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

LIVE REVIEW:

 

#BLOGTOBER at The Finsbury

 

 

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

_________________________

THERE are few things worse than facing the rigours…

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

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

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

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

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

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

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

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

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

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

INTO something rather special.

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FOLLOW THE BANDS

Meat Loving Vegans

Facebook:

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

Twitter:

https://twitter.com/MeatLovinVegans

BandCamp:

https://meatlovingvegans.bandcamp.com/releases

Words & Noises

Official:

http://www.wordsandnoises.com/

Facebook:

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

Twitter:

https://twitter.com/wordsandnoises

Saints Patience

Official:

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

Facebook:

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

Twitter:

https://twitter.com/SaintsPatience

SALT

Facebook:

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

Twitter:

https://twitter.com/saltukband

SoundCloud:

https://soundcloud.com/saltukband

TRACK REVIEW: XamVolo - Foolish Kids

TRACK REVIEW:

 

XamVolo

 

 

Foolish Kids

9.5/10

Foolish Kids is available via:

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

GENRE:

Jazz-Soul; Neo-Soul

ORIGIN:

London, U.K.

RELEASE DATE:

September 16^th, 2016

ENGINEER:

Tom Longworth

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

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

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

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

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

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

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

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

PHOTO CREDIT: Robin Clewley Photography

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

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

PHOTO CREDIT: Robin Clewley Photography

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

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

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

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

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

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

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

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

A man you can always rely on.

[soundcloud url="https://api.soundcloud.com/tracks/282995590" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

______________________________

Follow XamVolo

 

Official:

http://www.xamvolo.com/

Facebook:

https://www.facebook.com/Xamvolo

Twitter:

https://twitter.com/Xamvolo

Instagram:

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

SoundCloud:

https://soundcloud.com/xamvolo

YouTube:

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

INTERVIEW: Amy Allen of Amy & the Engine

INTERVIEW:

 

Amy Allen of Amy & the Engine

__________________________

FROM reviews and interviews with British-based artists…

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

________________________________

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

________________________

Follow Amy & the Engine

PHOTO CREDIT: Shervin Lainez

Official:

http://www.amyandtheengine.com/

Facebook:

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

Twitter:

https://twitter.com/AmyAndTheEngine

Instagram:

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

SoundCloud:

https://soundcloud.com/amyandtheengine

YouTube:

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

TRACK REVIEW: EBSON - Adapt to Thrive

TRACK REVIEW:

 

EBSON

 

 

Adapt to Thrive

9.4/10

Adapt to Thrive is available via:

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

GENRE:

Alternative-Soul

ORIGIN:

London

RELEASE DATE:

July 2016

PRODUCER:

Charlie J. Perry

__________________________

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

THERE will be no struggle for EBSON.

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_______________________________

Follow EBSON

 

Official:

http://www.ebsonmusic.com/

Facebook:

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

Instagram:

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

SoundCloud:

https://soundcloud.com/ebsonmusic

FEATURE: The October Playlist: Vol. 5

FEATURE:

 

The October Playlist: Vol. 5

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

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

__________________

Charli XCX – After the Afterparty

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

Run the Jewels – Talk to Me

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

Formation – Drugs

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

 Blink-182 - She's Out of Her Mind

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

The Shins – Dead Alive

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

Bon Jovi – This House Is Not for Sale

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

Jim James – Here in Spirit

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

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

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

Deap Vally - Little Baby Beauty Queen

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

Skott – Lack of Emotion

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

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

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

Hinds – Holograma

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

Frank Carter & the Rattlesnakes – Lullaby

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

Kenny Chesney - Rich and Miserable

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

Becky Hill - Warm

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

The Pop Group – Zipperface

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

Jaws – Just a Boy

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

 

American Wrestlers – Give Up

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

Common (ft. Stevie Wonder) – Black American Again

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

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

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

Lambchop – NIV

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

Empire of the Sun – High and Low

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

FREAK – Nowhere

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

Darcys – Lip Service

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

TOY – We Will Disperse

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

Lovestarrs – WTF (Pop Culture)

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

Summer Moon – With You Tonight

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

Soft Hair – Relaxed Lizards

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

Guard – Die Online

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

Loop – Losing My Mind

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

Melanie C – Anymore

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

Tove Lo (ft. Wiz Khalifa ) - Influence  

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

Icona Pop - Brightside

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

Sleigh Bells – I Can Only Stare

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

The Avalanches – Because I’m Me

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

Eminem – Campaign Speech

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

Telegram – You Said You Saw Us

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

Bizzle – We Here Now

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

Alesso – Take My Breath Away

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

Dami Im – Fighting for Love

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

GT & Wildfire – Not Alone

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

INNA - Cum Ar Fi?

