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

FEATURE:

 

The Legends Are Mortal:

 

10 Dissapointing Follow-Up Albums

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

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The Beatles – Let It Be

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

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

Oasis – Be Here Now

 

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

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

The Stone Roses – Second Coming

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

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

Michael Jackson – Bad

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

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

Terence Trent D’Arby - Neither Fish Nor Flesh

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

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

Primal Scream - Give Out But Don't Give Up

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

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

Bob Dylan – Self Portrait

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

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

The Strokes – Room on Fire

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

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

Lady Gaga – Born This Way

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

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

Led Zeppelin – Presence

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

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

INTERVIEW: Liz Loughrey

INTERVIEW:

 

 

Liz Loughrey

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Currently playing as I write this: Estelle - Come Over

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

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Follow Liz Loughrey

Official:

http://www.lizloughrey.com/

Facebook:

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

Twitter:

https://twitter.com/lizloughrey

Instagram:

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

YouTube:

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

Soundcloud:

https://soundcloud.com/lizloughrey

FEATURE: The September Playlist: Vol. 5

FEATURE:

 

The September Playlist: Vol. 5

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NOT only is there a spate of brilliant…

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

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The Old Guard

Weezer – El Scorcho

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

Primal Scream – Movin’ on Up

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

Nirvana – Lithium

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

Jimi Hendrix – Freedom (Live)

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

Beck – Loser

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

David Bowie – Young Americans

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

The New Breed

Warpaint – Whiteout

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

Daft Punk and The Weeknd – Starboy

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

Tor Miller – All Fall Down

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

Hamilton Leithauser + Rostam – In a Black Out

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

Deap Vally – Gonnawanna

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

Boxed In – Jist

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

Dirty Projectors – Keep Your Name

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

The Slow Revolt – Lean

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

Will Joseph Cook – Sweet Dreamer

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

How to Dress Well – Can’t You Tell

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

Billy Bragg and Joe Henry – Gentle on My Mind

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

Merchandise – Lonesome Sound

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

Marillion – The New Kings

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

Trentemøller – Redefine 

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

Passenger – When We Were Young

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

Fenech-Soler – Kaleidoscope

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

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

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

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

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

Gold Complex – Backbone

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

Emelie Sande – Hurts

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

Shamir – Tryna Survive

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

DZ Deathrays - Pollyanna

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

Bloc Party - Stunt Queen

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

Green Day – Revolution Radio

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

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

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

 

Daya – Sit Still, Look Pretty

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

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

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

Craig David & Sigala – Ain’t Giving Up

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

The Divine Comedy – The Pact

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

Mouses – Hollywood

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

Hinds – Bamboo

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

Raf Rundell – Right Time

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

Beach Baby – Atom Bomb

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

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

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

E.P. REVIEW:

FloodHounds

 

PHOTO CREDIT: Aimee Catt

 

Look What You’ve Started

 

9.5/10

RELEASED: 16^th September, 2016

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

ORIGIN:

Sheffield, U.K.

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

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

TRACKLISTING:

A&E – 9.5

State of Mind – 9.4

The Fear – 9.5

Soulmates to Cellmates – 9.5

End of the Road – 9.4

Greatest Mistake - 9.4

DOWNLOAD:

A&E; The Fear; Soulmates to Cellmates

STANDOUT TRACK:

Soulmates to Cellmates

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THERE is a lot to recommend about my featured band…

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

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

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

Jack Flynn – Guitar/Vocals

Rhys Owen – Bass/Vocals

Lauren Greaves - Drums

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

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

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

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

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

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

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

PHOTO CREDIT: BACKSTAGE:UK

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

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

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

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

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

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

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

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

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

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

PHOTO CREDIT: BACKSTAGE:UK

ARTISTS like FloodHounds.

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

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Follow FloodHounds

 

Official:

http://www.floodhounds.com/

Facebook:

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

Twitter:

www.twitter.com/floodhounds

YouTube:

www.youtube.com/user/floodhounds

Instagram:

www.instagram.com/floodhounds

INTERVIEW: Lánre

INTERVIEW:

 

 

Lánre

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IT is hard properly defining yourself and standing aside from…

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

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

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

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

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

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

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

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

PHOTO CREDIT: Janssem Cardoso

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What have been your favourite albums from 2016? 

The Dreaming Room - Laura Mvula

The Wild Swan - Foy Vance

Martyr Loser King - Saul Williams

What advice would you offer new musicians coming through?

Get on with it, persevere and enjoy the ride.

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

Meshell Ndegeocello – Oysters. This song goes for your heart

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

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Follow Lánre

PHOTO CREDIT: CK Goulding

Official:

https://lanreworld.wordpress.com/

Facebook:

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

Twitter:

https://twitter.com/iamlanre

YouTube:

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

Soundcloud:

https://soundcloud.com/lanreworld 

INTERVIEW: Samuel Jack

INTERVIEW:

 

 

Samuel Jack

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

________________________

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

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

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

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

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

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

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

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

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

INTERVIEW: Adam K

INTERVIEW:

 

 

Adam K

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MANY ignore the great solo artists of the underground…

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

_____________________

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

My favourite question!

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

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

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

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

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

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

Metallica - The Black Album. 

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

Madness - 7. 

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

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

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

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

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

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

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

Misfits - Fiend Club.

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

(Thanks for the interview, Sam!)

________________________

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INTERVIEW: Bird

INTERVIEW:

 

Bird

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

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

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

________________________________

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

________________________

Follow Bird

 

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http://www.birdofficial.com/

Facebook:

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

Twitter:

https://twitter.com/birdmusic

YouTube:

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

Instagram:

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

Soundcloud:

https://soundcloud.com/birdofficial

__________________________

Beat is available at:

https://play.spotify.com/album/03rH8fmRbcfcXvTRf42EKk

INTERVIEW: SALT

INTERVIEW:

 

 

SALT

________________________

I yearn to find a band that is not only fresh and hungry…

but have genuinely fascinating members in its ranks. There are a lot of faceless and anodyne bands doing the rounds. Discovering a group that has flair, energy and genuine talent in the locker is a treat reserved for a choice few. Frankie Lord, Jack Reynolds; Ryan Morritt, Sam Brookland and Dean Ward are the boys behind SALT. The quintet has a string of awesome gigs ahead and just released the insane, brain-melting video for Don’t Look at Me That Way. Since 2012, the guys have been building their reputation and sound: you feel they are a group ready for the big stages – surely that will be something in their future. In addition to being part of Musicians Against Homelessness: I ask them about how the group came together; which artists influence their sounds – and reveal a rather naughty secret about one of their members…

____________________________

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

Hey, hey; yer pretty good, thanks. Nothing too crazy but pretty good.

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

Well, we’re SALT; I guess we’re Alt.-Rock. I guess a lot of people seem to be saying we’ve got a kind of Kings of Leon sound going on (hopefully the early albums). I can see what they’re saying.

We don’t aim to sound like anybody, though - we try our best to create our own sound through a number of different influences wherever possible.

It might seem like an old question, but how did you guys come together?

Right now; over to me (Frankie). Ha. Jack and I were always hanging out trying to learn covers and write music since we were about 16 or so. It was only quite a bit later on that we were like ‘Hey, why don’t we actually try and do this properly?’ One of our other mates, Tom, was pretty keen to join and he helped find us a drummer, Ryan Morritt (now guitar). Me and Jack grew up with Sam Brookland at school and we asked if he would be interested in playing bass. Tom quickly realised that being in a band wasn’t quite for him and Ryan - being desperate to show off his guitar skills - quickly found Dean Ward to jump on the drums. Turns out Ryan was better at guitar than drums anyway and you’d find it hard to find a more solid drummer than Dean. So that was that. It hasn’t changed since.

You seem to be a step above most the Alternative/Rock acts there. What, would you say, is the secret behind that recipe?

Wow, thanks very much. Well, I’m not sure there really is a secret. Just practice and practice and practice; write as much as possible. If it’s what you’re meant to do, it very quickly turns into an obsession. You can’t go anywhere without thinking of a lyric or a riff. We’ve always found it really important to have respect for other musicians. So often we’ll play gigs and the other bands will pretty much avoid any interaction at all. I mean we are hugely competitive also but what’s the point in being rude. Doesn’t seem to help at all as far as we’re concerned.

Which bands and artists were on your stereos when growing up? Have you kept them close to your heart or are newer artists dictating your influences and creative direction?

This is where you’re meant to say something really cool right; like I grew up only listening to Black Sabbath or something? I can’t talk for all the lads but for me growing up you’d just as likely hear me listening to something like 50 Cent or Eminem as you would Foo Fighters or Red Hot Chili Peppers (or Blink-182). When you’re young you don’t have a prejudice: if you hear something and you like it for some reason, then you’ll probably listen to it.

I think you always hold the music you listened to when you're young close to your heart but again, can’t speak for all the lads, it was the music I was listening to in my late-teens up until now (early-20s) that really sticks with me and influences myself.

As a young male, I’m often interested by coming-of-age music. I think it’s well-documented that going through your teenage years will be tough but nobody warns you about your 20s. I think in many ways there’s more confusion there than when you are young.

Skepta has just won the Mercury Prize. Do you think it is a sign music is accepting lesser-respected genres and what was your reaction to the win?

What a provocative question. But let’s be honest, it's great really, isn’t it? If you go back 50/60 years; Rock and Roll was a ‘lesser-respected genre’. Everything changes and it comes and goes in waves. I think Grime has got some serious passion. Anything that has passion; I think deserves to be acknowledged. It’s just a different form of expression. Just got to keep rollin’ with the times.

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

Don’t Look at Me That Way’s video is rather groundbreaking and eye-catching. Can you talk us through it and what was it like to film?

Thank you. Honestly, it was so much fun. We filmed in an old barn and all of our friends and fans came along to help out and just watch and be a part of it. We filmed in the middle of winter for some stupid reason and it was absolutely freezing! In-between takes we all huddled around this space heater for warmth. We made our own makeshift rain machine using water pumps and various bits of hosing and then filled up a giant vat of this water mixed with Fluorescein - and then just had it spraying out and over us. We haven’t used any visual effects at all in the film; I’m not sure that people realise that though because it is so strong visually. We really couldn’t be happier with the outcome of the film.

Can we expect to see an E.P. or album from SALT in the near-future?

E.P., definitely. We were incredibly lucky and recently recorded at Abbey Road, thanks to an online completion that we won.

So, we’ve recorded a 3-track E.P. that we will be releasing probably a bit deeper into the winter.

We want to get another video filmed to coincide with the release, but now were all racking our brains with how to out-do the last video. As for an album, I think we’ve kind of agreed to come across that if we can get signed. For now, we’re just writing and creating demos. that we can send off to the right people.

You guys hail from High Wycombe but are based in London. What is the capital like (compared with home) and do you still get a chance to play places like High Wycombe?

Capital as in monetary? I would love to say that we get really well looked after everywhere we go but it’s not exactly true. There are a lot of promoters inside and outside of London that are really looking to screw-over young bands. We do prefer to play in London though because of the opportunity. In London, you actually feel like you have a chance; everybody knows somebody. I mean, a few gigs back we had Gary Lightbody from Snow Patrol in our audience. He gave me his email so I’ve been sending over tracks and taking notes. He’s going to try and get us onto some festivals with any luck.

We still absolutely love playing home shows but we’ve started to do them less regularly and when we do we put on our own nights and really pack out the venue.

On the issue of touring: which gigs have been especially memorable or epic over the course of this year?

Well, the last gig we played was a festival. One of the stage lights dropped right down onto the stage whilst we were playing.

It genuinely almost hit me but we just carried on playing. That was memorable. We’ve had some absolutely brilliant gigs. We headlined a local festival in our hometown. Not huge, only around 300 people, but everybody seemed to know us and were singing along to our music and just going a bit crazy. Usually, it’s the gigs you’re not expecting much from that are the ones that are really brilliant.

You play the Musicians Against Homelessness Festival on 24th. What was it like to be asked and is fighting homelessness an important thing the band feels compelled to be involved with?

Funnily enough; at one point very early on we were called Arm the Homeless.  I think it was a paraphrase taken from Tom Morello’s guitar; the original quote was something like “Arm them with knowledge, arm them with an education, arm the homeless” - I’m not 100% sure if that’s correct. Well, I feel if people are in need of a bit of help and shelter then why should they be denied that.

What do you guys want to tick off the ‘to-do list’ in the coming years? Any cities you’d like to perform in or goals in mind?

Well, I think for us Reading Festival has always been on our ‘to-do’ list. I don’t doubt that we’re good enough to do that anymore: we just have to gain enough exposure and find the right avenue. Personal goals: never end up as a poor imitation of your previous self; always change and evolve. So many bands just end up trying to recreate what they had early on. We all hope that we never become that.

Away from gigs and music: do you guys hang a lot and what is the bond like in the band?

Can’t get anyway from one another. We’re all a part of the same friend group now so we’re pretty much always together; that’s if were not already gigging or practising.

A lot of singers and musicians will be inspired to follow you into music. What advice would you offer them?

Well, if they are any then were truly honoured. At times it will literally feel like the shittest thing in a world to try and keep five strong-minded people together - all with different thoughts and ideas.

But, if you just keep doing what you’re doing you’ll literally have some of the best moments of your whole life.

We’ve not been together for so long but already we look back at some of the things we’ve managed to achieve and it’s just incredible - I mean: Abbey Road. You just can’t describe how it feels to be recording in the same room as the piano that was used for Hey Jude. And just musically to watch your own development; there’s something really magical about it all.

 

Can you tell us a secret about SALT or gossip on one of the boys – something most people would be unaware of?

Ha ha. Well, Frankie once accidentally went on a date with - albeit a very gorgeous transgender lady - following her; being won over by our performance at The Hope and Anchor. There. How’s that for a bit of gossip?

(Thanks so much for the questions. Some really interesting stuff being asked there).

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

Hhmm. how about My Body Is a Cage by Arcade Fire? Haven’t heard that in a while.

