazy-busy!

I’ve been on tour playing a show every day this week; so, sitting down to chat with you is, pretty much, my first resting moment…

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

I’m a singer/songwriter/producer who creates progressive Pop music. I draw inspiration from many genres - from RnB to Electronic to Noise-Rock.

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Half Home is your latest single. It deals with transition and youth. It has quite personal relevance. Was it natural penning the song or was it quite difficult looking back?

I actually wrote that song in my uncle’s apartment with an old electric guitar.

The song was a natural write: I wrote it all in one sitting. It wasn’t difficult to pen. The song helped me make peace with the uncertainty and self-doubt that comes with my line of work/my age in this business.

At the time – which you allude to in the song – you were crashing in your car between gigs and living a rather modest life. Was it quite a struggle or do you think it helped shape who you are? What is touring life like now?!

I never felt it was too much of a struggle because, at the end of the day, I was living my truth and making my passion my career.

It definitely helped shaped who I am - taught me to be resilient and resourceful.

Touring life is great because, now, I’m surrounded by an incredibly wonderful and inspiring band that supports each other. There’s nine of us all together - and living with them is such an enriching experience.

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PHOTO CREDIT: Francesca Ludikar

Half Home is the first song since releasing the E.P., Sketches, last year. Is there any more music in-the-works?

There is a full-length debut album well on the way!

Keep an eye out in 2018…

Sketches landed in the top-four of the national CBC Searchlight competition. How did that make you feel (receiving that honour)?

I was very grateful and It’s opened a lot of doors for me...

At that point in my career, it was perfect timing to showcase my first single, Caffeine (ft. JonoJosh).

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How involved are you in the complete cycle of a song? Do you involve yourself in the production side, too?

I write the melody, lyrics, and most chord progressions...

Production-wise; I am absolutely in the driver's-seat. I start the production of every song and then flesh out the tune with my other producer and band member, Paul Barton.

With the new album, I’m just starting to involve more players with writing opportunities - it is a new and organic process for the project and the involvement of others varies depending on the song.

I notice a lot of styles and sounds in your music. Which artists and albums did you grow up listening to?

I spent a lot of time with Jazz when I was younger. I started studying Chet Baker, Ella Fitzgerald; John Coltrane, Billie Holiday, etc.

I listen to every genre, now.

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Canada is your home. What is the music scene like where you are and do you think it differs massively from the U.S.?

I am proud to be a Canadian artist.

So far, I’ve found the scene to be diverse and supportive: there’s a real sense of inclusivity and opportunity for all genres and type of sound.

I can’t say I have a strong stance on the U.S. scene since (the scenes) vary strongly - depending on the state.

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However, right now, there is more freedom for artists of all backgrounds/ways of life to express themselves in Canada.

You have just completed a string of Ontario gigs to promote Half Home. What was that experience like?

It has taught me a lot about leadership, community and performance. It’s also brought the live show to a new level.

I’m so grateful to have had the experience.

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You brought the live band on the road with you. How important is it playing with the guys and how did you meet them all?

It’s very important, to me, playing with these members – because, the personal style of each musician is becoming an integral part of the sound-palette for my project.

I, now, design music with them in mind - and their ideas and personalities shine through in the arrangement.

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Also; singing and integrating choreography with three backup-singers for the tour has been a dream-come-true. I met them all through connections via Humber College in Toronto (where I did one year of school).

Any more dates in the diary? Can we see you in the U.K. anytime soon, perhaps?!

We’ll be back performing in Toronto regularly starting with Indie Week in November.

If all goes well; I hope to bring my next album to the U.K...

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Who are new acts you recommend we check out?

My last Toronto gig was with my good friends and killer project, Babygirl.

Also...check out the feature on my last E.P., JonoJosh.

Both bands are definitely worth a listen.

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IN THIS PHOTO: Babygirl/PHOTO CREDIT: Josie Fiegehen

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

Actor by St. Vincent; Choose Your Weapon by Hiatus Kaiyote and The Golden Echo by Kimbra.

The first is an album whose lyrical style/subject matter relates to me very closely on a personal level.

The second inspires me rhythmically and reminds me of my musical roots/the future soundscape of Soul music.

The third album, to me, is a great representation of progressive and alternative sound in Pop - this production and D.I.Y. method of the artist really excites me.

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

Surround yourself with a good support system: be open to criticism from those who you respect.

Learn to fight the fear that comes with creating art. Always be humble - while never underestimating the value of your time.

Never stop working hard.

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’ve been jamming super-hard to Laura Mvula’s Phenomenal Woman

That song has been giving me the strength I needed this summer...so play up!

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Follow Andi

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INTERVIEW: Iskwé

INTERVIEW:

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 Iskwé

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WHEN discovering out who Iskwé is and what makes her tick…

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it is like discovering a new way of life! The stunning musician addresses the hardships of the North American Indigenous community – those who flippantly fail to legislate against the draining of the waterways and desecration of the land – and the politicians who put people second. Her new single, Soldier, is deep-cut, bottom-heavy in its intensity. It has beauty and depth but is one of those songs that seem to represent generations yet to come – a cautious warning and statement of intent.

I ask Iskwé about her album, The Fight Within, and what provokes music inside her. She discusses pairing genres like Hip-Hop and Soul; how certain sectors of Canadian life (where she is from) are overlooked and endangered; the inspirations inside her music and where she will be performing in the coming months.

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

Hey, Sam!

I’m wonderful and had a great weekend - thanks for asking!

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

Tansi, waseskwan iskwew nitisin~ihka'son (Hello, my name is Iskwé).

I am a recording artist from Treaty One Territory, Canada and work, mostly, in Electronic-ish music! I released my first album back in October 2013 and am excited to release my second album this coming October!

I have always gravitated towards darker, deep-cut; bottom-heavy sounds that’s (just) what resonates with my creativity I am hugely influenced by that fundamental darkness that came alive in bands like Massive Attack and Portishead - as part of the Bristol sound - but I also love strong, bold women like Björk and Erykah Badu.

I speak up on issues impacting my culture and community (I am a mix of Cree (Indigenous of Canada) and Irish) and am passionate about the necessity of such conversations being had - in order to move forward collectively from the past.

Soldier is your latest single. What can you tell everyone about its themes and inspiration?

It's impossible to know what shape our planet will be in several generations down the road. What I do know is that we need to do better...Soldier is for all the protectors of our land, our water - and our future generations.

I created and edited a lyric video for this song: compiling footage of the natural world; including forests, fields; water and sky. There are, also, clips of humanity's interaction with the land - including traditionally dressed First Nations people; a fisherman and Queen Elizabeth's face on a crisp, $20 bill.

Many subtleties and some in-your-face imagery - all meant to raise awareness to how we are treating this planet and, in turn, treating our future generations.

It is taken from the upcoming album, The Fight Within. Can you reveal any of the songs/ideas that will be expressed on the record?

A major theme I’ve been addressing over the past few years is that of Canada’s Missing and Murdered Indigenous Women. We are at an all-time high - with thousands of unsolved cases of death and disappearances in this country impacting our women more than any other demographic. We make up one of the smallest populations yet have the largest number of unsolved deaths and disappearances - it’s an epidemic that is taking place, presently. 

My goal is to raise awareness on an issue that’s taking place here at home – far too often we think the rest of the world holds the problems facing humanity...but this isn’t true.

We need to look in the mirror first and ask what it is we do every day to make this a better place to be for EVERYONE - not just ourselves.

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It seems our natural resources – human and otherwise – are paramount in your consciousness. Do you think our planet is in a lot of danger right now? Should we all be more aware of what is happening around us?

Yes, I think we’re in trouble...

I think our egos are where that trouble begins and, until we can collectively learn to put our future generations as a top priority, we will continue to take and deteriorate from one another (including the land and water).

What provokes a song, in your view? Do you sit down and plan a song or does it come together in unexpected moments?

It really depends on the song! 

Some have seemed to fall out of the sky and end up a full-production within moments - whereas others can take months to build on from either a simple lyric or melodic idea. I’ve found the only consistent factor is that I have no set way of writing!

Hamilton, Ontario (Canada) is your home. What is the music scene like there?

I’m still pretty new to Hamilton. 

I’ve been living here for a year but have been touring quite heavily this past year- so haven’t been home much. From what I hear, this place has a massive scene…I’m still peaking around for the way in.

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Listening to your music; I notice elements of Hip-Hop with R&B/Soul. It matches light and dark. Can you tell me what kind of music you listen to - when not creating your own?

I actually listen to a lot of Classical music...

I LOVE string instruments like the cello and violin and, actually, write a lot of my songs based around these two instruments.

I also love those bass-y, bottom-heavy sounds in down-tempo, Trip-Hop; Electronic-like music - those ones are perfect for moody vibes!

Can you remember when music first arrived in your life? Were you exposed to music at a young age?

I was!

Music and art were always encouraged in my home growing up. When I was a kid, I sang for the city choir - in school musicals, etc. It wasn’t until I was a teenager that I veered away from music and found other creative outlets – I focused on dance and visual art during this period; finding my way back to music in my early-20s.