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

Robbie Williams – Love My Life

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

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

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

Agnes Obel – Citizen of Glass

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

Dee Snider – We Are the Ones

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

 The Blind Shake – I Shot All the Birds

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

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

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

Crystal Fighters – Good Girls

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

I Prevail – Lifelines

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

Leonard Cohen – Traveling Light

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

Skyliner – Condition Black

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

Little Mix – Shout Out to My Ex

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

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

INTERVIEW: Sonitus

INTERVIEW:

 

 

Sonitus

_________________________

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

PHOTO CREDIT: Hannah Anketell

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

____________________________

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

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

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

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

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

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

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

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

Dein: Through previous girlfriends…

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

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

PHOTO CREDIT: Hannah Anketell

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

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

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

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

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

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

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

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

The Wiggles.

[soundcloud url="https://api.soundcloud.com/tracks/284414906" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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

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

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

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

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

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

[soundcloud url="https://api.soundcloud.com/tracks/198612799" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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

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

PHOTO CREDIT: Hannah Anketell

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

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

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

Nate: Sometimes, but not really.

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

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

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

Nate: Rootwork and Blueyes.

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

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

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

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

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

 

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

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

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

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

“No comment”

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

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

 [soundcloud url="https://api.soundcloud.com/tracks/241652648" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

________________________

Follow Sonitus

 

Official:

https://www.sonitusband.com/

Facebook:

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

Twitter:

https://twitter.com/_sonitus

Instagram:

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

SoundCloud:

https://soundcloud.com/sonitusmusic

INTERVIEW: Luk

INTERVIEW:

 

Luk

_________________________

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Follow Luk

 

Facebook:

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

Twitter:

https://twitter.com/00000luk

YouTube:

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

INTERVIEW: Oh Malô

INTERVIEW:

 

Oh Malô

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

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

HEADER PHOTO CREDIT: Ryan Song

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Are there any local bands you advise we check out?

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

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

Thank you!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Patience is everything.

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

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

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Follow Oh Malô

Official:

http://www.ohmalo.com/

Facebook:

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

Twitter:

https://twitter.com/OhMaloMusic

Instagram:

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

SoundCloud:

https://soundcloud.com/ohmalo

YouTube:

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

INTERVIEW: Night Wolf

INTERVIEW:

 

 

Night Wolf

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

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

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[soundcloud url="https://api.soundcloud.com/tracks/220412955" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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

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

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

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

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

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

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

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

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

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

[soundcloud url="https://api.soundcloud.com/tracks/284538570" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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

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

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

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

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

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

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

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

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

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

Night Wolf Website:

http://nightwolfuk.wixsite.com/nightwolf

E.P. Preview Mix :

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

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

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

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

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

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

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

Song of Travel Blog:

https://songoftravelblog.wordpress.com/

YouTube:

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

[soundcloud url="https://api.soundcloud.com/tracks/287723717" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

Leftfield: Rhythm and Stealth

Massive Attack: Mezzanine

Cypress Hill: Temples of Boom

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

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

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

[soundcloud url="https://api.soundcloud.com/tracks/250078977" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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

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

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

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

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

Keep on grinding and crafting!

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

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

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

________________________

Follow Night Wolf/Songs of Travel

 

Official:

http://nightwolfuk.wixsite.com/nightwolf

Songs of Travel:

https://songoftravelblog.wordpress.com/

Facebook:

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

Twitter:

https://twitter.com/SongOfTravel

Instagram:

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

SoundCloud:

https://soundcloud.com/nightwolfuk

YouTube:

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

INTERVIEW: Jasmine Branca

INTERVIEW:

 

 

Jasmine Branca

____________________________

THE quest to discover the finest female singer-songwriters…

PHOTO CREDIT: Overbury Photography

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

HEADER PHOTO CREDIT: Overbury Photography

___________________________

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 [soundcloud url="https://api.soundcloud.com/tracks/224720557" 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 song from Into My Heart means the most to you and is most personal?