[youtube https://www.youtube.com/watch?v=nhhZdune_5Q&w=560&h=315]

______________________

Follow SALT

 

Facebook:

https://www.facebook.com/saltukband/

Twitter:

https://twitter.com/SALTUKBAND

YouTube:

https://www.youtube.com/channel/UCMq4wuFDoFApF5lY6UU-k3Q

Instagram:

https://www.instagram.com/salt.uk.band_/

SoundCloud:

https://soundcloud.com/saltukband

FEATURE: My Favourite…. Live Album (The 700th)

FEATURE: 

My Favourite…. Live Album

(The 700th)

______________________

WITH the 700^th post now under my fingers…

I wanted to launch my second regular feature – alongside the Playlist series. In future rounds, I’ll be investigating my favourite album, song; band, years in music and many other topics – attempting to turn it into a 10-part series. To kick things off, I wanted to look at a subject that is not often covered among the polls and features of the music press: what constitutes the best live album of all time. In my opinion, there can only be one…

___________________

What Is the Album?

Jeff Buckley is my musical icon for a number of different reasons.

Not only is he, in my humble opinion, one of the most arresting and transcendent voices to have ruled the planet – still influencing singers and making its mark some 19 years after his death.

At a time (1993) when Grunge and Rock were topping the charts and inspiring legions of new bands: embracing something like Jeff Buckley’s Live at Sin-é might seem like an insane notion. You cannot deny the pleasures and beauty that lie within.

 

Background 

“He moved to New York City in February 1990,^[36] but found few opportunities to work as a musician. He was introduced to Qawwali, the Sufi devotional music of India and Pakistan, and to Nusrat Fateh Ali Khan, one of its best-known singers.^[37] Buckley was an impassioned fan of Khan,^[38] and during what he called his "cafe days," he often covered Khan's songs. In January 1996, he interviewed Khan for Interview and wrote liner notes for Khan's Supreme Collection, Vol. 1 compilation.^[39] Buckley also became interested in blues musician Robert Johnson and hardcore punk band Bad Brains during this time.^[20] Buckley moved back to Los Angeles in September when his father's former manager,Herb Cohen, offered to help him record his first demo of original songs. Buckley completed Babylon Dungeon Sessions, a four-song cassette that included the songs "Eternal Life", "Unforgiven" (later titled "Last Goodbye"), "Strawberry Street" (a different version of which appears on the Grace Legacy Edition), and punk screamer "Radio".^[40] Cohen and Buckley hoped to attract attention from the music industry with the demo tape.^[41]

Buckley flew back to New York early the following year to make his public singing debut at a tribute concert for his father called "Greetings from Tim Buckley".^[42] The event, produced by show business veteran Hal Willner, was held at St. Ann's Church in Brooklyn on April 26, 1991.^[42] Buckley rejected the idea of the concert as a springboard to his career, instead citing personal reasons regarding his decision to sing at the tribute.^[43] With accompaniment by experimental rock guitarist Gary Lucas, Buckley performed "I Never Asked To Be Your Mountain", a song Tim Buckley wrote about an infant Jeff Buckley and his mother.^[44] Buckley returned to the stage to play "Sefronia – The King's Chain", "Phantasmagoria in Two", and concluded the concert with "Once I Was" performed acoustically with an impromptu a cappella ending, due to a snapped guitar string.^[44] Willner, the show's organizer, later recalled that Buckley's set closer made a strong impression.^[45] Buckley's performance at the concert was counter-intuitive to his desire to distance himself musically from his father. Buckley later explained his reasoning to Rolling Stone: "It wasn't my work, it wasn't my life. But it bothered me that I hadn't been to his funeral, that I'd never been able to tell him anything. I used that show to pay my last respects."^[24] The concert proved to be his first step into the music industry that had eluded him for years.^[46]

On subsequent trips to New York in mid-1991, Buckley began co-writing with Gary Lucas resulting in the songs "Grace" and "Mojo Pin",^[47] and by late 1991 he began performing with Lucas' band Gods and Monsters around New York City.^[48] After being offered a development deal as a member of Gods and Monsters at Imago Records, Buckley moved back to New York to the Lower East Side at the end of 1991.^[49] The day after Gods and Monsters officially debuted in March 1992, Buckley decided to leave the band”.

https://en.wikipedia.org/wiki/Jeff_Buckley

What Makes it Special?

Sin-é was, and sadly no longer is, an Irish coffeehouse in New York’s East Village. Just look at the cover for Live at Sin-é and you can see how ‘cosy’ and small the place is. It is, in this rare and ultra-commercial time, a throwback to simpler, honest times – an independent coffee house that is not subjected to brand marketing and identikit shop banners – a million chains of Starbucks on your doorstep. It is one of my lasting regrets I never got to step into Sin-é and witnessing the magic go down. Back in 1993, just before Buckley signed his record deal, it was host to some modestly successful music nights. You had some great talents walk through the door but none like Buckley: as though medium and location were married in harmony the first time he opened his mouth.

You can practically hear spoons drop and coffee being made; little throat clears and people applauding – so intimate and homely. For that reason, it feels like you are right in the mix with Buckley: sitting with him as he unveils performances of immense beauty.

Aside from the sparse and cloistered space – the confined and raw setting – there is oceans of atmosphere, sound and reflection. Just listen to these little conversational snippets and Buckley’s charming and quirky personality comes through.

The album is not a set of ramped-up album songs with stilted conversation in-between. You do not get a band awkwardly shuffling between numbers and re-tuning. There is a real person speaking directly to the audience: they, in turn, are in Buckley’s palms and at his mercy. The music is not your typical live affair. Most live albums (the average ones anyway) have the classics and they are performed to a typically assured level – enough to please the punters and get the crowds singing. Throughout Live at Sin-é there are songs being performed like never before. Buckley covers – as you will see in some selections later – such a wide range of songs from so many different eras. Many of the patrons that saw Buckley perform would not have heard many of these songs played. Even tracks that would appear on Grace – the title track and Last Goodbye – were in their early stages and being experimented with. It was a young man starting to find his feet and taking his first steps. Ragged, loose and rough around the edges: just a human, guitar and amp – surrounded a choice few New York gig-goers. Even though it was released in 1993 it translates incredibly well and sounds as divine and seductive as the day it was released.

 

The Reviews

(E.P.)

Allmusic:

“These four songs certainly accomplished that end. Buckley hurdles seemingly unreachable octaves, suspends notes for what seems like minutes, and belts out his falsetto without a scintilla of restraint. That's a positive inasmuch as it allowed him to show off his considerable talent; it's a negative when it sounded like he was showing off. But his ten-minute cover of Van Morrison's "The Way Young Lovers Do" is a tour de force of strumming and scatting, and his acoustic "Eternal Life" has an electricity that is paradoxically lacking on the plugged-in album version”.

http://www.allmusic.com/album/live-at-sin-%C3%A9-mw0000594878

(Legacy Edition)

Pop Matters:

“Overall, though, Sin-é shows Buckley with a reasonably firm handle on his flourishes. Dylan’s “If You See Her, Say Hello” features some Indian guitar strains for some extra flavor, while he convincingly tears into the traditional “Dink’s Song”, making it sound like even more of a Zep tune than “Night Flight”. Buckley completely invests himself in Van Morrison’s “The Way Young Lovers Do”, injecting the song with hepped-up jazzy guitar and scat vocals that just carry you along”.

http://www.popmatters.com/review/buckleyjeff-liveatsine/

A.V. Club:

“But all the nitpicking in the world can't drown out the bittersweet excitement Legacy Edition generates, from the abundance of never-bootlegged rarities to the emphasis on freewheeling banter to the fragments of subtly spectacular guitar work that begin "Strange Fruit" and Buckley's signature concert staple, Leonard Cohen's "Hallelujah." In Buckley's sure hands, "Hallelujah" couldn't be more moving, but it's nearly matched here by the revelatory likes of "If You Knew" and "Twelfth Of Never." Best of all may be his cover of Van Morrison's "Sweet Thing," which for more than 10 graceful minutes chronicles the sound of Buckley discovering the depth of his power, as he learns just how loud his quietest moments can be. It's an awe-inspiring display, and a pleasure to hear it made public at last”.

http://www.avclub.com/review/jeff-buckley-emlive-at-sin-e-legacy-editionem-11825

 

Legacy

In today’s scene, coffeehouse gigs are probably ten a penny. With so many small venues closing and performances chances fewer: playing at a local coffee joint is an easy and available space for a musician. Less common among bands and larger acts: the solo artists has that chance to play to small audiences and experiment.

Buckley’s Live at Sin-é was a bit of a rarity when it came out. Most of his peers were playing electric and loud: filling stadiums and getting more attention. Most of the recordings at the café were not meant for consumption. Buckley was just doing his thing and doing what any musician does: getting live experience and giving his music exposure.

It is debatable how many modern singers would perform in smaller, more intimate venues were it not for Buckley’s example. In another way, it seems like we need to return to Live at Sin-é-esque live experiences. Think how many of your favourite artists would sound if they were ‘confined’ to somewhere like a coffeehouse. Stripping the music back and deconstructing it provides new life to songs and emotions the author might not necessarily have envisaged. There is still that zeal towards arenas and festivals: we cannot overlook how wonderful a Sin-é performance would be – getting back-to-basics and performing to a small number of people. Buckley was ahead of his time but just carrying on a traditional that had been in place since the time of his heroes like Bob Dylan.

 

Further Investigation

Going hand-in-hand with the legacy of Live at Sin-é is what an effect it had on Jeff Buckley himself. He was a musician (in 1993) that would be signed by Columbia Records shortly after. Limousines and executive motors would be parking around the block: all eager to see the young man perform and blow the crowds away. Fighting and bidding for his signature, Buckley would take this faith and energy into his 1994 masterpiece, Grace. The only studio album of his career is arguably one of the most influential in all of music. It has compelled generations and continues to gain huge praise and love. Buckley himself became more confident as a performer and as two distinct live cuts (below) show; he was one of the most audacious, consistent and beguiling artists to see live. Few since his death have managed to achieve that same degree of affection and reputation – many have tried to top him but none have equalled the majestic Jeff Buckley.

[youtube https://www.youtube.com/watch?v=sA5UAbl1OWY&w=560&h=315]

[youtube https://www.youtube.com/watch?v=eG62bMRml0E&w=560&h=315]

Choice Cuts

Take a listen to the below and get a sense of what the album is about. In actual fact, it is a double-album and contains many treats and wonders.

Buckley was keen to never repeat himself as a performed - no two renditions of the same song - and you can see that here.

He is always thinking and working as the song prevails; taking it in a new direction and keeping the audience alert. The sign of a true master is one who can make old songs sound new and reborn: something you will see...

Calling You

[youtube https://www.youtube.com/watch?v=lOFmZ3WlTBE&w=560&h=315]

Eternal Life

[youtube https://www.youtube.com/watch?v=LzgbIaBP9cU&w=560&h=315]

Strange Fruit

[youtube https://www.youtube.com/watch?v=Rhn8koaW-vQ&w=560&h=315]

Je N' en Connais La Fin

[youtube https://www.youtube.com/watch?v=__uu9kNBDS0&w=560&h=315]

Lover, You Should’ve Come Over

[youtube https://www.youtube.com/watch?v=8FO_9Iig4EQ&w=560&h=315]

Hallelujah

[youtube https://www.youtube.com/watch?v=BsyRq0WFOHY&w=560&h=315]

Final Thought

It is hard to say what defines a truly exceptional live album. Whether you favour the large stadiums or somewhere more humble it is all about the performers. So much emphasis is put onto bands and the festival circuits; a lot of solo artists get overlooked and often have to struggle for space and attention. I feel Jeff Buckley, even before Grace arrived, was laying down a legacy and showing just what can be achieved in a small setting. It is the simplicity and honesty of Live at Sin-é that wins your heart.

It is an album that can be played in any time and during every weather: its majesty and sheer beauty will comfort and stun the listener every time.

Live at Sin-é finds Grace’s future inclusions starting to take shape and form but also unites some older songs given fresh life by a young man who lionised so many artists. From Led Zeppelin and Leonard Cohen to Edith Piaf and Nina Simone: a transcendent set of performances that announced to the world one of the greatest singers and performers ever. He may be gone, but as Live at Sin-é prove, he will…

NEVER forgotten.

Purchase the album here: https://www.amazon.co.uk/Live-at-Sin-E-2CD-Legacy/dp/B001CNFZCM/ref=sr_1_2?s=music&ie=UTF8&qid=1474207140&sr=1-2&keywords=live+at+sin-e

TRACK REVIEW: Bird - Girl Can't Decide (Moto Blanco Club Mix)

TRACK REVIEW:

 

Bird

 

 

Girl Can’t Decide (Moto Blanco Club Mix)

9.4/10

RELEASED: 26^th August 2016

GENRES: Alternative Pop

ORIGIN:

London, U.K.

The album Beat is available at:

https://play.spotify.com/album/03rH8fmRbcfcXvTRf42EKk

____________________________________

IT is back to an artist who I last reviewed a little time ago…

when her album, Figments of Our Imagination was released. When reviewing that album, I was struck by the talent and range that appeared throughout the record. It was not just Bird’s voice that struck by the quality and memorability of the songs. Before coming to her music – and looking at how she has progressed – it is worth looking at artists who have faith in their material (producers and D.J.s remixing the songs and bringing new life to them) and the finest acts coming out of London right now – the musicians that are continuing to play and enduring against a tide of failing acts. Bird is a musician who, like my review subjects yesterday, has a bit of mystery about her. She has been recording for years now but, apart from yesterday, little is known on social media. There are not many biographical details – list of influences and background – but she keeps in touch with fans and is keen to provide updates and insights. I argued yesterday, when looking at Italian band Black Flowers Café how vital it is to have details on your social media pages – making it accessible and way for reviewers and new fans. There are a lot of musicians that keep too hidden and are willing to just let the music do all the speaking. It is a debate that will rage but people will fall on one side of the fence: too much information leaves little for the music to say; not enough makes it challenging for a listener and the artist comes off a bit aloof. I am more towards the latter and would be great to see more musicians put more details into their social media and websites. When it comes to Bird, she does keep her pages up-to-date, but I will like to know her backstory – where she arrived from and what inspired her to make music; the artists that mean the most to her. She is someone keen to connect with her fan-base and new music is in the ether – a bit more about the woman behind Bird would be great for new fans.