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There are a lot of Canadian tour dates approaching. Any particular dates you’re excited about? Can we see you in the U.K. anytime soon, perhaps?

I’ve actually toured the U.K. a few times now and would love to come back! 

I believe we are looking to return in the summer/fall of 2018 - so I’m going to cross all my fingers and toes; it’s one of my favourite places to tour!

As for the Canadian dates; I’m super-excited (to be holding) my official album release party in my hometown of Winnipeg, Manitoba!

This means a lot to me, to be around my family and friends, as my first album release took place in Toronto.

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How important is live performance and conveying your music directly? Is it strange transitioning between studio and the stage?

I love performing: it’s the best part of my job! 

I mentioned I had been a dancer back in the day so I’m finding now, more and more, that performance has become this all-inclusive way to express my art in a final form. I find it far more free and liberating than I do in the studio - it’s as the studio recordings are the template I use to share my thoughts and ideas.

Performance is where people can come to experience the full thought-process.

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IN THIS PHOTO: Once a Tree

Who are new acts you recommend we check out?

I think you should check out Once a Tree - another Canadian downtempo act; consisting of married duo, Hayden and Jayli Wolf. 

Jayli is also a strong, Indigenous female who writes strong, beautiful songs!

And, of course; if you haven’t yet heard of Tanya Tagaq – check her out (you won’t be sorry!).

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IN THIS PHOTO: Tanya Tagaq

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

Portishead: Dummy

This record is, probably, the most influential on me as an artist, overall. My mind was blown the first time I heard this - with the full strings, bassy undertones; floaty vocals…I loved everything about it! I also found their story inspiring - in how they came together and avoided press; to how nervous Beth Gibbons would get before performing.

Björk: Vespertine Live

This album took so many of my favourite songs - and paired them with a live orchestra. Heaven!

Erykah Badu – New Amerykah Part One (4th World War)

The political tone on this record, and the strong, strong woman that is Erykah Badu, gave me strength and encouragement to follow in a similar footpath.

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

Make sure to learn the voice of your intuition and inner-guide - so that you follow your own lead.

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).

Once a Tree – Howling

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INTERVIEW: SuperGlu

INTERVIEW:

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PHOTO CREDIT: Pete Hewitt 

SuperGlu

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MANNINGTREE seems rather remote and, well…

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it actually is. Finding a band from that part of the world would seem unlikely. Luckily, SuperGlu adds a bit of spark to the near-deserted Suffolk town - and have released the video for their awesome track, Welcome Home. The guys released their E.P., Horse, last year and are building their profile with every new release.

Their bass player, Krista, guides me through their coming-together and the inspiration behind their music...

I was keen to know the artists SuperGlu are influenced by and what the future holds for them; if there is a music scene in Manningtree and any advice they would give to upcoming musicians.

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

Good, thanks.

Had a day off (today) and ended up throwing away all my clothes. Feel purged but not really sure if I've got anything to wear tomorrow....

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

We are SuperGlu: a four-piece Indie-Rock act from South-East England.

My name is Krista. I am the bass player of said band and taller than an average chest of drawers.

Sitting next to me is Ben Brown. He is at playing an unplugged electric guitar and is (a) probable lactose intolerant.  

Nice to meet you…. 

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Welcome Home is the new single. What can you reveal about the track and its origins?

It was written with a hangover after a house-party.

Ben thinks it sounds a bit like Yankee Doodle. There is a park in Mistley (swans; smells like malt) called the 'Welcome Home' field. Perhaps it's a bit about that...

That…and being in love... or whatever songs are normally supposed to be about.

You all formed in Britain’s smallest town, Manningtree. How did four people with such similar sensibilities and ambitions find one another in such a small place?

There are only around thirty people that live in the town. There are three pubs and two Indian restaurants.

To be honest, I'm surprised it took us this long to find each other!  

Is the reason you have such a big sound to counteract the confines of where you hail from?

Not really.

It just kind of happened. If you play loud you get noticed in a bar/go deaf.

Is it true, between you, there is a regional Disco-dancer; a boat-dweller and abstract painter? It sounds like a film waiting to happen, surely?!

It's true!

Though, I haven't danced in a while. Ben W. lives on a boat with his ex-wife and her kids (don't ask!). Ben Brown recently opened his first solo exhibition (of what look like stolen children's paintings) at the Minories Art Gallery in Colchester.

Alex is soon-to-be an official marathon runner.

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What do you have planned in terms of E.P.s and albums?

We are currently finishing something - we aren't sure if it's an E.P. or album. 

There are elements of Ramones and Japandroids in your music. Are these artists you grew up listening to?

Someone sent Rockaway Beach (a year ago) to Ben Brown and he listened to it in a traffic jam - as it was the only C.D. he had.

He was driving past Stonehenge. 

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PHOTO CREDIT: Yakub Merchant

Huw Stephens, of BBC Radio 1, has championed your music. How important is his backing?

Loads.

I remember the first time Diving Bell got played on his show. We were all dancing around the living-room, shouting really loudly and, probably, pissing off our neighbours.

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Do you think the music industry is becoming too digitised and sterile, in a lot of ways?

I really miss the feeling of opening up a C.D. case and listening to an album back-to-front on repeat. But, then again, streaming has enabled loads of artist to get themselves out there.

Who knows...?!

With such varied hobbies; how do SuperGlu unstick from the music? Do you all hang away from the band?

Yeah... 

The Browns are brothers - so they have to kind of hang-out.

We have quite a large group of friends around the Suffolk area - who we live to drink with on the weekends.

Balancing social life, band and working nine-to-five is pretty hard, though.

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Are there any new artists you recommend we check out?

There's, also, a new band called Oasis everyone's raving about - has two brothers in; a bit like Ben and Alex. 

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

(Selections chosen by Krista).

Jeff Buckley: Grace

It reminds me of the past present and future - and, every time I listen; I hear something new.

For Ben Ward….I am guessing anything by Blink-182

To make himself feel young again.

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Alex; probably something I've never heard o - but I'll say anything by Pete and The Pirates

As we were listening to them the other day in the car and, judging by his shouting and cans of beer drank in the back seat, he likes them quite a bit. 

For Ben Brown…I'll make him choose Support Mistley Swans by Dingus Khan

Because it's the best album on the planet.

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

Don't give up your day job. 

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).

Krista: Fade into You by Mazzy Star

<

Ben Brown: Made a List by Dingus Khan

Ben Ward: What's My Age Again? by Blink-182

INTERVIEW: Adam Prince King

INTERVIEW:

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 Adam Prince King

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THERE are few characters like Adam Prince King in the music industry.

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As I prepare a Kilimanjaro-esque climb up a mountain of reviews and interviews; I am weeding out those that will require some embellishment and visual flourishes – augmenting and uncovering hidden depths and bringing the shine to the surface. That is not needed for Adam Prince King - as he is someone immured from boredom and the mundane: a veritable human-festival of eccentricity, fun and fascination.

I talk to the London-based songwriter about his latest tune, Before the Sun Goes Down; its video – since the questions were sent; a video has appeared – and what it feels like having the critical ear firmly lodged against his chest (or mouth: whichever is less weird/more appropriate).

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

I'm really good and really sh*t all at the same time! Life's funny like that.

I'm good because I'm looking forward to the release and people seeing my new video - and sh*t because releasing music petrifies me…ah, life!

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

I'm Adam Prince King. I'm a London-based music producer and singer - with a fondness of avocados and an addiction to hooks and melodies. 

Before the Sun Goes Down is the new single. What can you tell me about it?

It's happy and sad all in one; bleak yet hopeful.

What do you think about it? I want to be the interviewer! (I like it - Sam).

Will there be a video for the single? What future plans do you have for it?

The video is ready to be put out anytime now...

My plans are to go to number one; win a Grammy and live in a beach hut (with WiFi) in Barbados - but the universe may have other plans, so I just do my thing and see what happens!

What's that saying...we make plans and God laughs at us (or something like that)?

It follows on from the previous song, Flamingos, but has a different vibe/sound. Was there a conscious decision to create something different from that single – whilst retaining a unique 'Adam Prince King sound'? 

I hate pigeonholing my sound and creating the same song over and over...

I feel like it's evolve-or-die for my creativity. I agree, the production is simpler and more restricted but also feel my essence, my lyrics and voice tie the songs together. 

The single has buzz and uplift but moodiness and emotion. Is it difficult being open and raw in a song but keeping the overall textures accessible and engaging?

I have always loved writing raw lyrics but to an uplifting piece of music: I love juxtaposition. The Smiths did that really well.

Were you shocked Flamingos went viral and got such a huge reception? Did that motivate you to keep striving and working hard?

It's a double-edged sword.

You feel like, woooooo! People like what I'm doing and it's motivating but then the little head-Devil pops in and says "It's a fluke, you silly little man; people will soon find out you're a fraud and that you’re an awful artist."

But, then, you have to find a way of pushing forward regardless.

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I believe an E.P. is out later in the year. What can you reveal about that?

It has five tracks on it and my favourite one is a track called Witches.

It should be released through a really cool label - that mainly deals in getting music into T.V and film - but I can't fully confirm yet as we are still negotiating.