I was compelled to review a track from Bird’s new album because it shows how strong her material is – a remix album that works the tracks from her 2015 album, Figments of Our Imagination. That album is a 10-track work filled with sweeping and dramatic compositions full of details and wonderful moments; a voice that seduces and hooks the listener; lyrics that come from the heart but have plenty of personality and lovely little stories. It is great finding a musician that wants to take their material to the next stage and bring talent in to rework the songs. I feel there are a lot of bands that gets too saturated and fatigued by touring – when releasing new material – they are keen to move onto the next project and forget about the songs. After an album is released, the number of times you have to perform and hear those songs is high. Many will get to a point where they want to walk away from that material and focus on something new. Musicians that create a wonderful album and decide to remix tracks clearly have a lot of love for the material – the fans obviously want to hear them too. Bird, within Figments of Our Imagination, crafted an album that resonated with people and caused a lot of love-filled outpouring. She has joined with a range of top-producing talents to get the songs reinvented and reworked. Not only do the songs sound new and fresh: Bird crosses into new genres and shows she has authority when playing in the Dance/Electronica milieu. Beat is a record that is full of life and vigour; it has that endless energy and will speak to a host of new fans and clubs. Bird has been busy promoting Figments of Our Imagination since November last year and will be busy with Beat. There are few musicians that have the talent to endure across two albums (with the same songs) and have that determination.

London is the hub of British music and is becoming busier and more exciting as the years progress. I know cities like L.A. and New York will always be firm in the mind. There are some wonderful artists coming from those cities, but when it comes to British music, London is the natural centre for exceptional sounds and the best young artists. Bird hails from south London which is a part of the capital that is producing some exceptional musicians. Unlike other parts of the capital, which have their own styles and type of musicians, the south tends to favour those with more grit and imagination. It may be stereotyping, but you sense the north and south of the capital plays on the harder/edgier side whilst the west and east are a little more arty and angular. It may be a bit black-and-white but there is a definite difference when you walk through various boroughs of London. Kate Tempest (from Brockley) is putting south London on the map and showing what a fine and consistent writer she is. Her upcoming album Let Them Eat Chaos follows from Everybody Down and is another set of imagination-filled stories and fiery deliveries. Her Hip-Hop –cum-Rap style brings life to tales of inner-city concerns and people struggling with everyday woes and challenges. Let Them Eat Chaos looks at a group of strangers in a neighbourhood/residency who are assessed during a single night in London – they all come together at the end as a storm brews overhead. Bird, whilst playing different styles and genres, has that same gift for songwriting and consistency. Like Roisin Murphy in the north of London: Bird is a brilliant young artist who has a knack for filling her music with so many ideas and colours; the vocal always entrancing and passionate; the songwriting consistently impressive and detailed. It may be a generalisation to say there is a split but there some truth to it. However you dissect London; you cannot deny the amount of future stars it is producing right now. There is no other city or part of the U.K. that is as varied and startling as London. Bird seems firmly at home here and vibing from the people and sounds of London. It is a great place to make music and, with regards Beat and the inspiration behind it, find collaborators and producers.

Before looking at her music – something I will touch on soon – it is wonderful seeing a musician that continues to endure and invent. There are a lot of musicians that find it hard to remain and survive in such a tough industry. Bird made her first album over a decade ago and, apart from looking slightly different, seems like that same hungry artist she was back then. It is wonderful looking at that album cover and that sense of innocence, hope and potential. If her sounds and image have evolved and progressed: the consistency and talent she displayed back then is intact today and she continues to look ahead and plan her next moves. Bird has gained a loyal and huge foundation of supporters who are showing her love and giving her the push and loyalty she deserves. Riding high after the success and fond reviews for Figments of Our Imagination – it seems like she has many more years ahead. There are few musicians that can last over a decade, let alone do so in such an emphatic and impressive fashion. You can speculate as to why Bird has been so successful and managed to remain in music but the fact is this: her passion and talent have seen her through and continues to burn bright. Some artists get lucky and can forge a long career with very little originality and talent. Others will be strong and wonderful but are either overlooked or struggle to gain opportunities and chances to perform. Bird might not have lasted for over a decade, were she not based in London. It is a challenging and packed city, yet when it comes to finding platforms and supporters, there is no other part of the country that is so equipped to accommodate a musician. Having established herself and carved out a home in London: it is likely Bird will continue to press and create more albums; tour hard and get her music as far and wide as she possibly can. Beat is a smart move for a number of reasons. Not only does it bring new dimensions to her songs (from Figments of Our Imagination) but pushes Bird into new parts of music and gives her plenty to think about. It might be conceivable a future album sounds like Beat and is a harder and edgier affair. Maybe Bird will revert back to her earlier material and something more contemplative and softer? Whatever she decides, it is likely to be another assured and authoritative album from one of music’s complete packages.

Just before reviewing one of Beat’s songs, I wanted to look back at Figments of Our Imagination and how it followed from her earliest cuts. It is safe to say Bird has changed and developed since her very first recordings. No longer fledgling and inexperienced: she is one of the most confident and solid musicians in the country at the moment. She released her first album over a decade ago and, although not widely available, is surely not the same sort of record you get with Figments of Our Imagination. Looking at the cover to that album (it is available on her Instagram feed) and you see a deep-in-thought and bright young woman who seems to be full of curiosity but perhaps a few nerves and uncertainties. Fast-forward nearly a decade and Figments of Our Imagination found Bird develop and grow into a bright and fiery woman with no such nerves. She is at her most assured and confident and that seeps through in every note. Figments’ and its songs pack so much energy and drama in. The compositions put in electronic elements but never in an unsophisticated and vague way. She manages to eek so many different ideas and possibilities; always keeping the songs fresh and unexpected. Beat is not a radically different album and that is a good thing. Some producers and D.J.s would have taken the songs and transformed them in their vision and ideals. Bird has had a huge input and ensured the remixes keep the heart and flavour of the original but do not stray too far from her concept. What you get with the new album is the chance for awesome talent to come together and put their stamp on some tremendous songs. If you listen to Figments of Our Imagination and a lot of the work was already done. Urgent and fast-moving throughout: it is not as though the collaborators on Beat had to struggle and sweat to bring life to the music. Bird ensured that album was already rampant and overwhelmed by quality and possibility. It not a shock she decided to remix the songs as, what we see with Beat, is an album that is gaining new audiences and reaching wider afield. A series of singles has already been released from the album. Thrill Me (DEVolution Remix) was unveiled in June and followed by Drink Drink Drink in July (Seamus Haji remixing that one). Full Intention’s remix of Love Love Love came out last month and Moto Blanco’s reinterpretation of Girl Can’t Decide came out the end of last month. Think So will be the next single released from Beat and comes out on 30^th September. That brings Wideboys into the fray and will be exciting to see yet another helmer come in and adds their talent into the boiling pot. I am not sure whether Bird is going to keep releasing singles or will be thinking ahead to a new album – she has that rhythm and energy in her blood and seems to be on top form. Beat has already been picked up by a lot of stations and reviewers: new listeners are discovering a rare talent and hearing some amazing songs to boot.

After the success of the top 10-charting club hit of Hypnotise (remixed by Bimbo Jones) there was a lot of appreciation and love for Beat. I decided to look at previous single Girl Can’t Decide as it not only reworks my favourite song from Figments of Our Imagination but channels the talents of Moto Blanco. The duo is based out of south London and consist Danny Harrison and Arthur Smith. They have been dabbling and experimenting with music since they were in school and worked under different alias since - creating the Moto Blanco name in 2003 and moving into mainstream music. They are a consistent duo who has worked with a lot of artists. From Fergie and Christina Aguilera; Jennifer Hudson and Mary J. Blige: some of the finest American talent from the last few decades. They are nimble and stunning force who has that reputation and cache. They are able to transform songs by some of music’s titans and make them (the tracks) sound sharper and brighter. Girl Can’t Decide begins with compacted and tight beats that get the listeners compelled and moving. Aimed for the clubs and late-night revelers: you can hear depth and insight from the very first moments. It is not just a dead-eyed and lackluster throng of beats and electronics. Being such an assured and prolific duo: Moto Blanco give nuance to Girl Can’t Decide and make sure its first seconds is not too heavy-handed and direct. Rhythmic, pulsating and sexualised: you are under its spell but not sure what is going to follow. The percussion starts to expand and becomes less stuffy and dark than previous. Hissing, teasing high notes come in and takes the song in new directions. Not only are your feet moving (after hearing the initial percussion parable) but the hands start to move and you will nod your head in time to the beats. Before long, electronic rushes join and the track kicks up another gear. Before Bird’s voice arrives, the duo have laid down a marker and ensured Girl Can’t Decide gets people engaged and fascinated. Unlike the original – which has a lighter and more romantic edge to it on Figments of Our Imagination – here there is darkness and twilight moodiness to it. The song’s title is repeated and echoed against a wash of hissing electronics and teasing beats. In way, I am reminded of the classic club day of the ‘90s and early-‘00s and the quality coming out of that time.

As the vocal – that simple line of the title being sung – is chopped, layered and fragmented; the compositions remains fairly simple and level. It is great seeing that contrast of vocal and composition. Bird sounds confused, aghast and lost in a whirl – differing from the original vocal of Girl Can’t Decide. Giving the song an eerier, heavy and delirious nature: it decomposes the song and examines its themes and basis; building it back up with steelier foundations and new ideas. In terms of composition, the electronics and beats combine to create a catchy and bouncing coda. A repetitive and get-up-and-move swagger that recalls some of Moto Blanco’s earlier work; you are engaged and brought directly into the song. Our heroine had to go a long way (to get her man) and born out of a complex situation. These lines and thoughts are kept straight and pure – not chopped and mix too far down – and ensure story is revealed and we get some more insight from the author. Before that, some agile and spirited piano come in and provide youthful bursts and little shades of Black Box’s Ride On Time – perhaps an obvious comparison but you hear little touches of that song. Bird looks at a love that is confusing and hard – hence the title one assumes – and is wrestling with decisions. The girl is in love and she can’t decide. That is the central theme and the way Moto Blanco present the world and splice them with the composition brings fresh revelation and insight into those lyrics. Compared with the original album version and those words have new potential and meaning. Bird’s voice remains light and not too suffocated but her thoughts seem more tense and nervy than before – thanks in no small part because of the continuing endeavor and motivation of the composition. Not only is the vocal mixed perfectly into the song – not too low so it is cannot be heard or too high and dominant – that parabond of vocal/composition is a perfect chemistry and will please existing Bird fans and surely unify club-goers and aficionados of Electronic and Dance music. Even if I did not know about Bird I would approach the song and find much to enjoy. The remixed Girl Can’t Decide has been picked up by a good many D.J.s and it has received praise across social media. Tying together the best of the ‘90s and ‘00s with modern-day Electronic sounds: a superb accomplishment from the legendary duo. Bird’s voice is queen and she recalls how she negotiated a hot heat and oppressive climate. She has got this love and affection but need to “get some sleep”. You imagine her pounding the streets or desert and looking for a thirst-quenching affection – something she has longed for a good many years.

PHOTO CREDIT: Johnny Daukes

Into the second phase and the music changes direction and expands its wings. The opening phases were quite tight and racing whilst now there is more variation and openness. Perhaps suiting the lyrical progression – Bird does not know what to do and is in a sea of confusion – the producers match the sentiments and change in the story. If they were to go hard and put too many punishing beats into the fray; it would cheapen the lyrics and give the song too much hardness and violence. They splice electronic calm in and chop the vocals to add to the emotional confusion and turmoil. It is as though Bird is stuttering and chasing her tail; she is questioning her mind and battling her own thoughts. Moto Blanco keep everything disciplined and structured but keep the composition nimble and ever-changing.  While the heroine is unsure of the love and maybe has worked too hard to gain it: you wonder whether she will find happiness and who the hero is. Fascinated by her plight and the intoxication of the relationship she finds herself in: few listeners will be able to hear the song and not take anything away from it. The final embers of the song repeat the chorus/song title and make sure those words are firm in the mind – such a catchy and hooky sound that is sure to get clubs jumping and patrons singing. One of the biggest differences between the Figments of Our Imagination and Beat versions of the song is how accessible and flowing the latter is. Where Figments of Our Imagination had that experimentation and emotional candour to it: Beat has club daze (sic.) sunshine and lightness – taking the song into new audiences and directions. Both cuts are fine work but it is impressive seeing Moto Blanco bring new ideas and possibilities into the song. Into the last few moments, the introduction sound is repeated but with lighter shades. The beats persist and run but there is less weight and hardness than before – maybe signifying less anxiety and struggle in the heroine’s mind.

Beat is a smart move and one not many other artists would take. There is a risk inherent in remixing an album and putting it out there. If the original material is not that strong or variable: remixing songs seems like a pointless exercise and a bit of time wasted. Similarly, if the songs are very niche and do not have that flexibility: reworking them might make them worse, or at the very least, not progress them. Beat is an album that sounds fresh and original – if you had not heard of Bird you would think these songs are new. Figments of Our Imagination resounded with many because its songs have reality and personality but that ability to be reinterpreted and remoulded. There are not many musicians that can produce an album and then decide to take it forward and remix it. What Beat does is to keep the purity and intentions of the originals there but elevate them and provide the music a more club-ready vibe. It is not just dancefloors that come to mind when listening to Beat. The music has the ability to score beach parties or accompany someone making a night-time drive. Like Figments of Our Imagination and its vibrancy: there is so much colour and vivaciousness to be found throughout Beat. It is an album I decided not to review – mainly because I tend not to review albums – because it is so detailed and provokes so many different reactions and emotions. One imagines there will be touring demands and plenty of people who want to see Beat’s songs in the flesh and see those tunes given a new lease and sound. I do not know what Bird’s calendar looks like: she is sure to be pretty busy as the year ticks to its close. I urge people to delve into Beat as the album contains so many wonderful moments and it is a solid effort in its own right. I opened by looking at artists who have faith in their music and that is very clear with regards Bird. She knows how effective and loved Figments of Our Imagination was and how many wonderful reviews it garnered. Spurred by that momentum and appreciation: Beat is a decision not many artists would have taken. Normally, when an album does get praise, a musician would take it on the road and bleed the songs dry. It is the way music is and can cause some jadedness and fatigue. It is something that happens and just the way music can work. If you are a popular artist and have that kind of demand then people want to see you live. Bird has that demand and love but rather than tour Figments of Our Imagination for many months and do all she can with the songs in the live setting: she decided to bring in a cavalcade of hot talent and reimagine the track – thus giving them fresh revelation and potential.