Can you tell me about some of your musical influences and the artists you grew up listening to?

I grew up listening to a lot of Cypriot music and, also, lots of old Elvis and Cat Stevens records - when I was very young.

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I can hear bits of David Bowie’s work in your own music. Is he someone influential to you? 

Yes.

David Bowie is my father; Kate Bush is my mother.

You sport quite a, let’s say, 'peculiar' look. What was the reason for adopting this style and do you think it adds to your musical style? 

Is it the moustache!?

I guess I'm quite eccentric but it's not something I overly-think about. If I see something that resonates with me I wear it - I love colour and vibrancy, both in my music and in my fashion choices.

When I was a kid, I used to dress myself and go to primary school in a shimmery waistcoat paired with a red bow tie and Albert Einstein hair – so, I guess I've always been peculiar.

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Any tour dates approaching? Where can we come see you play? 

I hope to play Sofar sounds in London pretty soon.  

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

Joni Mitchell - Blue

The lyrics, the melodies; the voice - Joni just knows.

The Darjeeling Limited: Original Soundtrack

Because it's one of my favourite films - and I love all the songs.

Britney Spears - Blackout

Amid her breakdown; she produced one of the best Pop albums I'd heard in years - the production was slick. She worked with the best producers.

I have a soft spot for Britney - don't judge!

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Are there any new artists you recommend we check out?

Do you know what: I'm so out of the loop!

I need to listen to new music! I'm stuck in the '70s and '80s at the moment!

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

Keeping on the Britney theme: you better work, bitch!

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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).

This could be fun. Hahaha! 

Ummmm…the theme from Buffy the Vampire Slayer, please! 

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Follow Adam Prince King

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INTERVIEW: Glam Skanks

INTERVIEW:

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 Glam Skanks

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THE captivating and eye-catching quartet of Ali, Veronica; Cassie and Millie…

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makes up Glam Skanks. They have been described as an all-female band-version of The Rocky Horror Picture Show. Their album, Glitter City, mixes theatre and spectacle with mixes of older-days Glam-Rock with the sort of mainstream sensibilities that makes them an accessible option. It is their infectiousness and unique personalities that are alluring audiences and marking them out for big things.

I talk to the U.S. band about supporting Adam Ant and lending Alice Cooper their make-up. They talk about enviable Rock and Roll memories and how they hope to redress the gender imbalance in music; their favourite albums and songs and their treasured memories of the road.

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Hi, girls. How are you? How have your weeks been?

Glam Skanks: We’re great!

Just got done filming a new music video.

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

Yeah. We’ve got Ali on Lead Vocals; V. on Lead Guitar; Millie on Bass and Cassie on Drums.

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Can you tell me how Glam Skanks got together? Have you been friends for years now? How did that band name come about?

Glam Skanks started when V. and Ali met on Craigslist...

They had both posted, almost identical ads, looking for female musicians - for a Glam-Rock-inspired band. After a few years of playing with other girls, Millie and Cassie - who had been playing in bands together since their early-teens - joined up.

The band name came when we booked our first gig. We didn't have a name and knew we needed something to start promoting. After a friend joked about making 'lamb shanks' into ‘glam shanks’, the name ‘Glam Skanks’ came up - and we thought it perfectly fit our vibe.

I know you played Camden Rocks. What was that experience like?

It was incredible.

The whole experience of going to England - and playing in another country - was amazing enough and then, to add playing such a well-known festival, was a dream come true.

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PHOTO CREDIT: Dave Cox

Any more dates coming later this year?

We’re working on something...

We have a gig with Adam Ant at The Roundhouse (in London) in December - and were hoping to book a tour around it.

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Some have said Glam Skanks are what a Rocky Horror Picture Show house-band would be like. Do you think that is a fair assessment? Is that film/show something you girls are a fan of?

That’s a great description of us...

We’re huge fans of The Rocky Horror Picture Show. We grew up going to midnight showings all dressed up - and always thought we would be a great fit to play before the movie started.

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PHOTO CREDIT: Dave Cox

In addition to opening for Alice Cooper; you supported Adam Ant on his U.K. tour - and you’ll be back to open his show at The Roundhouse in December. What is he like to work with? How did that invite come about?

He’s great to work with: a true showman and an absolute professional.

We share some mutual acquaintances with Adam and, when they had shown him our videos, he liked us enough to ask us to come along and tour with him.

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I heard Alice Cooper asked to borrow your make-up. What was your response to that?!

At first, we laughed, because we thought he was joking!

When we found out he was serious, we, obviously let him use whatever he wanted.

In Kevin Smith’s film, Yoga Hosers, you had one of your songs featured. You have hung with Aerosmith’s Joe Perry. How do things like this happen? Is there a standout memory from all these crazy experiences?

We’re lucky that we have some connections that run in the family. V’s dad, Bruce Witkin, is a member of the Hollywood Vampires and has produced and worked with a lot of famous artists.

One standout memory was the night we opened for the Hollywood Vampires. We got to jump onstage with Alice Cooper and sang School’s Out with him and the whole band.

Glitter City is the new album. What can you tell us about the themes and ideas that compelled the record?

There wasn’t really any particular theme or idea: we just wanted to make a record that sounded like the music we love - but with our own twist.

That said, there’s definitely an underlying tone of female empowerment. Even though there are not many songs that are explicitly about that; we went in with the mindset of wanting to inspire other girls and women with our music.

Veronica. You grew up in a unique Hollywood Rock and Roll family. Was it possible to have a ‘normal’ childhood or was it quite strange? What is Hollywood like for a young and ambitious artist?

I don’t know if anyone, technically, has a ‘normal childhood’ - but mine didn't feel that different from anyone else’s.

Hollywood is hard for any young artist but I was at least lucky enough to have a bit of a head-start since I'm from L.A. - and have the advice and help from my dad.

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PHOTO CREDIT: Dave Cox

Millie. You almost didn’t join the band. Why was that and what changed your mind?

I was super-busy with other bands and had just moved to Los Angeles - so, I wasn't sure about joining another group.

The girls won me over with their passion and drive for music and fun personalities - so I gave it a shot.

Listening to you girls play, your music and power can match any male band. Why do you feel there is still gender inequality and sexism in music? Is that something you are keen to tackle?

Thank you...

Unfortunately, there’s still gender inequality and sexism everywhere in our everyday lives - so music isn't going to be any different, especially when Rock ‘n’ Roll is considered a boys-club.

That’s something we hope to change, not just in the music industry, but everywhere - so all girls and women are treated fairly and equally no matter their race, social status or sexuality.

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Your brand of music, 'Glitter-Rock', has changed since the early days. What have been the main changes and do you feel more bands should play in the genre?

It’s funny because, to us, Glam and Glitter-Rock aren’t really a sound but more of an attitude and, in that sense, it’s never changed.

It’s about the stage-show and the spectacle - and that is one thing that more bands these days could use.

I can imagine you have your fair share of touring anecdotes! Any particularly vivid or ‘memorable’ ones?!

Yes!

We had a night in Manchester where we stayed at a sort of tavern and we were immediately thrown off when we walked in - because there were Christmas decorations up in the middle of May. We didn't think too much of it but, later that night, we noticed our door didn't really lock and, when we tried to move our beds together, we found blood splattered on the walls.

We decided to not-so-gracefully sneak out at 4:30 A.M.

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Are there any new artists you recommend we check out?

Right now, we’re into The Lemon Twigs.

They put out a great record last year.

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IN THIS PHOTO: The Lemon Twigs/PHOTO CREDIT: Riku Ikeya

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

Veronica: That’s so hard because there’s so many that have had a huge impact on me, but, I guess I’ll have to choose The Rise and Fall of Ziggy Stardust and the Spiders from Mars by David Bowie.

Every song on that album is perfect and the concept of youth and alienation still hits home.

Ali: Probably Rumours by Fleetwood Mac

I just feel so happy and inspired when I listen to it. Every song is perfect. I never get sick of listening to it.

Millie: I never have just one album that I fall back on because I'm always changing what go-to album – but, for sure, one of my favorite albums is Panty Raid by Fabulous Disaster: an all-girl Pop-Punk band from San Francisco - where I grew up and saw as a teenager.

They have inspired me to play music and get in an all-girl band. Their songs sing about heartbreak, annoying preps. (and etc) - everything I can relate to!

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Cassie: I would say Deloused in the Comatorium by Mars Volta

Just like Millie; it's hard to pinpoint one specific album or artist because I'm influenced by so many different styles of music - but this one is definitely top-five because of the instrumentation. It really influenced me to push my drumming.

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

Just go for it!

Don’t be afraid that it might not happen or ‘I might not make it’: you can’t start a revolution if you don't go out and try to make it happen.

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).

Veronica: Anything by David Bowie

Ali: Please play It's Late by Queen - this song is brilliant

Millie: Please play Free Money from Patti Smith

Cassie: Please play Take a Chance on Me by ABBA

That’s our backstage pump-me-up song whenever we're on tour.

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INTERVIEW: Farrago

INTERVIEW:

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 Farrago

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FARRAGO are an exciting and rock-solid…

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Alt-Folk/Indie band that marries lush cinematic sounds with powerful acoustic guitars and silky bass – plenty of expressive percussion and epic vocals. I talk to lead singer Ian (in the photo above) about the band’s career and recording their E.P., Oh, Beautiful Darkness, at Abbey Road Studios. He tells me about arriving in London in 2012 – having started his music lust in Brisbane; having walked out of a fruit-picking job – and how they all found one another.

I learn more about the E.P. and what one can expect on 7th September at The Finsbury – where the video for Better Than Real Life will be projected during the performance. Ian discusses the musicians that matter most to him and each of the band picks a song to end the interview with.

ALL FARRAGO PHOTOS: Sebastian Trustman (unless indicated otherwise)

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

Hi! It has been great – and hectic.

Lots of exciting work going on with the new E.P. - which is being pressed at this very moment.

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

I’m Ian Bennett: lead singer, guitarist and songwriter of Farrago – an Alt-Folk band made up of myself plus Tina Longford (on Violin and B.V.s); Simone Feroci (on Bass and B.V.s) and Jack Robson (on Drums).

The music is a real mixture of Folk, with Rock, Indie; Jazz and Blues thrown in for good measure.

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PHOTO CREDIT: Mr. Fizzy

I am interested in Farrago’s origins. I believe it was 2009 and a busking outfit birth? Can you expand on that and how you became the band you are now?

Farrago was born on the streets of Brisbane, Australia - after walking out of a fruit-picking job.

It was just two of us back then – me on vocals and guitar and my partner, Ruth, on melodica. It was amazing, to me, people were more into our original tunes than the covers. There was a real thirst for hearing new music.

We played our way around Australia and New Zealand, in venues and on the street, then, spent some time in India writing new material and making some D.I.Y. recordings.

But, I really missed having a whole-band-sound; so we came back to England to keep the project growing. The line-up we have now is just what I was hoping for!

Big, dynamic and bold.

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You arrived in London in 2012. What compelled that decision and how influential is London to your music?

I’m from London, and so, coming home was always on the cards...

London is hugely important to my music: I love the vibe and variety here. I love that London draws people in from all around the world. I’m always meeting inspirational musicians from all walks of life. Also, London pushes you hard!

To get anywhere, you have to work like crazy - which certainly keeps the standards high! I met all my band-mates whilst playing various live shows in London - so I have a lot to thank this city for!

The E.P., Oh, Beautiful Darkness, was recorded at Abbey Road Studios. What was it like recording at such a hallowed space?

Man...it was incredible.

I felt like a kid in a sweet shop – so much great gear that has been used by some of the best musicians in the world. It was humbling and unbelievably exciting to be there for a while. We recorded the E.P. in the main studios but I have to thank the Abbey Road Institute for making it happen. We worked with two fantastic students – Noah Dayan and Lucas Cristoff – who took us under their wing.

The future of the recording industry is in safe hands!

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PHOTO CREDIT: Mr. Fizzy

Can you tell me how that opportunity came about?

Myself and Simone were playing a few tunes at an open mic. at The Magic Garden in Battersea and Lucas happened to be there in the audience. It’s a great open mic. for meeting other serious musos – a night called Sing for Your Supper; run by a very passionate poet and friend called Carl Chamberlain. I got chatting to Lucas and the rest is history!

I met Noah at the Institute and we hit it off immediately. They co-engineered - and Noah mixed the E.P.

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When will the E.P. be launched? I understand the video for Better Than Real Life will be shown for the first time there? What can you tell us about the video and its storyline?

The E.P. will be released on 7th September - with a launch party the same night at The Finsbury pub (in Manor House).

The Better Than Real Life video is going to be projected during the performance. It has been great fun making it with director Daria Lanz; actress Stephanie Cannon; Director of Photography Philip Moran and the band. We’ve been messing around with L.E.D. lasers; paint, masks - and confusing members of the public in the process!

Better Than Real Life is about a character that prefers to live in the digital world - rather than reality – so, all the scenes are about the tension and release this creates.

Uncle Onion Records is the band’s label. What was the decision behind releasing the E.P. on your own label? Did it provide a freer creative construct?

I decided to create the label, back in 2014, for the release of our first studio-E.P., All Beginnings Are Illusions.

It was, mainly, so that we can build-up our own catalogue of music without any external forces coming into play. It has been a steep learning-curve but it has been useful learning more about how the industry works. I love the ethos of D.I.Y. and community building - so I wanted Farrago to reflect this.

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How do songs come together for Farrago? Do you all collaborate or will someone write lyrics – the remaining members pitching in with the music?

I’m constantly writing new material at home.

The ones that stick I bring to the band. By the time they hear the songs, they already have a structure and lyrics. Tina, Simone and Jack bring their musical magic to the songs at this point. This way, I can filter out the songs that don’t make the grade - before the others spend any time on them.

It’s a pretty productive way of working, I find...

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PHOTO CREDIT: Mr. Fizzy

Are other there any tour dates later in the year? Which dates are you most looking forward to?

We’re holding off on new dates until after the launch.

My next focus is on getting festival bookings for 2018…so keep an eye out! The odd gig will creep in though, I’m sure.

Keep an eye on the website for dates...

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Do you have anything else planned in terms of more music? Do you think ahead to the next record or are you very much focused on the latest E.P.?

There’s always plenty of new music in the pipeline.

Once the launch has happened, I’ll be working with the band on a handful of new songs that I’m focusing on at the moment.

I’ll be looking to record another E.P. or album in 2018.

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How do Farrago unwind and is there ever a chance to break away from the music?

That’s a good question!

 I’m around music, pretty much 24/7. I spend most of my free-time seeing my mates play music or going to music community events. My favourite way to escape for a bit is to go to a festival – preferably, a very chilled one, like Womad or End of the Road.

Last year, I saw The Shins, Joanna Newsom; Teleman, Ezra Furman; Savages and Kevin Morby all play on the same festival bill. It was incredible!

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Who are new acts you recommend we check out?

I am lucky enough to have some very talented mates...

Russell Joslin is a Folk music tour de force. He sings with Sarah McCaig and they are simply stunning together.

Tom Hyatt writes and performs a lot in London. Well worth checking out.

My friend, Mary Erskine, has a band called Me for Queen. She is incredible (Russell, Sarah and Tom will be playing with us at the launch).

(Probably) the artist I most admire at the moment is Scott Matthews. His songwriting and voice are truly inspirational. He won an Ivor Novello for his song, Elusive. It gives me shivers just thinking about it!

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

I’d probably have to say Grace by Jeff Buckley.

It completely blew me away the first time I heard it and has been a benchmark ever since. As far as I’m concerned, it has everything an album should have: incredible dynamics, feeling and depth…and, of course, there’s his voice.

My god; what a voice.

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

My advice would be to always get what you want from it. It’s a weird time we’re living through - with consumerism ruling everything - but the craft of songwriting takes time and perseverance - so enjoy the ride and trust yourself.

Everyone will have their opinion about what you should do but, ultimately, it’s what you want from it that matters.

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).

Ian: Elusive by Scott Matthews

Simone: Beautiful Freak by Eels

Tina Longford: Play Dead by Björk 

Jack Robson: The Bronx by Booker T. Jones (ft. Lou Reed)

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INTERVIEW: I Am Willow

INTERVIEW:

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 I Am Willow

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THE Valetta-born artist I Am Willow shows the stunning brand of music…

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coming out of Malta (she is now based in London). Time Out and Annie Lennox are fans of her music; she has been featured by BBC Introduction - and someone who can hold an audience spellbound by her voice alone. There is something simple and effective when one hears songs like Oceanful and Hearts in the Night (the new single from the talented singer-songwriter). I speak with her about the song’s story and how her music comes together; the musicians that have inspired her and what the music scene in Malta is like.

She talks about music and childhood; whether there will be an E.P. arriving and how big relationships and the personal are to her songwriting – and a couple of new artists we should all be aware of.

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

I’m feeling pretty good - now that I’ve finally started to share my music with the world. The response so far has been incredibly encouraging and I feel particularly inspired.

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

I’m a girl that loves to go to my 'safe space': under a willow tree; looking out at the world and then writing about it. I’m human and definitely have my flaws - and this all comes across in my music. I love books and films so you could say my music carries a certain cinematic atmosphere.

However; the Pop princess inside of me always finds a way of showing itself.

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Talk to me about the single, Hearts in the Night. What is the song about and was it an easy creative/recording process?

Hearts in the Night was the result of a completely improvised session with Benbrick - my co-writer and producer. We had never worked together before and we had no specific targets on the day we did. This song was an incredibly organic result of our two creative souls coming together and trusting each other.

Funnily enough, the song is actually about trust and allowing someone to show you the way. Imagine being blindfolded and allowing someone to take you by the hand - and cross you over the busiest street in New York.

That’s what this song is about: trust.

It follows the popular and impactful, Oceanful. How do you think the tracks differ and, in terms of sound and lyrics, were you keen to create something new and distinct?

When I work with producers; there’s always an element of trust involved.

I have to believe that they will bring something that I wouldn’t even have thought of to the song and that it will take the song to a much better place.