Before closing, it is going to be interesting seeing what Bird does next and what moves she makes. I know she is busy promoting Beat and excited by the reactions it has gained. Out for four weeks now and the music is still very fresh in people’s minds. She must be buoyed and warmed by all the appreciation and interest in her work and that is likely to lead to more albums in the future. This year is almost through so one feels, if there is another E.P. or album, it is likely to arrive in 2017. In the past decade, the young hopeful girl that appeared on that first cover has now blossomed into a strong and defiant talent who has no intentions in slowing down and changing. She has tones of life and verve and will be wonderful seeing where that takes her. I mentioned Roisin Murphy earlier, and that is a musician I see a lot of in Bird. Murphy, from her early days in Moloko, has really changed her sound and is producing her finest work to date. Her current album, Take Her Up to Monto, brimmed with ideas, variation and quality. Perhaps less bold and big as previous work: it was a logical move and exceptional album from one of music’s true originals. Bird – Murphy is based in north London – is a south London girl who has that same degree of talent and potential. I would not be shocked seeing her enjoy a Murphy-esque trajectory and becoming a mainstream star of the future. All the foundations have been laid and you feel her time is now. If you have not clasped Beat to the bosom then I suggest you do. Even if you are new to Bird, you will not need to dig back into her catalogue to understand where she comes from and what she is about. It is advisable listening to Figments of Our Imagination and comparing the two – Beat keeps the songs pure but stretches them and gives them added punch and colour. Bird is a musician that has very few equals (in terms of her sound) and I know how much she wants to remain and inspire new generations. It is not going to be easy – there are challenges and competition – but that will not be an issue at all. She has such a desire and love of music which will more than see Bird succeed and ensure for a long time to come. Her latest album proves what a special force she is, so let us all hope that the…

BEAT goes on.

_______________________________

Follow Bird

 

Official:

http://www.birdofficial.com/

Facebook:

https://www.facebook.com/birdinmusic

Twitter:

https://twitter.com/birdmusic

YouTube:

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

Instagram:

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

FEATURE: The Feelgood Mix

FEATURE:

 

The Feegood Mix

______________________

IT seems, rather predictably, the summer is over and is being…

replaced by something much more ‘British’. With the declining weather and cool breeze: a lot of people I know are unhappy or unwell; going through some tough times and battling to get back to their best. In response to that; I have been looking through some of the songs that put a smile on my face – those tunes that get me uplifted and dig deep. Mixing 1990s club anthems with some classic cuts: a compendium of serotonin-building jams that should banish the pre-winter blues and bring some sunshine back.

___________________

SIDE A:

Madonna – Material Girl

[youtube https://www.youtube.com/watch?v=DNSUOFgj97M&w=560&h=315]

Deacon Blue – Twist & Shout

[youtube https://www.youtube.com/watch?v=Fc6v7OWq5Bk&w=560&h=315]

M83 (ft. Mai Lan) – Go!

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

Deee-Lite – Groove Is in the Heart

[youtube https://www.youtube.com/watch?v=etviGf1uWlg&w=560&h=315]

CeCe Peniston – Finally

[youtube https://www.youtube.com/watch?v=xk8mm1Qmt-Y&w=560&h=315]

Beats International – Dub Be Good to Me

[youtube https://www.youtube.com/watch?v=-MnELifX3sQ&w=560&h=315]

 

Snow - Informer

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

Shaggy - Oh Carolina

[youtube https://www.youtube.com/watch?v=BtLqmWt2h2g&w=560&h=315]

ATB – 9PM (Till I Come)

[youtube https://www.youtube.com/watch?v=5A9OIIapSko&w=560&h=315]

Daft Punk (ft. Niles Rodgers and Pharrell Williams) – Get Lucky

[youtube https://www.youtube.com/watch?v=5NV6Rdv1a3I&w=560&h=315]

Mark Ronson (ft. Bruno Mars) – Uptown Funk

[youtube https://www.youtube.com/watch?v=OPf0YbXqDm0&w=560&h=315]

Stevie Wonder – Part Time Lover

[youtube https://www.youtube.com/watch?v=OPf0YbXqDm0&w=560&h=315]

Kool & the Gang – Celebration

[youtube https://www.youtube.com/watch?v=3GwjfUFyY6M&w=560&h=315]

Black Box- Ride on Time

[youtube https://www.youtube.com/watch?v=M0quXl_od3g&w=560&h=315]

SIDE B:

Snap! – Rhythm is a Dancer

[youtube https://www.youtube.com/watch?v=WMPM1q_Uyxc&w=560&h=315]

Salt-N-Pepa (ft. En Vogue) – Whatta Man

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

Hanson- MMMBop

[youtube https://www.youtube.com/watch?v=NHozn0YXAeE&w=560&h=315]

Spiller (ft. Sophie Ellis-Bextor) – Groovejet (If This Ain’t Love)

[youtube https://www.youtube.com/watch?v=VOdgbRx4ihQ&w=560&h=315]

 

Urban Cookie Collective – The Key, The Secret

[youtube https://www.youtube.com/watch?v=_j-Tji1DueU&w=560&h=315]

Oasis – Stand By Me

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

Michael Jackson – Wanna Be Startin’ Somethin’

[youtube https://www.youtube.com/watch?v=4Uj3zitETs4&w=560&h=315]

Charles & Eddie – Would I Lie to You?

[youtube https://www.youtube.com/watch?v=G_UXvcr22rM&w=560&h=315]

Jackie Wilson – Reet Petite

[youtube https://www.youtube.com/watch?v=8CTs8a7dVa0&w=560&h=315]

Fatboy Slim- Gangster Trippin'

[youtube https://www.youtube.com/watch?v=3k1comdW1Ig&w=560&h=315]

Bob Marley – Could You Be Loved?

[youtube https://www.youtube.com/watch?v=Mm7muPjevik&w=560&h=315]

Electric Light Orchestra – Mr. Blue Sky

[youtube https://www.youtube.com/watch?v=bjPqsDU0j2I&w=560&h=315]

Beach Boys – I Get Around

[youtube https://www.youtube.com/watch?v=wREBD2og5iY&w=560&h=315]

The Beatles – Ob-la-di Ob-la-da

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

Basement Jaxx – Bingo Bango

[youtube https://www.youtube.com/watch?v=fU-vdq7QxvY&w=560&h=315]

Bobbie McFerrin – Don’t Worry, Be Happy

[youtube https://www.youtube.com/watch?v=d-diB65scQU&w=560&h=315]

I hope the list – or sub-sections of it – have helped reduce the fatigue, sadness and depression – if only for a little while. Music has that transformative power: in a time where there is still too much introspective and insular music – we need to celebrate the songs and artists that go the extra mile to create a smile. Play the list and suggest your own choices: it would be great to add some more to the above.

TRACK REVIEW: Black Flowers Café - Mintaka ii

TRACK REVIEW:

 

Black Flowers Café

 

Mintaka ii

 

9.2/10

Mintaka ii is available via:

https://www.youtube.com/watch?v=k7jpFKWmSuo&feature=youtu.be

GENRE:

Flower-Pop

ORIGIN:

Cosenza, Italy

RELEASE DATE:

18^th November 2015

HEADER PHOTO:

Michele Matteo Catanzariti Fotografo

__________________________

IT is probably the final time I shall mention…

the Mercury Prize, because it is hard extorting any new angles and revelations from the subject. It is still hot in my mind but it is worth bringing up one more time. Skepta walked away with the honour and it has sent warm waves through music. David Bowie was tipped to scoop the prize but, as has been said by the judges, came a close second. Skepta’s honour has meant Grime and Rap have been acknowledged in the mainstream and given a platform – there is still a long way to go. It shows there is a wide range in music and we are turning away from the predictable and everyday bands and starting to recognise what a variety there is. Konnichiwa, his winning entry album, was not reserved for lovers of Grime: its messages and music can be understood and appreciated by everyone. Fast flows and stories of the modern day streets are common to as all – perhaps not a huge surprise it affected the judging panel so much. What I love about the album is the sheer confidence and energy that runs through it. It is, above everything else, an interesting record that you find yourself coming back to and enjoy fresh revelation and layers. It may be something I say about many artists/songs, but you cannot underestimate the key and importance of nuance and longevity. Skepta will be a fixture for many years and is sure to develop his sound and grow in stature. My point is, rather artfully circling back to my featured band, how necessary it is to distinguish yourself and create something different. I find we are still producing too many average bands that stagger around and are content to replicate everyone else and commit cardinal sins. Whether it is songs about love and mind-aching vocals; the same old chords and images – we need to embrace musicians that are not willing to conform and have something about them. It is a bit of a vague topic to bring up, but it is worth further discussion. Skepta has shown how mainstream tastes are broadening and attitudes are starting to change. In the wider sense, I have seen some great artists emerge this year that has shown what variation and depth can be found in music. Away from the innovators and spectacular is that batch of past-their-sell-by-date-and-wearisome artists that insist on giving music a bad name. Maybe it is my ranting but I get a little fatigued by Indie/Alternative bands that think they can rock up and get away with the most basic and uninspired music.

Black Flowers Café are a band that intrigue me on their name alone. I do not even need to listen to any of their tracks before I am a little curious and smiling. I am not sure where the name originates but it gives you a little insight into what they are about. They are a Power-Pop band with some darker undertones but have that relatable, for-the-people vibe to them. Let’s hope the band get something together on social media and expand their pages. Before I get to their music and where they come from: it seems a lot of bands are being a bit shy and reserved when revealing themselves wholly. One of things about Black Flowers Café – they have a P.R. firm/contact helping promote their music – is how little is known about them. For the observer or international fans: it is important they get a little taster of the band and where they come from; who inspires them and what type of music turns them on. It is challenging understanding the guys and what makes them tick – their portfolio is reserved for music and images alone. In the modern age, there is an argument as to whether ‘overexposure’ or over-revelation on social media is a good thing or not. If you tell the audience everything about yourself then it can create one of two outcomes: either you are too transparent and open or you come across as aloof and distant. I feel, if you were to put too much information out there, it does not compel you to listen to the music too much – you feel you have the artist licked and their music will not provide any fresh insight. If you give a few lines on your social media pages, then you risk seeing the listener pass by – maybe that artist is not too interested in hooking people in. It all depends on the quality of the act as to whether (lack of information) is a big thing. With Black Flowers Café, there is a little bit of both camps. I feel the guys need to be a bit more open and let people know who inspires them and how they got started. In lieu of an official website and biography: it is challenging learning about them and what their future holds. They are an Italian band but obviously speak English and have amassed quite a following already. I am sure more information and insight will arrive in time but for now, one yearns for a little bit of a spotlight and conversation from the guys. Their Facebook and Twitter pages are very businessman-like and there is that risk of falling into the trap many bands do – not having fun and turning music into something too serious and by-the-numbers. Black Flowers Café are fun guys that have an affection and passion for what they do but one feels they need to flesh their pages out and get a bit more in the ether. What we do know about them is they hail from Cosenza: perhaps not the first place one would look for a new band. I have reviewed a lot of artists but only a couple from Italy. It is a nation we assume is going to be all Opera and Classical: that, or the Pop music is going to be unlistenable or dreck. Some European Pop and Rock is overblown and cheesy; there are too many European artists that fall into that stereotype. I feel we get hung-up on clichés and expectations and that rather stifles our adventurous nature. Cosenza itself is in Southern Italy has a population of under 1 million. Away from the Rendano Theatre and Morelli Theatre; the Old Gardens and Via Arabia stairs – lots of beauty, history and class can be discovered in the city. It is very much an archetypal Italian city full of culture and stunning views but not one of the more productive music centres. Perhaps Rome and Milan has a greater number of bands coming through so Black Flowers Café are a curiosity and innovators. We do not often embrace and celebrate musicians away from big cities and get too focused on the same places. That is not to say every nook and cranny of the globe houses wonderful acts but Italy is a nation we should explore more and realise its culture extends beyond museums and theatres – there is a thriving music scene that is starting to come from.

PHOTO CREDIT: Michele Matteo Catanzariti Ph.

Before coming on to investigate Black Flowers Café’s new (or current) single; the band themselves play Flower/Power-Pop blends and are Angelo, Antonio; Fernando and Gaetano write music that flows and ebbs; provides plenty of colour and emotion – much more effecting and graceful than most musicians out there. It is a genre that is not as represented as it should be and one feels (modern bands) are racing to harder sounds and overlooking what can be eked from Pop. We get bogged down – like we do when thinking of European music – feeling Pop is limited and sounds like everything in the charts. The genre is so wide-ranging and flexible: you can take it in all sorts of directions and throw other genres into the pot. Black Flowers Café plays in the Pop mould but has elements of Alternative and Rock about them – it is a concoction that seems designed to elicit maximum curiosity and fascination. The quartet has been established for a while but are continuing to grow and develop their music; take in new ideas and influences and make every single/album rich and rewarding.

Mintaka ii is the most recent single from the band, and some would argue, is their strongest track to date. They have been playing since 2011, so one has plenty of material to investigate and compare to – see how far the guys have come over the last few years. Mind-bending (from Rising Rain) was a great way to kick their careers off. Spritzing, kicking beats and an insatiable riff: “Nothing really belongs to you but the moment” it is said. The vocals are rushing and spirited whilst the band is tight and focused throughout. Grosvenor Square is one of the E.P.’s more curious songs and has glitchy, spacey electronics and a heavier mood to it. Whilst consistently flowing and energised; the song has slightly darker undertones and makes you curious. It shows, over the course of two songs, the boys are capable of taking the music in different directions but remaining focused and defined. Grosvenor Square is not as obvious as one feels and will win you with its intensity and messages. Deceit, emotions and poison are brought together – perhaps a message delivered to a lover or friend who has been deceitful? Whatever the origins of the song, it has a definite character and charm to it – the band keeping their native accents pure and ensuring they do not succumb to Anglicisation and Americanisation.