The beauty of Oceanful and Hearts in the Night is that they were the result of the first session with both sets of producers. In the case of Oceanful; it was Zeke McUmber and Ron Haney. Both songs were written on the day of production and neither session was meant to be an 'I Am Willow session'.

Indeed, I Am Willow didn't even exist when Oceanful was written: it was the seed that started the whole project. And, to answer your question, lyrically the songs differ immensely - because I was in a very different emotional place. The mood is, especially, more intense in Oceanful (boy problems), for example.

However, the main difference - which I find beautiful - comes from the fact that I am working with different producers. They each bring their own individual stamp to my music. It’s completely real, raw and organic. 

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Is there going to be an E.P. or album arriving at some point?

Let’s just say there’s much more music coming your way….

How important are personal relations and experiences to your songwriting? Do you take a lot from your own life and write about what you go through? How much is fictionalised and abstract, in that sense?

Everything I write about is absolutely genuine and true.

I write about my own experiences, my strengths and fears – and, sometimes, I’ll take lyrical inspiration from books.

But, to me, songwriting is a form of therapy.

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Listening to your latest track, and the reception you are getting, it seems like you are in a good and creative period. How do you think you have developed as a songwriter the last year or so?

All I know is that the music people are responding to all happened as a result of trust.

I wasn’t trying to please anyone. I wasn’t expecting anything to come of it. So, I want to continue to throw myself into completely organic situations and trust that sometimes we will have similar results.

One thing I do feel is that I trust myself a lot more.

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Born in Malta; you are based in the U.K. What is the music scene in Malta like – compared to the U.K.? Are there a lot of great artists making waves over there?

Malta is a really beautiful setting for a creative person…up to a point.

It’s a very small place, and with it, comes very few opportunities - which is why, I feel, like there’s a lot of potential that doesn’t really reach its maximum. But, the potential in those waters is evident - even to the highest-trained experts.

I’ve heard it said so many times before: “There’s something in the water”.

Can you tell me about the musicians you grew up listening to and your idols?

I grew up on Classical music. I was playing the piano from the age of four and my grandmother was my teacher. Even on Sunday picnics; the first things she would say to me was “Did you practice?”.

But, I have very fond memories of dancing to the Spice Girls with my mum and then, later, being completely mesmerised by Kate Bush, and then, Tori Amos.

Later, I collected a few more idols like Goldfrapp, Radiohead; Beyoncé, Jungle; alt-J … it’s a funny list - but I have a pretty wild selection.

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Annie Lennox is a big fan of your music. Is it weird getting love from someone so huge?! Have you ever performed with her – or is that something you’d like to do?

It’s weird and it’s not...

We often look up to these icons and forget they’re just human beings, like us. I write music from the heart - so it’s bound to resonate with someone. It just so happened to be Annie, which, don’t get me wrong, is the honour of all honours. Performing for her was as amazing as it was terrifying. I will treasure it forever.

If I ever get the chance to perform with her; I would take it in a heartbeat!

You are classically-trained and have a cinematic and emotional palette. How influential are culture and the arts with regards your music? Do you connect film, literature and finery with your own personality and way of working?

Yes.

I would have to say I am very influenced by any other creative form: art exhibitions, film and dance (and all sorts). But, I would say, the primary source is (definitely) literature. When I find a good book; I am transported so completely that I can step back at any time – and, sometimes, lose my train-of-thought, mid-conversation. It’s very annoying to some. Haha.

Of course; it is inevitable that this has some effect on my songwriting.

Are there any tour dates later in the year? Where can we see you perform?

Keep an eye out on my social media pages/@iamwillowmusic for news of a performance on 16th Sept.

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IN THIS PHOTO: Roatana/PHOTO CREDIT: @nicolebusch

Who are new acts you recommend we check out?

I would have to recommend Rotana

An amazing artist that I work with.

Also...JP Saxe

A mutual friend and incredible musician (and songwriter).

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IN THIS PHOTO: JP Saxe

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

Goldfrapp - Felt Mountain

They introduced me to production as a state of mind - and I have always wanted to try the same thing.

Ludovico Einaudi - La Scala Concert

I’ve seen his music used in film and it is (just) stunning. I have recently started composing some piano pieces that this album has inspired.

Blur - Midlife: A Beginner’s Guide

Because it has such a sense of identity and freedom (I, simply, love it).

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

Stop trying to be who you think everyone wants you to be and just be you - it will surprise you!

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).

ODESZA - Kusanagi

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INTERVIEW: Couling Brothers

INTERVIEW:

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PHOTO CREDIT: Gordon Couling  

Couling Brothers

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AS I jettison and embargo certain types of interviews…

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it is great to receive a rare one to the inbox – not accepting interviews where an artist has very few photos, I mean. Couling Brothers, in a sense, are one of the last acts who I take in whose online portfolio is not as stocked and illustrative as many – there is a slight aversion and distance from social media. I talk to Toby and Ollie about their musical bond and their upbringing; what stories and explorations go into their songs.

They split their time – and bodies, a lot of time – between the U.K. and Australia so I was eager to learn whether there will be any tour dates; insight into their fantastic album, // REDDA //,  and the musicians/albums that have inspired them to write their own material – and the other musicians that help give // REDDA // its candour, personality and wealth.

ALL PHOTOS (EXCEPT WHERE LISTED): Ollie Couling

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

What’s up, Sam.

Very good, thanks, mate.

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

Ollie: Hi. We are Ollie and Toby - Couling Brothers.

Toby: Sons of the same mum and dad; brothers and best mates: currently living in London, England and Melbourne, Australia.

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How did the decision come together to form Couling Brothers? Was there a moment when a song sparked something or was it a more gradual process?

O: As brothers; our partnership formed thirty-two years ago - when we first met.

We have always been extremely close and into the same things - so this project was (just) a good excuse to join forces.

T: It probably started after a recording session at The Fold Studios - where we used to work and live. I used to have my drums set pretty much full-time, so, after recording sessions for other bands, using the studio, we used to just hit record and jam.

On one of these nights; we came up with the piece of music for Sad Night - we both went completely mad until very late that night/morning trying to work out these crazy timings – but, what appears on the album, is basically unchanged from that jam.

I guess it was, at that point, I knew we would have to have that on a record - along with some other ideas that had been brewing for a while.

O: The reason for (actually) getting in the studio and doing it was a slightly more practical one. I had a long-running injury to my wrist and needed surgery, so, before my operation, we decided to book a week at a studio. We really wanted to work with Owain Jenkins at StudiOwz; so we just went for it with very little agenda and a few pretty sketchy ideas.

That week produced 90% of the tracks on the album – plus, a few more that didn’t make the cut. However, it took over a year before we went back to record the vocals. The break did work out nicely, though, as the final track - Dear My Home - was written in that period and has turned out to be a special song - that really completes the album and puts a massive full-stop at the end.

Can you remember those early days and the kind of music you were playing?

Yes; very much.

We come from a very musical family. Our mum is an incredible pianist and we both learnt a lot about music from just listening to her play - and absorbing her sound and use of harmony. Later on, in our late-teens-to-early-twenties; we both played in a band together called 8Fold - for a bunch of amazing years. It was a great time of discovery in which we all lived and breathed music.

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Toby and I used to jam together in our basement almost every day - and I think a lot of the core ideas that appear on the album was a result of this time experimenting. We used to love just locking in on a groove together and could do that for hours.

// REDDA // is your new album. Can you talk to me about the title and the kind of themes you address within?

We went to Iceland in June last year and saw the word ‘// REDDA //’ printed in a magazine. We didn’t know the meaning of the word at the time but I think Toby just liked the look of it.

T: I looked up the meaning and it translates to something like ‘to fix’ or ‘to work through a problem’. It fit the concept of the album, so it kind of stuck.

O: The theme of the album is about the transition from your late-twenties into your thirties.

It has a lot to do with the claustrophobia of living in London and wanting to get out, basically - but always getting sucked back in.

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Listening to the music; you observe real life and mix the spectacular with mundane. How much of your day-to-day experiences go into the songs?

Absolutely everything.

This was literally the soundtrack in my head.

T: I think as perceptive, creative-thinking and empathetic people; we can’t help but pick up and absorb life, in both its mad and mundane ways.

Ollie and I know each other on such a deep level, too - and the music is a parallel symmetry of both of our minds.

Talk to me about the track, Stripes on the Table. It is a song that intrigues me. Is there a story behind that?

O: Yes. There is story behind all of the songs.

Stripes' is based on how a quite a long and complicated event unfolded. I was in business with a very good friend for about five years, but, when I decided I needed to move on; working things out got very complicated between us - and our friendship was massively tested, as a result. The song is about how difficult I found it afterward: trying to start out again on my own when up to that point I had only done music. I didn’t have any academic qualifications to my name and felt really unemployable - so it’s about freaking out about that.

I think that it must be something that a lot of people who make a commitment to art or music go through at some stage. Having gone through it - and come out the other end - it made me realise that the skills you learn as a ‘creative person’ are so valuable - and far more practical that what you learn at university (I went to uni. afterwards).

I wish this kind of stuff is better recognised in society.

Toby and Ollie. You wrote the songs but there are one or two musicians who appear on the album. Was it quite a smooth recording process and how did you come to meet the other musicians that feature on // REDDA //?

T: We were always sure of who we wanted to play on the record and what instruments they would work with.

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Rob Lamont played most bass parts as he just understands our brotherly rhythmic flow - and just makes things feel great. He also played some great keys parts – especially on Life Without a Hat. Matt Park is such a talented musician who oozes emotion and compliments our music perfectly with his pedal steel-playing. We knew his sound and performance would feature heavily on quite a few tracks – one, in particular, being Dear My Home.

Our mum is a huge inspiration for us both; so we were extremely happy when she came to come visit us in Wales to record on the last studio session. Will Rixon has been on the scene in London even before I moved here so we were super-chuffed to have him shred some trumpet on Sad Night. Thom Sinnet was chilling at the studio in Wales when we needed bass on Life Without a Hat - so he stepped up and completely nailed what we had in mind for the bass part.

Owain Fleetwood recording the songs. What was it like working with him?

He is an absolute badass!

He is a good friend, a very skilled engineer and knows all his equipment, instruments and studio like the back of his hand. He understood what we were looking for and always helped us get something sounding how we imagined or better.

O: We must also mention Matt Wiggins - who mixed the entire record. He did such a great job taking the music and lifting the mixes to a higher place. 

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Is there going to be a video or single-release soon? What are your plans for the album and its promotion?

There are no plans to make a video or to release a single: it was never like that. We would love to do some live shows at some point with all the guys who played on the record - but that’s going to have to wait until I get back from Australia.

Hopefully, we can work something out for spring/summer 2018!

T: We both (just) wanted to make an album for us, really.

It was a perfect way to spend time together with a focus. Looking back now, it almost feels like it was some sort of audio-therapy.

O: As far as promotion goes: we would love to try and get a bit of radio-play in the U.K. and Australia.

There is an awesome radio station out in Melbourne called PBS - that is really good at supporting new music and giving unsigned artists, airplay. It’s a community-funded station with volunteer D.J.s, so they have an amazing range of genres. There are a few D.J.s who have shown some interest in playing some of the tracks off // REDDA // so, hopefully, we might be able to get a little buzz going in Melbourne. Maybe, we could even convince all the guys who played on the record to fly out to play some shows over there…that would be insane!

You can listen to PBS online at www.pbsfm.org.au. I, literally, can’t rate it highly enough!

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There is no Facebook or Twitter account for the Couling Brothers. What was the reasoning behind that decision and do you worry it threatens a sense of anonymity?

For now, we have decided to stay off social media… leave Facebook alone for cat-lovers and Twitter for Donald Trump.

Haha!

T: I think we are both happy that it is on BandCamp – which, we believe, has a better sound-quality than most other online music platforms. Like you mentioned in a previous question, we “observe real life” - so that’s what we’ll keep doing with this project for now.

Toby. You are a drummer and producer. Kevin Spacey has praised your playing. What is it like getting praise from him? How did you first come to bond with the drums?

Haha!

That was a surreal and funny experience. I was playing at Ronnie Scott’s with Tony Allen, Speech Debelle and Roots Manuava one evening. After the show, I was packing my drum kit down, when I noticed a pair of shoes turn up in my peripheral vision. I looked up and it was Kevin Spacey!

I was quite overwhelmed to see a face I knew so well in front of me. He introduced himself and then said some nice comments about my playing style. I led him to meet the other guys backstage and we all had a nice post-show hang.

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I think, rather than drums specifically, I think rhythm has always been important to me. I have always felt rhythm in all things and when I had the opportunity to learn the drums (age eight), I jumped at the chance. It gave me a new voice and understanding in life. I have spent a lot of my drumming career in recording studios, so, have picked up lots of things and learnt and observed a lot about the techniques - emotion, social structure and nature of a studio situation.

I am involved with many projects as a drummer/producer and feel that all that experience gave me a great platform and understanding of how to approach the album. Ollie is gifted with a large knowledge of production and engineering too – so, we feel as a team we have a good balance and knowledge base to create new music.

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What is coming up for Couling Brothers? Any tour dates approaching?

O: Toby is coming over in January 2018 and we are going to do some walking in New Zealand. That’s the next thing in the calendar for Couling Brothers.

T When the time is right to play live; we’ll play our hearts out. It will happen!

Who are new acts you recommend we check out?

O: At the moment, I’m really into a Melbourne-based artist called D.D Dumbo.

I’ve listened to his album every day for about two weeks straight, now. Check out his album, Utopia Defeated.

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T: (I also absolutely dig D.D Dumbo).

A band called Tweed & Hyenas released an album called Yates quite recently - which is wicked!

(Also, the recent Bon Iver album, 22, A Million).

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

That is a hard question…

I think the band that gave us both the inspiration to pursue music when we were young was probably a band called Reef. Their first album, Replenish, is amazing - and will always be amazing!

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

O: Just be yourselves…

T: Yea…be yourselves, bold and trust your instincts.

Collaborate with people and practice hard at the beginning, middle and the end. 

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).

O: Pleasure – Universal  

T: Tweed & Hyenas – Norðasta Horn

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INTERVIEW: Adam & Elvis

INTERVIEW:

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 Adam & Elvis

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THE strangeness and savagery Adam & Elvis brings to their music…

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has got critics standing like meerkats sensing a tiger looming large – if those two animals even share a continent! In any case; the band have been vibrating stages and propelling bodies with their intoxicating sounds. I speak with brothers Thomas and Patrick Malone about the latest single, Wasting Away, and what it is about.

They chat about Reading – where they are from – and what the scene is like; how the four of them came together and what they have planned for the remainder of this year.

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

Been pretty dang amazing in a global context.

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

We're a five-piece Alternative-Pop band from Reading that is interested in releasing good albums as often as physically and emotionally possible - and seeing what's left of us at the end.

Wasting Away, in addition to its cheery title, deals with life’s brevity and the human condition. It is an upbeat song – considering it could be seen as quite pessimistic. What was the reason for creating a song so uplifting and hopeful?

I think there's proximity between the somber and the hopeful: they breed one and other.

What impacted the song’s creation? Was there a general feeling you needed to write something like this or did a particular event compel that drive?

No. I think about death a lot, or as much as everyone else does, but I have too short an attention-span to be distracted by distractions.

There is a refusal/dismissle of the afterlife; a need to do everything we can in this life. Is there any one thing each of you has always dreamt of doing – maybe a dream holiday or musical goal?

I'd like to write a to-do list and do all the things on it.

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An Adam & Elvis album is out later in September. What can you reveal about the themes and songs that will appear on the record?

Bits about weddings on fire; artists only working on the weekends; people eating mosquitoes to spite lovers (etc etc.!).

Where does the title, Through Snow and Small Talk, come from?

Chose the art for the album; saw the snow and the drudgery - and supposed playfulness - of winter weather reminded me of small-talk.

Patrick and Tom; you are brothers. Did you share similar tastes as youngsters and what was the decision behind forming the band?

We were sh*t at football so thought we had better start a band - or no one will ever think we're important.

How did you come across Steve and Dan? What is it about the guys that meant they were made for the band?

Dan served us drinks; Steve went to school with Tom.

You, like The Amazons, are based out of Reading. Is it a fertile place to make music? What is it like getting gigs in the town?

Yeah. There are lots of people making music in Reading. There's some nice people who put us on and then give us a pittance and some beer.

The Amazons are very boring though. I'm sure they're nice but I imagine you have to listen with a toaster balanced on your head in a bath-full of water - so there's the potential that something edgy might happen.

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What do you guys do when not performing and recording? Do you all get much time to hang out? Anyone have any hobbies in the band?

We spend most of our time practicing together; getting drunk talking about music, films; politics or the normal jazz.

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

We've got three release shows: 30th September, (Reading) Oakford Social Club; 6th October, (Oxford) The Wheatsheaf and 7th October, (London) Finborough Arms.

We've had a lot of people trying to get us back up North after the last time we went there – so, we'll be back there before the end of the year.

Who are new acts you recommend we check out?

Love Wesley Gonzalez, Meatraffle; Phobophobes and Pit Ponies.

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IN THIS PHOTO: Photophobes/PHOTO CREDIT: Holly Whitaker Photography

If you each had to select an album to take to a desert island; which would it be and why?

Thomas Malone: Leonard Cohen - I'm Your Man

Patrick Malone: Pixies – Bossanova

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

Find a day-time job you can do tired - and allows you time to scribble lyrics on paper during the day because, if you're going to make interesting and subversive music, you will have to pay the bills with another job

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).

Patrick: Wesley Gonzalez - Not That Kind of Guy

Thomas: Leonard Cohen - Everybody Knows

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INTERVIEW: Benjamin Stevie

INTERVIEW:

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 Benjamin Stevie

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IT would be easy enough to throw jealousy…

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the way of Benjamin Stevie. The Edmonton-born, Toronto-based songwriter has a very spiritual and relaxed approach to music: in the sense, he allows the environment and landscape around him to influence his music. That is how the seeds for Yellow Bird - his new single - were planted. I learn more about the song’s gestation and his forthcoming album, Cara Cara. He talks about American under Trump and the music he was raised on.