Flip the clock forward and their eponymous album took their music in new directions. More instruments and different shades were brought in. The production was a sharper thing and more polished: the songwriting more adventurous and the performances more confident. Thuban has echoed vocals and bongo percussions; spacey mood and glistening strings – an atmospheric with the hero wanted to be taken away (with the heroine). It is a gorgeous song that proves the experimental side of the band was at its fiercest and peak – you cannot compare a song like Thuban to too many others. The entire album boats that same kind of wonder and surprise. Alnilam starts with spoken word before going off into the cosmos. Once more, it has those intergalactic mentions and oeuvres but remains grounded and rooted in pure emotion.  The album explored themes of love, the self and modern relations but gave those (worn) subjects plenty of new life and uniqueness. It is the compositions that intrigue most and the sheer endeavor and inspiration across the album is to be applauded. Be/polar (2014) followed on and surprised with its consistencies and differences. The two-track E.P./single continued from their previous work but increased the confidence and quality. Perhaps their sharpest and finest produced work: another step up from the guys. Not quite as space-age as previous songs: you get embers of bands like Massive Attack in the beats and solid bass; the vocals hover and glide through the song and it is a wonderful release. Polar is more relaxed and sedate but the twanging, defiant bass-and-beats combination gets into the head and elicits serious impact – a song you come back to just to hear that. Be is a lot harder and gnarling; the percussion stands out and the track has huge force and rush – not forgetting the importance of the bass and how it continues to ride in the mix. Unlike previous releases, the vocal is more defined and clear. Previous Black Flowers Café releases have seen the vocal a little low down and hard to decipher. Maybe it is the annunciation and clarity that is most evident, rather than production guile. Here, unlike the debut cut for instance, everything is crisper and sharper. It makes the listening experience easier and ensures the song has a wider market and reaches further – decipherability and intelligibility are issues that can damage musicians. Mintaka ii pushes the music forward and has more in common with be/polar than the early efforts from the band. The band is at their finest and continues to experiment and bring new dimensions into the music. Production values are vital and Mintaka ii is a polished song that does not distill the song’s beauty – it brings everything to the fore and ensures every note and layer is sharp, clear and defined. Whatever shape new material takes – an album or E.P. – it will be wonderful seeing if the band continue down the space-themed songs and keep that sound in place – or move towards something more mainstream and Rock-based. They look at love and issues in life but have always put a new spin on it. Every time they tour and the more places they visit: the better their music becomes; the band learns new things and get tighter and more engaging. If they were to come to the U.K. and tour intentionally, it would see new sounds and ideas come into their work. Black Flowers Café are a band that keep getting stronger and finer: Mintaka ii is the perfect example of that and is a track that has been getting attention and love since its release last year.

PHOTO CREDIT: Michele Matteo Catanzariti Ph.

Previous tracks Four O’Clock and Up the River have accrued serious viewing on YouTube and gained a lot of love from fans. It is always hard topping your previous work and keeping the audiences satisfied and not repeating yourself. Black Flowers Café are one of those bands that are restless and hugely innovative. Following from 2014’s be/polar was the single release of Mintaka ii. It has received compliments and great reviews in the Italian press and blogs throughout the world have been keen to add their sentiments and applause. The opening seconds lead off with charging percussion and plenty of intention. The band does not jump in with guitars and bass and make it too heavy, too soon. That punchy and staunch percussion slam gets the track jumping right off. Mixing in some warm and colourful keyboard notes into the song: it takes on another side and takes the mind to the heavens. Like most of Black Flowers Café: their music heads towards the outer limits and has that cosmic splendor to it. There is a smile on the hero’s face and it seems like his mind is on a particular sweetheart. The Italian band is never that predictable and straight-forward when it comes to love and that side of the coin. They never deal with clichés and simple lyrics, which makes the opening moments intriguing and curious. “Don’t let me down” is a line delivered with elongating and effectiveness. Our frontman does not rush the sentiments: ensuring the words get into the heart and are understood. Once more, like so many Black Flowers Café songs, you are treated to an atmospheric and evocative composition that melts racing beats and romantic electric strings together. The vocal is there near the start but drops a few words and then retreats. Most bands are keen to get the vocals and lyrics heard as soon as possible and this means the composition often takes a back seat. Here, we get a little revelation and story but it is the music that is left to paint pictures and fill gaps. The band come together wonderfully and produces something mysterious and spirited all at once. The guitars trade low howls with dancing highs; pairing with galloping drums. Many reviewers have noted how the vocals and pronunciations have changed and become more English.

Syllables are not stretched and given that Italian romance: preferring a sharper and shorter delivery; perhaps a sign the band are trying to gain more exposure and attention from the international press. Like some of the older Black Flowers Café songs, the vocal is mixed too far down and it does harm some of the decipherability. That luxuriant and smooth delivery is entrancing and sensual but a few of the lyrics do get lost and ignored – you may have to check a lyric sheet. Luckily (what I did do) you are able to pick up the most important words and realise the song mixes hurt and pleasure – there is that contrast and some rather vivid sentiments. “Search your soul/Hanging between demons and wonders” is a curious statement and you feel a lover is being attested. Maybe someone who can pour scorn but has a good heart: trying to get inside the mind of a rather unpredictable and inscrutable muse. She might be someone who has a hard time expressing affection or plays too many games. Either way, the song does compel further speculation and gets the listener thinking. The rousing and “Your child memory in your soldier sight/Why can’t you dream?” has obliqueness but poeticness too. It is not surprising an Italian band has a romantic and elegant way with words but it is great hearing lines delivered like this. Rennis’ yearning and powerful voice sits on that blend of alt-J and Interpol sounds. It can be a risky venture producing a composition-heavy song and holding interest of the listener. Black Flowers Café manage to give so many different colours, ideas and sides to the song. It is a beautiful piece that is transcendent and haunting; beautiful and deeply enticing. You draw yourself in and hold to the speakers – trying to climb inside the song and its gorgeous notes. By the closing stages, you are fully surrendered to the majesty and force of the song – all its contours and variations. If the lyrics get you guessing and speculating – a heroine that is quite divisive and unpredictable; an imbalance in love – you are left in no two minds about the composition. It is another stunning and atmospheric track from a band that deserves greater international acclaim and attention. They have made their way to a few reviewers but feel they are just to grab full focus – that will come soon enough. Mintaka ii is a beautiful and memorable number one feels could form the part of an E.P. or album. Watch this space.

Black Flowers Café are a band you know have a lot more to say and many years ahead of them. They play mostly in Italy but one feels they will not be there forever. I am not sure how many opportunities can be found in the country and whether there are the chances to succeed and grow. Like smaller towns in the U.K.: you are limited in terms of performance and crowds and often see artists migrate to places like London to get their music heard. The same is true of countries like the U.S. and Australia. Extending that to Italy, and one wonders if Black Flowers Café will be moving on shortly. They have enjoyed modest success and getting stronger with every new release. Their sound is very much rooted in the Britain and the U.S. so one feels the boys will be moving over this way. London would provide a natural home for them and give them greater potential to get the music discovered and push what they do. As I said with regards their social media feed: they need to put a bit more on the page; not just for the fans, but venues and promoters will want to see some details and information before booking them. In a time when competition is stiff and hot: there are few artists that can afford to expend little effort on their biographies and just let the music talk for itself. The boys produce great music but their best days are still ahead – they have not hit their peak and are still experimenting. Mintaka ii is a great single that builds on their previous work and follows from 2014’s be/polar. Let’s hope there is more in the band and they continue to put out music. Having toured hard for the past few months; the band are looking ahead and working out their strategy. I feel an album is a natural progression and would be a nice step up from their previous E.P.s. Whether they have the confidence and material to put together an L.P., it will be interesting to see. I am sure there is a lot of great material in their minds, but how they organise and present that, will determine if an album is born. Certainly one would not rule an E.P. out so we should keep our eyes their way. Few can deny the impact they have made already and come along since their 2011 debut, Rising Rain. Always masterful when it comes to untraditional and unique song titles (Ain’t it just @ wine spot being one of the most bizarre I have come across) they are not your average group. At least you see personality and originality come out of them. It is not just their song titles and cover art that separates them from their peers. With Black Flowers Café you get the impression they are going to be favoured around the globe but just need that opportunity and lead. Most of their touring is confined to Italy but it is only a matter of time before demand comes from around the globe and they are covering the continents.

Before closing this down, I will just briefly return to my opening subjects and how music is changing – the way we view modern music and narrow our minds. Not to bring Skepta’s name up again – it will not mean a lot to Black Flowers Café – but I am excited to see modern music change directions and become less suppressive and restrained. In the past, we have been exposed to critically-approved musicians that all sort of blend into one another. If you take a thing like the Mercury Prize and there was a period when it was rather formulaic and run-of-the-mill. The best artists were recognised, but in terms of genres and sounds, it did not push boundaries and progress at all. Rock and Pop were preferred and one would never consider how far along the award ceremony would evolve. In the last couple of years, we are seeing that shift and away-from-the-mainstream genres and acts are being acknowledged. It is a sign music in general is widening and attitudes are altering. The celestial, river-flow songs of Black Flowers Café is the sort of music that deserves more focus and getting itself heard wider than Italy. Of course, the guys have fans across the globe but there are more faces and crowds that have not discovered them yet. As a group, they seem like everyone else (on paper and image) but the music itself has something extra and special – that little hint of magic in the air. Quite hard to truly explain but you just know it will get into the brain and float around for days on end. Many people have been scared off Pop because they see it is chart fodder and envisage a certain type of artists. Maybe the mass-produced, faceless magazine star that has little personality or anything about them – all looks and generic sounds. If you look closely, you’ll find realise just how expansive and surprising Pop is. The Black Flowers Café boys play Flower-Pop with a little bit of Alternative and that works just fine. If you look on their social media you will see the hashtag #flow emerge and reappear. That suggests either an album or E.P. – perhaps a song is on its way? It has been a while since Mintaka ii but people are talking of it still and it is getting people hungry for more material. When that does arrive, and what form Flow takes, the four-piece are making plans and keeping the waggon rolling. They are seducing Italian crowds but there will be people over here (and around the world) that would like to see the guys in the flesh. Let’s hope, sooner rather than later, the band takes some time and…

PHOTO CREDIT: Michele Matteo Catanzariti Ph.

COME see us.

[youtube https://www.youtube.com/watch?v=k7jpFKWmSuo&w=560&h=315]

_____________________________

Follow Black Flowers Café

 

PHOTO CREDIT: Michele Matteo Catanzariti Fotografo

Facebook:

https://www.facebook.com/blackflowerscafe

Twitter:

https://twitter.com/bfcband

BandCamp:

http://blackflowerscafe.bandcamp.com/music

YouTube:

https://www.youtube.com/channel/UCKli_e7XLIn9SsdwWMVrKGg

FEATURE: The September Playlist: Vol. 4

FEATURE:

 

The September Playlist: Vol. 4

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AFTER Skepta scooped the Mercury Prize…

there has been a lot of talk in the music world. It was a great triumph and defied the odds. Bowie won in spirit but when it came to guts and soul – there could only be one winner. Also, the likes of The Beatles are immortalised in film (Ron Howard’s new documentary, Eight Days a Week, is out soon) and Led Zeppelin have released their BBC Sessions album. Amy Winehouse was born on 14^th September, 1983, so I had to include a song from her. Lots of great singles have come out – Thom Yorke has just released one today –and the promise of great new music to follow.

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Future Generations – Thunder in the City

[soundcloud url="https://api.soundcloud.com/tracks/274589406" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Skepta – Crime Riddim

[youtube https://www.youtube.com/watch?v=DVw542-t5W4&w=560&h=315]

Thom Yorke and Jonny Greenwood - Present Tense

 

[youtube https://www.youtube.com/watch?v=6hgVihWjK2c&w=560&h=315]

Led Zeppelin - What Is and What Should Never Be

[youtube https://www.youtube.com/watch?v=jrqMdja4eYs&w=560&h=315]

DJ Shadow – Midnight in a Perfect World

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

Randy – Justice

[youtube https://www.youtube.com/watch?v=hw3d9KTYHIE&w=560&h=315]

Professor Green - Back on the Market

[youtube https://www.youtube.com/watch?v=G2kDeRhiVRQ&w=560&h=315]

Slaves - People That You Meet

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

Matt Berry - Obsessed and So Obscure

[youtube https://www.youtube.com/watch?v=D6eKamGyuMQ&w=560&h=315]

The Beatles – We Can Work it Out

[youtube https://www.youtube.com/watch?v=Qyclqo_AV2M&w=560&h=315]

Black Marble – Woods

[youtube https://www.youtube.com/watch?v=KrwSeH6DNRs&w=560&h=315]

Billie Marten – Milk & Honey

[youtube https://www.youtube.com/watch?v=xNAmwWBy0nw&w=560&h=315]

Devendra Banhart – Saturday Night

[youtube https://www.youtube.com/watch?v=Md0000uSgOs&w=560&h=315]

God Damn- Fake Prisons

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

Twenty One Pilots – Cancer

[youtube https://www.youtube.com/watch?v=PJleZQqvr44&w=560&h=315]

Years & Years - Meteorite

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

JoJo - Mad Love

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

Every Time I Die – Glitches

[youtube https://www.youtube.com/watch?v=wY5YoFRUjxs&w=560&h=315]

Meat Loaf (featuring Ellen Foley and Karla DeVito) - Going All The Way Is Just the Start

[youtube https://www.youtube.com/watch?v=hgMv9QOcmNw&w=560&h=315]

Sampha - Blood on Me

[youtube https://www.youtube.com/watch?v=_oM1DFL43Lk&w=560&h=315]

Röyksopp (feat. Susanne Sundfør) - Never Ever

[youtube https://www.youtube.com/watch?v=kK5EK7V88ns&w=560&h=315]

Kim Gordon – Murdered Out

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

Pixies – Letter to Memphis

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

Yak – Heavens Above

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

Amy Winehouse – Tears Dry on Their Own

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

Cherry Glazerr - Told You I’d Be With the Guys

[youtube https://www.youtube.com/watch?v=GFgz9aiiZlQ&w=560&h=315]

Beck – Wow

[youtube https://www.youtube.com/watch?v=pyCkhPTU13w&w=560&h=315]

The Kills – Impossible Tracks

[youtube https://www.youtube.com/watch?v=haEqhj76z3I&w=560&h=315]

Jack Garratt (ft. Little Simz) – Far Cry

[soundcloud url="https://api.soundcloud.com/tracks/256213561" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Thom Yorke – Coloured Candy

[youtube https://www.youtube.com/watch?v=GaxtoRCjoF0&w=560&h=315]

After the dust has settled on Skepta’s Mercury Prize win and all the great and bizarre songs have dropped – we look ahead to the coming weeks. Pixies will bring out Head Carrier while Devendra Banhart is preparing his new album. There are enough surprises in store and I will do my best to keep on top of all of them.