I ask him about the music scene in Canada and some of the artists he recommends; what is was like recording in the idyllic spendour of Joshua Tree – a desert studio not far from the iconic spot – and what kind of gigs are approaching.

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

I’m great, thanks!

The week has been really beautiful. I played my first show with this new band and it was really special. Toronto is really a special place in the summer and this summer has been incredibly revelatory - and I’m overjoyed to be surrounded by so many beautiful people.

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

Sure.

I’ve been playing music in various projects since I was thirteen; starting in the Punk scene in Edmonton - where I grew up - I played in the same band for twelve years. I moved to Toronto around ten years ago, where I started to do stuff on my own.

While it took me a while to find my stride with the solo stuff; I feel really happy with where it’s all at these days. In the last few years, I’ve been able to connect with so many beautiful people and had a wonderful time doing it.

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PHOTO CREDIT: Anthony Tuccitto

Can you tell me about your new song, Yellow Bird? What is the story behind it?

Sometimes with lyrics, the melodies and words just come and you kind of find out what they’re saying, afterwards. The song, to me, is about shedding falsehood, ego; attachment and gaining freedom through that. It was definitely a reflection of my own personal experience.

Our unique experience of this existence is not to be defined and measured as it has maybe been told to us. But, the truth can never fully be told.

How did you come to work in the desert near Joshua Tree? What was the experience like?

So. I had come to the high desert in California after visiting my parents in British Columbia - where I came up with the first lines of the song while strumming on their deck.

A yellow bird flew past and I just started singing the first couple lines. When I got to California, I was a bit nervous as Adam and I had never worked together - and I didn’t know if I was going to bring the noise you know.

The location of the studio was a windy, expansive plateau on top of the desert mountains - right in between Joshua Tree and Big Bear. It was serene, magical and a bit foreboding (and harsh). I can still remember the feeling of being up there as inspiring a sort of calm and sense of solitude that forced me to evaluate my life in a real way. Also, in places like that; music resonates in a clearer way than in the city.

The song came out of those hills and right through me. That’s the best way I can explain it. Haha.

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Your album, Cara Cara, will be released on 22nd September. It seems like it will be very eclectic. What themes are addressed within?

Yeah. The album is a very eclectic mix of music that really came together organically.

After being in so many situations in the ‘industry’ - that were looking to control the creativity and felt like they were choking me out - I was happy to kind of freely create with no real agenda other than getting the work done. I guess, in a sense, the lyrics reflect that energy as well. Obviously, there are songs about love, loss; joy and pain - you know...the basic stuff.

But, I think there is some clarity to it in a way for me. The themes, overall, are about appreciating where you are in the knowledge that you’re only here and now; never there and then - finding peace and truth through acceptance and love.

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What sort of emotions and ideas compel your music? How important is the environment and natural energy of the location to your creativity?

I look to cultivate a sense of truth and light in my life which, I guess, could be called spiritual - and music without heart is just noise. I do my best to put that in it because the music that touches me is always wholehearted. The environment and landscape inevitably enter into the music - simply by the impressions of your daily life being filtered through you at any given time and place.

I do my best to remain empty and still in the mind and find when I can get to that the inspiration can flow through much easier. Humility and honesty are goals I strive for every day - and I find with that comes just a little more peace.

Tell me how the album came other and what the experience was like.

The album was recorded in a bunch of different places over about a year but the bulk of it was at one studio in Toronto, over the summer. We would go in with either a rough idea of a song - or a full song and work out the arrangements (etc.) in the studio. Different people would be involved on a day, other producers; players (etc.) who would lend their ideas as well.

A few times, we would inevitably come up with an idea on the spot and work on that. Like Mind Movie; I just started playing this riff one day, and for three days straight, we worked on the whole thing until it was done. It was amazing to have that luxury of time in the studio to try ideas out and be able to realize them without too much stress.

Also, I guess you could say we did a lot of post-production making a lot of small changes or additions to things - after the actual studio work was done. All in all; it was one of the best times I’ve ever had making music.

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PHOTO CREDIT: Anthony Tuccitto

What do you make of the situation with Trump and the way America is headed? How do you assess the current political structure in the U.S.?

I grew up in a politicized household and in a highly-politicized music scene where I was exposed early on to ‘radical’ ideas which I think of more as common sense, humanistic ideas - so I pay some attention to what is going on. For myself, I tend look at the longer arc of things more than what’s going on day-to –day - so I see the current situation as more symptomatic of the downfall of this tragically misled society.

We’ve lived on borrowed time for so long and the people have been fed so many lies for so long that we’re physically, socially; culturally and spiritually malnourished- starving to make some sense of things; so we easily fall victim to divisive hateful political messages. If I could say anything, I would say anger breeds hate on both sides. But, the more productive and powerful thing would be to turn disgust and anger into empathy and love.

How musically-minded were your parents? What is your first memory of music?

I remember my parents had Whitney Houston’s first album when it came out - and I have this vivid memory of being about five and dancing in the living room with these girls my mom babysat. I lost my mind and felt entirely free in that moment.

I guess it was probably How Will I Know, as that’s the most dance-y but, really, that whole album has a very special place in my heart. I’ve been looking for that moment of freedom and musical connection ever since.

Have you got any gigs coming up? Any plans on coming to the U.K.?

Doing some shows this side of the world in the next little while but I definitely have my eye on the U.K. and Europe – so, fingers-crossed, I’ll be there before long.

Who are the new artists you recommend we check out?

I live in my little box where I don’t see too much of what’s happening musically these days but my friend, Matty Tavares - who produced some of the record - just released the first single, Embarrassed, off of his new album.

Hmmm…also, Charlotte Day Wilson is another Toronto artist making some beautiful stuff right now.

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IN THIS PHOTO: Charlotte Day Wilson/PHOTO CREDIT: Devon Little

What is the advice you would offer to new artists emerging?

I’d say: do your best to connect with and develop your own intuitive sense of the music. Work at it and be as honest as you can with yourself; yet, gentle with yourself at the same time.

You’re not going to be amazing at certain things at first but, if you cultivate the connection between your heart and your music, one day, hopefully, you have a garden full of beautiful flowers.

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INTERVIEW: Shanghai Blues

INTERVIEW:

 Shanghai Blues

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THERE are a lot of bands out there; most of whom are described as…

PHOTO CREDIT: Ant Adams Photography

‘promising’ and ‘worth your time’. This can, in a lot of cases, by hyperbole and myopic. When it comes to Shanghai Blues; those words would fit them comfortably – I have no doubt they will make strides very soon. I talk to them about the single, Those Three Words, and what it is all about. They tell me how they have developed as a band and the importance of East London as a base.

Looking ahead; the guys discuss their plans and gigs; look back at the artists that have made an impact on them and provide a couple of names we should be aware of – those musicians that will be making an impact very soon.

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

Great!

Loving the reaction we're getting for the new single.

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

We are just four guys from East London.

We drink beer, eat chicken and play really fuc*ing loud.

You have been around for quite a few months now. How did you all come together? Can you remember the first song you laid down as a group?

We all met at school but played in different bands growing up. We decided, last year, to all come together and give it a go - and we're-super excited about how it’s going. Some of those early songs are not worth remembering!

Sick was one of those very early ones that made it out there!

Where does that band name, ‘Shanghai Blues’ stem from? Does it hold cultural and personal significance?

It’s homage to a dingy Chinese restaurant that is, sadly, no longer with us. That’s about as significant as it gets.

Those Three Words is your new single. Can you tell me about the origins and what compelled the single?

The song revolves around a broken heart reminiscing (of) ‘when things were easier’ - when it was just the protagonist and their partner. All the songs we write are very personal to us but this one, in particular, was written from a broken heart within the band.

How easy was it putting the song together? Did it flow naturally or was it assembled over a course of days/weeks?

Once we had the main guitar part down; all the other instruments fell into place - as well as the lyrics - so it was one of the more natural songs we've written.

Oz Craggs produced and mixed the song. What did he bring to the recording in terms of guidance and talent?

Oz is a fuck*ng gun.

We always have so much fun with him in the studio. One thing he did bring was a sweet new sofa. Anyone who's been in with Oz knew about the bench. Haha.

Aside from that, we always find him so easy to work with and everything happens very naturally. He gets us and our sound.

Working with him has influenced a lot - down to what guitar pedals and amps we use.

Your social media numbers are growing. Your fans seem to connect with your music. How much does that mean to you?

It means so fu*king much!

I don't think we really knew what to expect when we started the band – but, to see the reaction from so many people, from all over the world, is great. 

We've always got time for the fans so hit us up!

Critics are really pushing the music. That must be humbling getting such acclaim, right?

It's great to have a positive reaction to the music - whether its critics or not. We just want to make music we enjoy and, if other people enjoy it, too, that’s even better.

Is Those Three Words the catalyst for an E.P. or album? What do you guys have planned?

We may or may not actually have another single coming veryyyy soon.

Keep your eyes peeled!