INTERVIEW: Paul from Quiet Quiet Band

INTERVIEW:

 

 

Paul from Quiet Quiet Band 

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IN a musical world where few bands can make their music connect…

let alone their personalities: it is wonderful discovering an act that hit hard on both fronts. Quiet Quiet Band are an incredible London-based five-piece DeathCountryFolkArtRockMovieMusic band (the short description on their Facebook page) and have played everywhere from sweaty bars to barns – bringing their brilliant, beautiful music to the masses – sometimes, livestock and farm animals. In the Body is the latest single from the rousing, good-natured Quiet Quite Band boys. Not only an incredible song: it gives us a glimpse into their future works and what is to come. From the fine facial hairs of the quintet; I get to chat with Paul (from the band) and quiz him good. I ask him about Nick Cave and the Bad Seeds’ new album – all the band is fans of his work – his plans for Christmas and what influenced their forthcoming E.P.’s final track – and why it is called Tony Robinson.

________________________________

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

Great, thanks. We have been on a tropical island conducting pagan rituals ­ all to help with the release of COME HOME FROM THE WAR. Can't give too many details but chicken blood and shattered clay idols were involved.

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

Sure.

Quiet Quiet Band are purveyors of homemade-organic-artisan-murder-ballads with a side order of sing-along country and a liberal dash of folk story-telling

DeathCountryFolkArtMovieMusic.

It is clear to hear, when discovering your music, how much of a bond the band has. How did you guys meet and what would you say is the reason behind the strong connection?

I trapped the rest of the band into a co­dependent pact of musically-assured destruction using a mixture of voodoo, guilt, blackmail and passive-aggressive disappointment.

Cleverly, this has been disguised as friendship for commercial gain.

I know Nick Cave is an influence of Quiet Quiet Band. Have you heard the new ‘Bad Seeds album, and if so, what do you reckon?

Jon (drummer) listened to the live stream of SKELETON TREE and described it is harrowing and incredible. I crashed my car when I heard JESUS ALONE for the first time ‘cause I was crying - so working up to a full listen under laboratory conditions.

[soundcloud url="https://api.soundcloud.com/tracks/280880248" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

In the Body is your latest track and is, as you describe yourself, a departure in terms of sound and themes. What inspired the song and what was the reason for pushing yourselves in another direction?

The departure is really a natural growth for us. IN THE BODY is the 2nd of our front-man Tom’s songs that we've recorded (the 1st was SO LONG on our 1st album LOW NOON). He has a real talent for sensual, emotional writing; so we had to make sure the music conveyed that. Plus we have been listening to a LOT of Fela Kuti. The song is a celebration of our fleshy human vessels, ­ which themselves, grow in their own unique way.

Come Home from the War, where the single appears, is out on November 4th . What can you tell us about the E.P.’s sounds and what was the recording process like?

COME HOME' is definitely the best thing we've done so far.

It builds on the singalong Country stomp that we've always had with deeper African & Gypsy rhythms. We were lucky enough to record with Sam Wheat (Metropolis/RekRoom) and he made everything so simple and relaxed. Plus, his skills on the mix are insane. We could not be happier with how the E.P. sounds.

The final track on the E.P. is called Tony Robinson. Are there lots of Baldrick quotes or a bit of Time Team elements? What brought about the decision to immortalise the comedy legend in song?

There is a little bit of Tony Robinson in all of us. Everyone has had at least one cunning plan at a Roman hill fort, so I hope people can relate to the song. And if you check out Tony Robinson reading Odysseus you can see what a great storyteller he is. It's really a fan letter from one storyteller to another.

I know the E.P. ruminates on conflict and the way we try to escape it. How have recent political and terrorist events gone into your lyrics or are your songs more ingrained in everyday turmoil and confrontation?

Yeah ­ it's all pretty f***** right now. People that crave power are always crazy but seems that we have a golden generation at the moment. Lucky us.

As a band, we've always laughed, danced & sang in the face of death - so the more f***** it gets the more we all need to laugh and dance and sing. COME HOME is trying to process the explosions & invasions by focusing on what really matters ­ the people.

Your music blends sea shanties and zombie riffs; wonderful hoedowns and everything in-between. Which artists are you boys inspired by and helped push you towards the Quiet Quiet Band sound?

We all love a lyric & a story so Leonard Cohen and Nick Cave are massive inspirations. Their ability to convey time, place and feeling with the stroke of a pen is something we aspire to.

Also, Modes Mouse & Violent Femmes for that misanthrope, party-time vibe. Plus, lots of Fela Kuti. He had it all: when we finally start our commune, it will be because of Fela.

You each have mighty fine facial hair in different stages of evolution and maturity. Which band member would you say how the best facial hair – or is it something subject to fierce debate?

Tom (front-man) has to win ­ his is care and attention; the rest of ours are laziness.

Aside from your E.P. and new music, are there are dates or upcoming events you are really looking forward to?

The E.P. launch is going to be incredible (4 Nov @ The Finsbury in London). We've got a full-on Folk set coming up for Woodburner on 20th Oct in London that we’re excited about. Also, a Reading show in November that is going to be amazing -great lineup for that one.

Not to be depressing but it’s about three-­and-­a-­half months until Christmas. What is on your wish­list for this year?

A mansion so we can start our commune; a statue of Cthulhu and Donald Trump to find the dharma.

Getting back to music, and I am interested to know about the creative process. How do songs come together and who usually leads the songwriting?

Songwriting comes first from myself & Tom. When we have something decent we present to the band who tear it down and build it back up.

Scott (bass) is the sarge when it comes to this play-and-vicious-edit process. Inspiration mostly comes through coded messages left at bus stops and whispers in the darkness.

Looking at your music and tour dates and you seem to be torn between the country and city. Where do you feel happiest and most inspired, or does a blend of the two provide a perfect balance?

I think it's safe to say the majority of these band are city-mice. It's only me that fears large settlements - ­ too many people set off the voices in my head, like when Patrick Stewart puts on the Cerebro helmet in X Men.

Have you any advice for your bands coming through right now?

Channel as much pagan magic as possible. All else is folly

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

Zombie by Fela Kuti (if you can fit it in). Ta.

[youtube https://www.youtube.com/watch?v=Qj5x6pbJMyU&w=560&h=315]

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Follow Quiet Quiet Band

 

Header Photo Credit: Silvia Cruz

Official:

https://quietquietband.com/

Facebook:

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

Twitter:

https://twitter.com/quietquietband

SoundCloud:

https://soundcloud.com/quiet-quiet-band/

__________________

See Quiet Quiet Band live

Friday 23 September: The Finsbury, London N4

Saturday 1 October: The Bell on the Green, Devizes

Friday 4 November: The Finsbury, London N4 (official E.P. launch)

Friday 25 November: Rising Sun Arts Centre, Reading 

FEATURE: The September Playlist: Vol. 3

FEATURE:

 

The September Playlist: Vol. 3

______________________

I hadn’t planned on doing another volume of the Playlist until next week…

but because of the Mercury Prize – and the nominees and artists I have not included much – there was room enough to create another addition. There are a lot of great singles out and albums arriving the next couple of weeks – I have been digging through and seeing what’s what. That is the thing with music: always something happening and songs popping up; you need to keep abreast of it all. Hopefully, this (rundown) helps…

_____________________

God Damn – Sing This

[youtube https://www.youtube.com/watch?v=cy7Wqqk7zBI&w=560&h=315]

The Magic Gang - All This Way

[youtube https://www.youtube.com/watch?v=S2r2sPaiVH4&w=560&h=315]

Aaron Lewis – This Ain’t Country

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

Izzy Bizu - Fly With Your Eyes Closed

[youtube https://www.youtube.com/watch?v=2oqt6Io96hw&w=560&h=315]

The Wytches - Hannover Square

[soundcloud url="https://api.soundcloud.com/tracks/281448946" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Touché Amoré (feat. Julien Baker) - Skyscraper

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

Against Me! - 333

[youtube https://www.youtube.com/watch?v=KUWi8lVaGcE&w=560&h=315]

Jasmine Thompson – I Try

[youtube https://www.youtube.com/watch?v=znJ6Dh_DyVU&w=560&h=315]

Kaiser Chiefs - Hole In My Soul

[youtube https://www.youtube.com/watch?v=TDph7oYPET8&w=560&h=315]

Norah Jones – Carry On

[youtube https://www.youtube.com/watch?v=DqA25Ug71Mc&w=560&h=315]

Ramones – Beat on the Brat

[youtube https://www.youtube.com/watch?v=3HUGeA2lur4&w=560&h=315]

Dan Croll - Swim

[youtube https://www.youtube.com/watch?v=M34VETZL7uA&w=560&h=315]

Of Mice and Men – Like a Ghost

[youtube https://www.youtube.com/watch?v=GUtv8S1R7v4&w=560&h=315]

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

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

A Tribe Called Red - (feat. John Trudell & Northern Voice ) - We Are The Halluci Nation

[youtube https://www.youtube.com/watch?v=L4xwN3yPZA0&w=560&h=315]

Taking Back Sunday – You Can’t Look Back

[youtube https://www.youtube.com/watch?v=vqmKSb0kPjo&w=560&h=315]

Preoccupations - Memory

[youtube https://www.youtube.com/watch?v=_P6qqceGQlM&w=560&h=315]

LeAnn Rimes – How to Kiss a Boy

[youtube https://www.youtube.com/watch?v=Am86I6xb2VM&w=560&h=315]

Mac Miller (feat. Ariana Grande) - My Favorite Part

[youtube https://www.youtube.com/watch?v=2vkko-vX06I&w=560&h=315]

Cymbals Eat Guitars - Wish

[youtube https://www.youtube.com/watch?v=DiuXd807mKI&w=560&h=315]

Deap Vally – Smile More

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

How to Dress Well – What’s Up

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

Warpaint – New Song

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

Beach Slang – Punks In a Disco Bar

[youtube https://www.youtube.com/watch?v=QJ_83CuPOks&w=560&h=315]

Nick Cave and the Bad Seeds - Magneto 

[youtube https://www.youtube.com/watch?v=_JfDU2Vj6k0&w=560&h=315]

Public Access T.V. – Sudden Emotion

[youtube https://www.youtube.com/watch?v=zULHrGuSbA4&w=560&h=315]

Devendra Banhart – Saturday Night

[youtube https://www.youtube.com/watch?v=Md0000uSgOs&w=560&h=315]

Boxed In - Forget

[youtube https://www.youtube.com/watch?v=EU2G9eLg8KY&w=560&h=315]

Flock of Dimes – Semaphore

[youtube https://www.youtube.com/watch?v=hrw1E6xvYHE&w=560&h=315]

Jamie Woon – Skin

Savages - T.I.W.Y.G.

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

Laura Mvula – Phenomenal Woman

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

Skepta - Corn on the Curb

[youtube https://www.youtube.com/watch?v=knZ9R1q5QzE&w=560&h=315]

Michael Kiwanuka – I’ll Never Love

[youtube https://www.youtube.com/watch?v=fLWU2FqQ66c&w=560&h=315]

The 1975 – A Change of Heart

[youtube https://www.youtube.com/watch?v=trbwqF0d7NA&w=560&h=315]

The Comet Is Coming – Space Cadet

[youtube https://www.youtube.com/watch?v=Bih6JQzbFY0&w=560&h=315]

I shall relent from compiling another playlist for a week but because the Mercury Prize is up on Thursday, it has been tempting including a few of the nominees and uncovering some great tracks (not included a couple of days ago). I shall leave you to leaf through the music – check out the albums they come from and discover some fantastic new artists and records.

FEATURE: The Mercury Prize: 25 and Still Surprising

FEATURE:

 

The Mercury Prize:

 

25 and Still Surprising

______________________

WHETHER you consider it an irrelevant award or a…

vital part of the music catalogue: you cannot deny how important the Mercury Prize is to the artists nominated. Whilst some winners have faded into obscurity (Talvin Singh anyone?) bands like Elbow, Primal Scream and Suede are still together and recording years after they won the prize. There has been a lot of interest and attention paid to this year’s nominations considering David Bowie’s untimely death – he is the odds-on favourite to win in many people’s hearts. While I favour Radiohead for the prize but feel a win for Kano would be a great decision – there is no telling who will actually win on the night. To be fair, the Mercury Prize is not a curse for artists and can increase record sales and confident for those who claim the award – even those nominated see their music reach new audiences and their careers grow. It is brilliant to see the range of artists and albums nominated this year: from the gritty Rap/Grime of Skepta to the cosmic weirdness of The Comet Is Coming. In anticipation of this year’s event: I look back at all the winners so far – selecting the best track from each album.

HEADER ILLUSTRATION: Krent Able

___________________

 

1992: Primal Scream – Screamadelica

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

1993: Suede - Suede

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

1994: M People – Elegant Slumming

[youtube https://www.youtube.com/watch?v=UCekWXCO6Uc&w=560&h=315]

1995: Portishead - Dummy

[youtube https://www.youtube.com/watch?v=wnFlrR43YBs&w=560&h=315]

1996: Pulp – Different Class

[youtube https://www.youtube.com/watch?v=S0DRch3YLh0&w=560&h=315]

1997: Roni Size/Reprazent – New Forms

[youtube https://www.youtube.com/watch?v=cwI0gbGEyuI&w=560&h=315]

1998: Gomez – Bring It On

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

1999: Talvin Singh - Ok

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

2000: Badly Drawn Beast – The Hour of Bewilderbeast

[youtube https://www.youtube.com/watch?v=RPVAipmV7jY&w=560&h=315]

2001: PJ Harvey – Stories from the City, Stories from the Sea

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

2002: Ms. Dynamite – A Little Deeper

[youtube https://www.youtube.com/watch?v=FxkRuJz0yrw&w=560&h=315]

2003: Dizzee Rascal – Boy in da Corner

[youtube https://www.youtube.com/watch?v=kZGvnI37mxk&w=560&h=315]

2004: Franz Ferdinand – Franz Ferdinand

[youtube https://www.youtube.com/watch?v=18pyJ1rPfH8&w=560&h=315]

2005: Antony and the Johnsons – I Am a Bird Now

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

2006: Arctic Monkeys – Whatever People Say I Am, That’s What I’m Not

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

2007: Klaxons – Myths of the Near Future

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

2008: Elbow – The Seldom Seen Kid

[youtube https://www.youtube.com/watch?v=jxczVhG0os8&w=560&h=315]

2009: Speech Debelle – Speech Therapy

[youtube https://www.youtube.com/watch?v=I98iyEf5a7E&w=560&h=315]

2010: The xx - xx

[youtube https://www.youtube.com/watch?v=Pib8eYDSFEI&w=560&h=315]

2011: PJ Harvey – Let England Shake

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

2012: Alt-J – An Awesome Wave

[youtube https://www.youtube.com/watch?v=rVeMiVU77wo&w=560&h=315]

2013: James Blake – Overgrown

[youtube https://www.youtube.com/watch?v=6p6PcFFUm5I&w=560&h=315]

2014: Young Fathers - Dead

[youtube https://www.youtube.com/watch?v=eiMtr9QJHlY&w=560&h=315]

2015: Benjamin Clementine – At Least for Now

[youtube https://www.youtube.com/watch?v=7Dc5BQ31iLw&w=560&h=315]

2016: The Five in the Running...

Radiohead – A Moon Shaped Pool

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

Kano – Made in the Manor

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

Bat for Lashes – The Bride

[youtube https://www.youtube.com/watch?v=C0QTaULDRXI&w=560&h=315]

Anohni – Hopelessness

[youtube https://www.youtube.com/watch?v=8Pei4SnavUk&w=560&h=315]

David Bowie – Blackstar

[youtube https://www.youtube.com/watch?v=-zF2tsBJnpk&w=560&h=315]

In four days, we will find out who walks away with this year’s Mercury Prize. While there are definite frontrunners and favourites: Past years have shown you cannot easily predict who will win. The past two years have seen under-the-radar artists emerge victorious – those who defied the odds and claimed the top prize. In 1994, few would have guessed M People would have won the prize – considering The Prodigy and Blur were both nominated following career-best album releases. Who knows but many bookies are favouring David Bowie to win – it would be very shocking were anyone else to scoop the Mercury. With regards this year’s forthcoming ceremony…

WHO knows what will happen.

TRACK REVIEW: Blayre Mic - Love B.P.M.

TRACK REVIEW:

 

Blayre Mic

 

 

Love B.P.M.

9.6/10

Love B.P.M. is available at:

https://soundcloud.com/blayremic/love-bpm-1

GENRES: R&B; Soul

ORIGIN:

Oakland, U.S.A.

The E.P., The Pledge, is available from 10th October.

____________________________________

NOT only is my featured artist from a part of the U.S…

that houses many prominent musicians: she is also one of the boldest and most colourful artists I have encountered in a long while. California is one of the most prominent and prolific areas for great music – alongside New York; there has always been that legacy for wonderful and historic music. If we think about the U.S., there is that conception that there is little great music beyond the best the East and West Coast has to offer. That is naïve but it is also naïve to assume the best of California lays within Los Angeles. Being in London, I get a first-hand look into the finest and most varied artists in the U.K. – debatably, I am in the hub of the music world; the absolute centre of creativity and future stars. California always intrigues me and is no slouch when compared with London. Oakland has provided music some rather wonderful and variegated artists – and continues to do so to this day. Look back at Tower of Power and The Pointer Sisters; En Vouge and Zion I call Oakland home. Oakland is the third-largest city in the San Francisco Bay Area and the eighth-largest city in Los Angeles. It is not a shock to see musicians hail from here, but we often overlook this part of the state. Los Angeles gets a lot of the focus, and that is fair enough – a city that seems to stamp an endless stock of sensational musicians out. Oakland intrigues me with its stunning views and demographic. The city has a large percentage of Black and non-Hispanic (28% and 25.9% in 2010 respectively) and 25% of its people are Hispanic. It is this diversity and multicultural richness that goes into the music of Oakland. Looking back at the bands that come from the area, and directly applying it to my featured artist and En Vogue seem like the best example. The sassy, rebellious and defiant anthems they created – Free Your Mind especially – have compelled and inspired legions of female bands and solo singers – one feels Blayre Mic was listening closely in the ‘90s. Before going on further: let’s have a little look at Blayre Mic’s biography:

“‘Being normal was never an option given to me. I've always had to create my own path, and walk on it in stilettos!’- Blayre Mic 

She has a captivating and powerful voice, punctuated with powerful lyrics, and those ‘get-up-out-your seat’ grooves. Her voice is a sexy, seductive, sincere instrument that draws you in, and makes you wanting more.

In an industry that strives for individuality, Blayre Mic is an individual soul without bounds. Perhaps it stems from her up-bringing in Oakland, California. “As a kid I never wanted to be like everyone else. I wanted my own style and personality. Thankfully my parents allowed me to figure out who I was on my own. So if you want to stand out in my family, you have to be pretty spectacular at something.”  Blayre Mic, who is influenced by greats like Donna Summer, Outkast, Patti LaBelle, Grace Jones, and Prince. As a child growing up in a family as the youngest and only girl, Blayre Mic developed her voice and stage presence by performing in countless stage productions, until finally breaking out into film/television roles in her early teens. At the age of five, Blayre Mic sung a head turning rendition of Ray Charles' classic, ‘Hit the Road Jack’ for family guests, and her parents knew she was destined for the stage. A year later, Blayre Mic started playing and writing music. 

Establishing her own brand of pop called "Progressive Pop", which Blayre Mic describes as 80's Prince meets Outkast, this chanteuse is destined to be music's next big artist to watch! Look out world, here comes Blayre Mic”.

Blayre Mic is someone who wants to make changes in the musical world and brings me to my next point – artists that have bold personalities and stands out. You cannot miss Blayre Mic in the crowd and she is someone who is a bit outspoken but wants her opinions heard. In his words, and in a recent interview with Female First, she described herself as a “royal blue-haired, outspoken, in-your-face singer/songwriter/lyricist, who wears her heart on her sleeve, is addicted to hearing the beat drop, and [is] always on the look out for a sensible six inch stiletto”. Just looking at her and you sense a strong and focused woman who knows what she wants from music. She has a huge love of Prince – Why Don’t You Call Me Anymore is her favourite song – and acts like Rick James and James Brown were part of her childhood. Blayre Mic is inspired by colours and textures and is obsessed with vibrancy and fabric. You can tell in her looks and music how much colour and multifariousness means to her. All of this together and you have a sassy and hard-hitting musician that wants to be taken seriously and in no mood to surrender at any point – that will stand her in very good stead. We have so few genuinely stand-out and impressive personalities in the music industry so it is always wonderful discovering one.

You get the impression (Blayre Mic) will go all the way and will bulldoze any barriers that come before her. She is, as she proclaims, ‘dope’ and one of the coolest and intense musicians around.

That spirit of James Brown and Prince comes through. There is a funkiness and cool-edged sass to her music; a defiant confidence and control – she comes to the microphone and gives it plenty of attitude, panache and sexiness. I mentioned En Vogue earlier and they are, to my mind at least, the last girl band who introduced important themes to music and reigned with supremacy and passion. Too many modern-day equivalents focus on love and relations without addressing social issues and more important topics. Blayre Mic looks at heartache and love but does so without sorrow and self-destruction: she smashes outwards and sends out a positive message to women not to be taken for granted and be made a fool of.

It is rare to see, not only a character and real personality come through, but someone who wants to change the world and improve things for disadvantaged people. Blayre Mic, in the aforementioned interview with Female First, wants to bring her music to those who suffer illiteracy – not just women, but communities where the inhabitants do not have the same privilege and opportunities as others. It is a commendable and thoughtful attitude from a musician who could easily turn her back on altruistic endeavours. She has the talent and determination to make money and get her face across magazines – the beauty and personality to win most over and rank alongside the freshest and finest of the mainstream. Many artists who find that acclaim and stature become embroiled in a lifestyle of gaudy wealth and publicity-chasing column inches – becoming rich and insignificant; only thinking about themselves. You know that will never be the case with the young American.  Blayre Mic is never going to be one of those people. She grew up with humbleness and certain meekness: always looking at those less fortunate and hoping to use her music as a platform for reform and betterment. I know that will come because, as Love B.P.M. shows, it is capturing hearts and ears with ease. I’m not someone who can swing the word ‘dope’ around and make it sound natural – being the whitest person in the world – but it is a syllable that seems entirely appropriate for Blayre Mic – she is hungry, attacking and ice-cool as they come. Her E.P., The Pledge, is forthcoming and it will be interesting to see how she expands from Love B.P.M. and whether the themes follow the same sort of course – giving lovers a dressing-down and demanding respect and proper affection. I know Blayre Mic wants to bring her music to those who have less and the messages and themes have to relate and resonate with those communities. If the music looked at fame, fortune, and shallow concerns – it would be a poor message to teach those not only learning to read and write but perhaps thinking about a career in the arts. Blayre Mic knows what is not her and she is not someone for whom materialism and bling are not ideologies and lusts – she is much happier teaching respect and values. It is not a marketing ploy or a way of gathering quick focus and respect – it is who she is and will always continue to be.

Blayre Mic is a fearless and ambitious star that wants to remain large and prominent in music years down the line – her first foray into the industry is hugely direct, impressive and characterful. It is challenging comparing her early work with previous as they are one of the same. One feels her E.P. (The Pledge) and its release date is a sly little hint at its quality. It will be out on October 10^th (10/10) and that cannot be an unconscious or accidental drop date – she knows how good the material is and wants critics to make it accordingly. I am not sure how many 10/10 or five-star reviews The Pledge will garner – it is going to get its fair share of passionate reviews for sure. Love B.P.M. is an empathic and impassioned offering from a young woman who transposes love stories and contemporary urges – penning sappy and sensitive lyrics – and comes out the gate defiant and aggressive. She is not someone who comes across too brash and loud – the song looks at being treated right and her man showing her proper affection. You do not get many musicians looking at this side of relationships so that is to be commended straight away. One suspects The Pledge will go down the same road but also cast its net wider and look at societal imbalances and gender politics – perhaps some anthems about inequality and unfairness in the industry. I cannot say for sure but you know the E.P. will burst with life and wonderful music – if her debut single is anything to go by! It is good to see a musician so young and fresh have high hopes and ambitions right from the get-go.

I know Blayre Mic will be thinking ahead and looking at possible L.P.s and follow-up E.P.s. There is that intense passion and ambition in her heart that cannot be quelled and extinguished.

She wants to burn hard and make her mark on music from the earliest possible point – that is to be congratulated and encouraged. Let us see just how far she can go and how hard she can strike.

Love B.P.M. takes no time in establishing its presence in the opening moments. L-O-V-E is stuttered and repeated as a mantra: the heroine gets into the head and lets her voice mix with edgy, cut-and-paste beats and twanging bass. There is plenty of funk and energy expended early that carries the song into the heavens. It is those beats and hand-clap effects that will register hardest to start. It gives the track a heaviness and definite authority that is hard to refute and overlook. Squelched electronics and vocal fragments charge - the beats reign and the song bolts fast with phat percussion smash – teeing up Blayre Mic and her noble mandate. She does not want her man rolling up in a fast car and wallet stuffed with cash. If he has money and wealth then that is fair enough: just don’t go breaking her heart and expecting to get away from it. It appears the kind of guy being represented – maybe the kind who have been attracted to Blayre Mic – feels wealth and possessions make up for genuine emotion and affection. Those types of lovers feel they can buy a woman and treat them like accessories – this attitude is being addressed and attacked in the song. Blayre Mic keeps the vocal cool (or ‘dope’) and swaggers through the opening seconds. Horns are compacted and stretched; the composition blends a heavy-handed punch and melody with affection and intelligence – enough kick and jazziness to get the body moving but concrete and forceful in its intent. When coming back to the microphone, Blayre Mic lets it be known she is the kind of girl who likes honest. Not one to be toyed and messed around: if you lie and deceive then you’re likely to be given short shrift. “Baby you don’t want to play” is repeated and stuttered – like the opening ‘L.O.V.E.’ – and crosses Lemonade-era Beyoncé with Kellis – a little bit of Prince in terms of the Funk and Pop elements working in the undergrowth. At every stage, you are caught by the energy and quality of the song. It is never too processed or cliché and manages to evoke potency and catchiness in equal measures. Blayre Mic’s voice switches between sweet-natured and bold – teasing the boy but sinking in the fangs when it is needed. “Think I wanna stay with you/think I wanna be with you” wants more given a repetitious quality – every notable line or lyrics is reintroduced to ensure her meanings and words ring true and are understood. There is a sense that the relationship is pure and true but there are some problems for sure.

Maybe the boy is not being open and sensitive to her needs and expending necessary affection. Perhaps too caught up with money and his own concerns. The 'B.P.M.', in medical terms, is ‘Beats Per Minute’. One feels it has been reworked as ‘Baby Please Me’ or something similar. The chorus gives the song title and sentiments necessary swing and swagger: a male voice joins in the back and the composition gets busy and layered. You get sucked into the sheer momentum and dance; the brilliant kick and sheer confidence of the vocal line. It is the vocal transformations and dynamic shifts that give the song its flair, nuance, and originality. It is like there’s an entire band in the room. Usually, when it comes to girl groups, you have various members singing various parts. Some are stronger in the middle of the range whereas others are better when harmonised – almost like lining up a football team. Each singer has their strengths and are arranged accordingly. Blayre Mic goes from high to low, sweet to cutting – sometimes the vocal is left pure and other times it is machine-fed and cut up. It not only gives Love B.P.M. a restless and drunken quality – it ensures the song gets bodies onto the dancefloor and gets people singing along. The song establishes a distinct pattern by the half-way point. The verse concerns loyalty and dedication – the terms of the engagement and how the bond will exist. If the boy wants to be respected and stay with Blayre Mic then he needs to be respectful and open his heart more. Perhaps he has not said “I love you” and is being too cagey and coy. It is impossible not to get caught in the dizzying mix of notes and ideas in the song. It is such a busy and hyperactive number but one that paints and important message and stands aside from lazy, stereotyped R&B numbers (many others release). Love B.P.M.’s chorus is an insatiable and dynamite explosion that gets into the brain and is impossibly hooky. By the two-and-a-half minute mark, there is a calming and refrain from the storm. Blayre Mic soothes and coos, while the beats relent – just left with slight electronics and the odd hint of what came before. Perhaps the previous couple of minutes represent arguments and the tension that has arisen in the relationship. Now, there is something more relaxed and casual that signifies either a détente or compromise – or the bond has been broken and both have gone their own way.

“I’m the sweetest girl you’ll ever know” the heroine lets it be known – she has a big heart and will let it show. Extolling her virtues and personality traits that may have been missed; imploring to the man and hoping he does not turn ignorant to her charms and pluses. It seems like the anti-hero has been playing it too loose and not committing to something real and proper. He will throw away something special and deep if he continues to tom-cat around and wake up. Knowing the cachet and merits of the chorus: it is brought in heavy towards the end and ensures every little piece of it gets into the collective mindset. You cannot argue against the fact the delivery and sound is something urgent and bracing – you will be singing along and seduced by its addictiveness. Our heroine does not want to be played around and passed over for no reason at all. When she enters a relationship, she gives her all so that should be respected and considered. By the time Love B.P.M. comes down to close, one feels the message has been delivered and if he does not shape up – he is going to be hitting the bricks and done with. I am not sure whether the song looks at a real relationship and past love but it has a definite conviction and sense of reality. Of course, Love B.P.M. will be a centerpiece of The Pledge and it will be amazing to see if any other songs on the set have the same vibrancy and catchiness.