Can you reveal the sort of bands and artists you grew up listening to? How important was music to all of you during childhood?

I would say we all have a pretty eclectic selection of music that we grew up listening to - from Grime to Metal.

Nothing is ever set in stone and I think that’s been a big influence on our style and music.

How inspiring is East London – where you are based – to your creative drive? Is it providing a lot of gig opportunities for the band?

I think East London has influenced us and inspired us in different ways.

We all grew up and still live here, rehearse here; get battered here. There isn’t much of a music scene here to be totally honest - but you’ll always find little hidden gems now and then!

What kind of tour dates do you have approaching?

Can’t give away too much, but we’ve got a massive show that we’ll be announcing soon - going to be our biggest one yet!

PHOTO CREDIT: Ant Adams Photography

Who are new acts you recommend we check out?

Our boys in Glass Peaks are slayyyying it at the moment.

Obviously, if you haven’t seen what J Hus has done - you should deffo check him out.

IN THIS PHOTO: Glass Peaks/PHOTO CREDIT: Ant Adams Photo

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

Reece: Probably Grace by Jeff Buckley

It (just) has so much feeling and emotion.

Mike: Never Mind the Bollocks… by the Sex Pistols

The first record I ever owned and, the second I put it on, I knew that all I wanted to do was music.

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

Keep going and don’t give up. It’s a long, hard journey that we’re only just starting out on ourselves - but it’s so worth it.

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).

Reece: Jay Som - The Bus Song

Mike: Nilüfer Yanya - Keep on Calling

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INTERVIEW: Robot

INTERVIEW:

 Robot

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THE moniker might suggest an artist who detaches emotions from music…

and creates something processed and calculated. That couldn’t be further from the truth with regards Robot. Its ‘creator’, Robbie Moore, started like in the U.K. but is now based in Berlin. I ask him about that transition and whether life is better over in Germany – and how, having his own studio, he gets to welcome a variety of interesting musicians.

He talks to me about his forthcoming album, Vedgdbol, and whether it differs from his previous, 33.(3) – if new components have come in or there has been an emotional transformation. I was interested to know more about his most-recent video, Bones – from the 33.(3) album – and whether visuals (it is a very arresting film) are important to him.

ALL PHOTOS (except album cover): Elsa Quarsell 

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

It's been pretty crazy.

Finishing off Jesper Munk's new album while trying to learn how to make an animation for my next music video - stop-motion, Terry Gilliam-style; using bits of paper instead of the computer (why do I always make life so difficult for myself?!).

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

My name is Robbie Moore and I try to make melodic, intensely-emotional Pop music (using wooden instruments).

I am also very interested in human emotions and the way that people behave as a result. It's, as though, our brains are somewhat robotic in nature: following the programming that our emotions set out.

I find it endlessly fascinating and I try to put my observations of myself and people dear to me into my music.

On 27th October, you release the album, Vedgdbol. What can you reveal about the type of songs and themes explored on the record?

My first album, 33.(3), took me a long time to make. I played pretty much everything myself; locked in my studio - whenever I had a break in my schedule. I'm very proud of that record, but for this one, I wanted to explore a more spontaneous and upbeat approach. I had an idea that it should be something like a 1960s' Dance record. So...I sat down for two days and wrote as many chord progressions and riffs as would come out - without spending very long on each one.

I ended up with forty sketches: some had quickly turned into proto-songs; others remained (just) a basic idea. Then, I booked some of Berlin's finest players for three days in the studio. I fed them the sketches (basically turning them into robots) and we rattled through fifteen songs in those three days.

I, then, spent a further three or four weeks myself - writing vocals, overdubbing more instruments; editing and finally putting the finished album together. I think the concept worked well and I'm already planning the next album which will take it a step further! You'll have to wait and see, though!

Thematically and lyrically, this one deals with the pressure that artists feel when having to find a meaningful outlet for brains - which are very often completely overloaded with emotion - as well as social themes like gender identity and finding your place in the world.

Bones is the first single from the album. What is the story behind the song and will there be more singles from the album?

Actually, Bones was on the last record!

The first single (end of September) will be called Anybody Else (But You).

What was it like making the video for the song? Do you get quite involved with every stage of a video?

Well, the Bones video involved me being covered completely in black latex body-paint for ten hours - while my friend Armando Seijo painted a skeleton on me!

As I mentioned before; the video for my next single, Anybody Else (But You), is an animation...very time-consuming but I'm very interested in the art-form; so I'm enjoying the process.

I do generally get very involved in this!

What is the origin of the title, Vedgdbol?

The title, Vedgdbol, came from the feeling I often have that the pressures of life's work and art are turning me into a metaphorical 'vegetable'. It's an English saying: describing somebody who's brain doesn't work too well. I wanted it to be spelled wrong, too - as if I couldn't write it properly anymore.

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I figured I would ask my six-year-old son to help me - and that's how he spelled it first time...so that's what I used.

I think it's perfect.

How does your new record, released less than a year ago, differ to 33.(3)? Have you taken in new influences and gained more confidence in that time?

Well. I'm definitely more confident.

As I said; the last record took a long time and it was such a relief to finally finish it. It can become a real nightmare when a piece of art takes too long to accomplish...like a writers-block, times-one-hundred!  I'm feeling pretty inspired and motivated right now. I think there's a lot of stuff that's been waiting to get out!

On Vedgdbol; you embrace more of the 1960s/Garage sounds. What compelled a bit of a sound change?

I've always loved that kind of aesthetic and I wanted to see what would happen if I tried to start off in that style - and then bring in my natural more thoughtful stuff on top. I also see 33.(3) as the birth of the 'Robot' character...all those songs are written from an extremely innocent standpoint: like a child is observing the human race and is able to keep notes on their behaviour.

I see Vedgdbol as the Robot becoming a teenager: letting its hair down - but, the experience of living as a human is beginning to take its toll! Plus, I wanted to have some more upbeat songs to play live. I think it makes a pretty interesting set now.

The songs from 33.(3) have a new lease-of-life as we play them with a new type of energy, too.

Who are the artists you grew up on and compelled your move into music?

I was always obsessed with The Beach Boys as a kid...then The Beatles, Bowie; all the usual stuff. I've always considered myself a student of songwriting, primarily. I was never interested in musicianship, really. I always felt that the biggest challenge was the writing process - so that's what I spent my time practicing.

I can play a lot of instruments in an emergency but I don't know any scales or any music theory. It keeps it mysterious to me, which I like – and, also, forces me to use my ears!

Robbie Moore is your real name. You started life in Britain but are in Germany now. What compelled the move and how do the music cultures differ between the two nations?

Britain is a difficult place, artistically, these days - especially London.

It's way too expensive to allow a relaxed artistic approach – and, as a result, the music scene is extremely cluttered, desperate and self-conscious. I had an idea that I could, possibly, get something good going in Berlin; so I took a chance...and it paid off, really. I've been way more productive since living here.

It's a wonderful place for the mind; very little judgment from others; everyone has a spirit of adventure - the opposite to London, I'm afraid!

I believe you have seen a lot of bands come through the doors of your Berlin studio. What is it like hanging with cool bands and do you have any favourite memories?

In many ways, it is a total dream-job: people come to work with me, specifically because of the little musical niche that I occupy - which means, I generally get to do a lot of playing and I'm generally really into the stuff that I work on. As a result; I usually get on well with the people I work with. It is, also, sometimes very challenging, though!

Helping somebody to realise their artistic vision in the studio can be a tricky process. There usually isn't too much money around for people to spend months in the studio; so we have to work quickly.

But, as hard as it can be...I do love the challenge! The relationship between artist/producer/musician in, the studio, is an incredibly intense one - very good, deep friendships can be quickly formed. You become like a family for a brief period of time, and, of course, often those friendships last after the job is done!

Recently, I've done things like the new L.A. Salami album. He's brilliant and getting a lot of attention at the moment. Also; the new Jesper Munk album...it's sounding really amazing - very excited about that one!

Are there any gigs/tour dates coming up at all?

We are doing a tour with Jesper Munk and Lary in October (15th - 18th): Munich, Hamburg; Cologne and Berlin...and then some more dates in November in support of Vedgdbol's release.

Who are new acts you recommend we check out?

Check out L.A. Salami!

IN THIS PHOTO: L.A. Salami/PHOTO CREDIT: Ken Abrams/ What's Up Newp

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

Probably Pet Sounds

Because it combines unbelievably creative songwriting with a bunch of studio musicians at the top of their game - all playing live together, very inventive instrument combinations; topped with the best vocal arrangements The Beach Boys ever did.

Then...Hunky Dory

Because it was (just) at the perfect moment between 'Folk (David) Bowie' and 'Glam Bowie'.

Then, probably, Marquee Moon by Television

Just…because!

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

Don't do what you think you ought to do.

First: make yourself as weird and crazy as you can; push yourself into an unknown place; challenge your own ideas of what music can sound like (it can sound like anything). Then, afterward, sift through the chaos and try to guide your favourite bits back down to Earth - to live as a human moment on record.

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).

How about Mack the Bomb by Pete Seeger

Seems appropriate somehow - which is a shame - but it's an amazing track!

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