You come away from Love B.P.M. and want to replay it and dance along. An emphatic and stunning slice from a new artist who is going to make a big impression on the music industry.

It is not good enough to simply come into music and either follow the crowd or expect others to promote your work – without expending necessary energy and protocol. I have seen a lot of young musicians coming along and sit behind management companies and let them do the work – their songs and albums have been filled with cliché and unforgettable sounds. Those who come along and shake things up are the way forward for music. Sure, if there was little to recommend in the music then that effort and determination would be somewhat half-assed. As it is, you get the complete package with Oakland native Blayre Mic. Having been attuned to her dad’s record collection – James Brown and Rick James featuring prominently – and that fascination with Prince – she seems like a reincarnated musical version of the sadly-departed legend. The way he (Prince) obsessed over colour and fashion – purple an obvious colour of choice – you can see much of Prince in Blayre Mic. The similarities extend to music and the attitude and funk you get: two musicians that take very little bull**** and are at the top of the romance food chain – they want respect and lovers that fall hard. One imagines, like Prince did often, Blayre Mic will take the volume and lights down and offer some sensuality and tenderness in future songs, but right now, she is keen to establish herself as The Boss. She has no intention of being a workaday Pop star and being lauded by the celebrity tabloids. Blayre Mic wants to attack on two fronts. Her music is fresh and alert: there to stand aside and show what a force she is; someone who shows plenty of spunk and raw power and wants to stick in the mind. On the other hand, she wants to go deeper and speak to communities and those who are often overlooked. Specifically desiring the chance to those who are illiterate – breaking down boundaries and utilising music as a therapeutic tool and way to not only assimilate more easily but discover something wonderful and eye-opening. Blayre Mic is in no short supply of confident and passion and this has helped her break into the industry with ease. She knows it is tough for women to make it in music. There are still discriminatory limitations and holdbacks or women and old-age attitudes that need eradicating and overhaul. Blayre Mic knows, for music and civilization to evolve, we need to work with one another gender-blind and find that cooperative kinship.

No changes and progression will occur if we are on different pages and balkanised as people. That being said, there is a gender divide that extends across pay, attitudes and opportunities. I know festivals and the big-league line-ups offer few female performers – Britain’s top-four festivals are male-heavy and seem to favour bands over solo artists. I am not sure what the dynamic and breakdown is in the U.S. – one suspects festivals like SXSW and Lollapalooza favour the XY music-determination rather than a more equal showcase. I am not sure whether this imbalance is to do with talent and appeal: are the male bands and solo artists stronger than their female counterparts? I suspect, in terms of quality, there is a little edge to the men but I find the lack of opportunities and focus is damaging and polluting that argument. Women are often focused-on due to their looks and sex appeal – even in 2016, there is a very prehistoric and sexist attitude towards women. Pay imbalance and inequality exists throughout the workplace and this is certainly true of music. These factors – and the fact there is such a history of favouring male-made music – is putting a lot of young women off coming into music. Blayre Mic has three nieces and she wants them to see her as a role model and ambassadorial figure. It is not good enough to sit back and hope legislation and governments take steps to redress this issue – we could be waiting generations for that. Strong and motivated artists like Blayre Mic are taking big steps and influencing others to speak up and strike against unfairness. It is all getting a bit heavy, so I’ll bring it back to music and the multiple assets of the U.S. artist. The Hip-Hop-cum-R&B-via-Soul blending are a knee-buckling and brain-spiking cocktail that once sipped, compels you to drink it down and keep coming back to the bar – her music and personality is compelling me to change my writing style and attempt coolness (failing perhaps!). Keep an eye out for her E.P. – her Facebook page is down at the moment so follow her on Twitter – and Love B.P.M.’s fast-moving, body-rocking vibes. Blayre Mic is a woman who, when she falls in love and gives her heart, does not take rejection and insincerity lying down. She is in-your-face and unapologetic but has compassion and sensitivity – she deserves respect and equal billing and will always fight for this. I know the next few months will be busy for Blayre Mic: she will be playing dates in the U.S. and preparing for the E.P. release but one hopes she gets to the U.K. as plenty will love her. Radio stations and venues are here for her and one suspects big crowds are waiting for an artist like her to come along. Whether that is part of her itinerary I am not sure, but at the moment, all eyes and ears have been hooked around the bliss and attack of Love B.P.M.

It signifies a fine and inspirational talent that demands to be taken seriously and wants to make big changes in music.

How long it will take for Blayre Mic to be given appropriate opportunities – considering the way female artists have to fight – is hard to say but she is shouting loud and one suspects her time will come very soon. When that does arrive, she will compel others and act as a spokesperson in the industry. Until all this happens, have a good listen to Love B.P.M. and succumb to the unerring and soul-pounding experience of…

ONE Blayre Mic.

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Follow Blayre Mic

 

Official

http://blayremic.com/

Twitter

https://twitter.com/blayremic

SoundCloud

https://soundcloud.com/blayremic

Instagram

https://www.instagram.com/blayremic/

FEATURE: World Suicide Prevention Day and a Musician's Voice

FEATURE:

 

World Suicide Prevention Day and a Musician’s Voice

______________________

IT is not a day or event that will lead to Internet fads and stupid…

costumes. Like all the banal and what-the-hell-is-the-point days we are forced to recognise –Dress Like a Pirate Day springs to mind – this one will perhaps get less attention, unfortunately. Today is World Suicide Prevention Day and addresses a problem that is common to all of us: depression and mortality and how the two go hand-in-hand. Maybe 1 in 4 of us will experience depression in our lives but that much-heard statistic seems too low and illogical – most of us, in some degree or other, will experience depression in our lifetime. Mental illness is not just about depression and is not the only cause of suicide – anxiety, eating disorders and other psychological disorders are just as relevant and culpable. It is not good enough, in this day and time; we should be ignorant of such a huge and growing issue – that is why World Suicide Prevention Day is so key and important. Before carrying on, let me give you some facts from the official World Suicide Prevention Day website:

“The World Health Organization estimates that over 800,000 people die by suicide each year – that’s one person every 40 seconds. In Australia more than 2500 people die each year with latest figures (2014) telling us that 2,864 Australians took their own life. Research also tells us that some 65,000 people attempt suicide each year. This tragic ripple effect means that there are many, many more people who are impacted by or exposed to suicide and the pain it brings when… it touches our lives”.

Not only is it Australia – where the event/commemorative day emanates – where there is a stigma and need to take action – suicide occurs in every nation on earth and we all hear the stories from the press. It seems a day does not past when a life is lost needlessly. Whether – the reason behind this – is a lack of dialogue or understanding; not enough government intervention or old-age views of mental illness – many assuming it is something to ‘get over’. If you cannot see physical evidence of suffering then you’re okay, right? No. That is the underlined curse that the mentally ill (including myself and many others) have to deal with. I have heard people tell me to “get over myself” and, worst of all, “there are those much worse off than you”. How would you know that?! How do you know how bad things are and who cares about others?! I know there are those with terminal illnesses and have lost their families but how is that relevant to what I am saying?! My heart goes out to them but by saying that (others are worse off) it is ignoring my problems and assuming I am pouting about nothing. That is one of the biggest problems in society: the lack of understanding and empathy from non-sufferers and how much ignorance still pervades. Looking at Samaritans’ website some figures really underline the problem:

Key trends from the Samaritans Suicide Statistics Report 2016

• There were 6,581 suicides in the UK and Republic of Ireland, in 2014.

• In 2014, 6,122 suicides were registered in the UK. This corresponds to a suicide rate of 10.8 per 100,000 people (16.8 per 100,000 for men and 5.2 per 100,000 for women).
• The highest suicide rate in the UK in 2014 was for men aged 45-49 at 26.5 per 100,000.
• The male suicide rate decreased in the UK (by 5.6%), England (by less than 1%), Wales (by 37.6%), Scotland (by 17.6%), Northern Ireland  (by 10.2%) and Republic of Ireland (by 6.4%) between 2013 and 2014.
• Female suicide rates increased in the UK (by 8.3%), England (by 14%), Scotland (by 7.8%) and Republic of Ireland (by 14.7%) between 2013  and 2014. Female suicide rates decreased in Wales (by 38.2%) and Northern Ireland (by 17.7%).

• The female suicide rate in England is at its highest since 2005.

• The female suicide rate in the UK is at its highest since 2011.

In the U.S., the rate of suicide is increasing and a recent BBC article showed how it is rising in the student population. It is paramount suicide is not ignored or underestimated because all the facts and figures are in front of us.

World Suicide Prevent Day is not a doom-and-gloom reminder of how widespread mental illness and suicide is: it is designed to get people together and get mental illness sufferers talking and opening up. Countless mental health charities are taking part and getting involved today and creating awareness and conversation – helping to ensure future years see fewer suicides and measures being taken so we can tackle a situation that is getting out of control. Connecting with others and letting people know that #ITSOKAYTOTALK is the key message for this year's World Suicide Prevention Day. Samaritans have answered the key questions for those who might wonder why we have such a day and need to look closely at the issue of suicide:

What is World Suicide Prevention day?

World Suicide Prevention Day is held each year on 10 September. It's an annual awareness raising event organised by International Association for Suicide Prevention (IASP) and the World Health Organisation (WHO).

This year's theme is about connecting with others and letting people know that #ITSOKAYTOTALK.

Why is it important?

More than 800,000 people take their lives each year across the world. In the UK and ROI, more than 6,000 people die by suicide a year - an average of 18 a day.

Reaching out to people who are going through a difficult time can be a game-changer. People who are feeling low or suicidal often feel worthless and think that no-one cares. Small things like hearing from friends or family, feeling listened to or just being told that 'it's ok to talk' can make a huge difference.

What you can do

Start a conversation today if you think a friend, colleague or family member may be struggling.

You can also join us on Twitter to spread the word.

When a person reaches a point where they are focused on taking their life, they’ve often lost sight of trying to find a way through their problems. This period usually only lasts a short while and often it doesn’t take a huge amount to bring someone back from that decision – something as simple as saying, ‘it's ok to talk’ can be enough to move someone out of suicidal crisis.

How can people reach out?

It can be daunting to approach someone who is struggling to cope; you may not know what to say, how to start a difficult conversation or worry that you'll make things worse. However, you don’t need to be an expert. Often, just asking if someone's OK and letting them know you're listening can give people the confidence to open up about how they're feeling.

The reason I wanted to write this piece, in addition to supporting World Suicide Prevention Day, is tie it to music and what I do – the fact many artists and songwriters are getting involved and getting their voices heard.

Joshua Luke Smith is a multi-talented musician, poet and writer who has been making his name as one of the finest Rap/Hip-Hop artists in the U.K. Someone who has suffered/suffers mental health issues and knows how hard the day-to-day reality can be...

he has written a special piece; a poem that raises hope and tells how vital it is to share and talk. Becoming Human is a powerful piece that looks at how vulnerable and connected we become with one another when at our most tormented and affected. In his own words, he described Becoming Human:

"I wrote Becoming Human to connect with the heart of our human story. In a driven culture based on success and stature where is the space to become, to grow, to fall and then stand back up? In reality we connect at our most vulnerable. We all break sometimes, we all arrived here naked. We don’t talk about our weakness enough and that’s why I think so many of us feel lonely, isolated and disconnected. I wrote the poem as a personal challenge to myself to remain present, intentional and aware of the beautiful, restored ruins I have the honour of being connected to, simply through the essence of being human."

It is a powerful and brilliantly delivered piece whose video, made in collaboration with Orphan No More (and filmmaker Dom Doring) that verbalises and visualises the problem – how we can often connect about mundane things but not talk about deeper and more serious issues. I cannot do full justice to Becoming Human but urge you to watch it and let its words and effect take hold and get into your head – a beautiful piece of work that aims to de-stigmatise mental illness and show how we can all help reduce a big problem that is inescapable and harrowing.

[youtube https://www.youtube.com/watch?v=3BZ7cHjc0P8&w=560&h=315]

Smith wrote the piece and is being supported and promoted by Samaritans. Becoming Human is a piece of art that is not just meant for a single day and to fit in with a crowd: it is a timeless poem that should be played every day until suicide is a minor concern – it will be one day I am for sure. World Suicide Prevention Day is getting people together and engaged and that is a great thing. Let’s hope, when many of us are already thinking ahead to Christmas and family, we do not sweep suicide under the carpet and only recognise it once a year. Like cancer and every illness on the planet, it affects more than those that suffer it – suicide remains the leading cause of death for young men in this country and that seems extraordinary. While cancer gets huge charity events and media exposure, the death rates – among men at least – are less when compared with suicide. So why does mental illness and suicide get overlooked by comparisons? Maybe there is a stigma and it is a taboo subject that may take years to fully gain acceptance. In 2016, it is not good enough so many suffer psychological and mental illness to the extent they feel death is the easiest way out – how is that acceptable in society? On a very important day, not only should you hear Becoming Human and take in its messages and potent sentiments, but join the discussion on World Suicide Prevention Day. Those who suffer mental illness and contemplate suicide feel alone and like they are misunderstood. If we all become more aware, engaged and conscious then not only can we reduce suicide numbers for good but those who contemplate such a dark fate…

GET the support and love they need.

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Further Links:

World Suicide Prevention Day

http://wspd.org.au/

https://twitter.com/search?q=world+suicide+prevention+day&ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Esearch

https://en.wikipedia.org/wiki/World_Suicide_Prevention_Day

Samaritans http://www.samaritans.org https://www.facebook.com/samaritansch... https://twitter.com/samaritans https://twitter.com/samaritans

Joshua Luke Smith

http://www.joshualukesmith.com http://www.instagram.com/joshualukesmith http://www.twitter.com/joshualukesmith http://www.facebook.com/joshualukesmi...

Orphan No More

http://www.onmmusic.com http://www.instagram.com/orphannomore http://www.twitter.com/onmmusic

Dom Doring (film maker)

http://www.dominicdoring.com https://www.instagram.com/dominic_doring https://www.instagram.com/dominic_doring https://vimeo.com/doring