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

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

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

PHOTO CREDIT: Overbury Photography

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

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

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

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

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

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

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

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

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

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

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

PHOTO CREDIT: Overbury Photography

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

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

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

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

 [soundcloud url="https://api.soundcloud.com/tracks/224720391" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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

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

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

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

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

PHOTO CREDIT: Overbury Photography

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

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

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

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

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

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

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

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

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

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

_______________________

Follow Jasmine Branca

 

PHOTO CREDIT: Overbury Photography

Facebook:

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

Twitter:

https://twitter.com/jasminebrancauk

SoundCloud:

https://soundcloud.com/jasmine-branca

YouTube:

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

TRACK REVIEW: Bull Funk Zoo - Hangover

TRACK REVIEW:

 

Bull Funk Zoo

 

 

Hangover

9.2/10

Hangover is available at:

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

RELEASED: 9^th October, 2016

GENRES: Rock; Indie

ORIGIN:

Dubai, U.E.A.

The album, Dangerous Radio, is available here:

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

HEADER PHOTO CREDIT:

Sasha Maddah

____________________________________

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

PHOTO CREDIT: Sasha Maddah

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

PHOTO CREDIT: Sasha Maddah

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

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

 

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

 

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

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

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

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

PHOTO CREDIT: Sasha Maddah

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

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

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

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

PHOTO CREDIT: Life is Pixels

ALL around the world.

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

_______________________________

Follow Bull Funk Zoo

 

Official:

http://www.bullfunkzoo.com/

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FEATURE: Billie Marten: Lionhearted

FEATURE:

 

Billie Marten:

 

 Lionhearted

_________________________

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

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

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

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

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

PHOTO CREDIT: Victor De Jesus

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

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

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

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

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

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

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

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

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

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

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

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

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

PHOTO CREDIT: Victor De Jesus

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

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

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

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

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

NOT the end of things.

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

__________________________

 Follow Billie Marten

 PHOTO CREDIT: Victor De Jesus

Official:

http://www.billiemarten.com/

Facebook:

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

Twitter:

https://twitter.com/BillieMarten

Instagram:

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

VEVO:

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

____________________________

Live Dates

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

INTERVIEW: Mowbeck

INTERVIEW:

  

Mowbeck

___________________________

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

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

_____________________________

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Phil: No comment.

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

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

 

PHOTO CREDIT: Georgia Richards

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

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

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

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

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

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

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

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

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

________________________

Follow Mowbeck

 

Facebook:

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

Twitter:

https://twitter.com/mowbeck

Instagram:

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

SoundCloud:

https://soundcloud.com/mowbeck

YouTube:

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

FEATURE: The October Playlist: Vol. 4

FEATURE:

 

The October Playlist: Vol. 4

______________________

THIS must be one of the most packed and busy…

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

__________________

Radiohead – Karma Police (Live at Glastonbury '97)

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

EL VY – Are These My Jets?

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

The Last Shadow Puppets – Is This What You Wanted

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

Yak – Semi-Automatic

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

Devendra Banhart – Fancy Man

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

Justice – Alakazam!

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

Lady Gaga – A-Yo

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

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

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

Stevie Wonder - Sir Duke

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

Alex Vargas - Higher Love

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

Kate Bush – King of the Mountain

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

Árni – Bore You with My Melody

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

Honeyblood – Sea Hearts

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

Crystal Fighters – All Night

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

Young Legionnaire – Heart Attack

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

Deaf Havana – Trigger

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

Alex Clare - Gotta Get Up

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

sarasara – Supernova

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

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

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

VANT – Peace & Love

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

Le Tigre – I’m With Her

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

Concrete Jungle - Au/Ra

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

Sage the Gemini – Now and Later

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

The Radio Dept. – We Got Game

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

 

The Game – However Do You Want It

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

Emeli Sandé - Garden

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

Grace Lightman – Repair Repair

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

Enter Shikari – Hoodwinker

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

Parson James – Sad Song

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

GLADES – Skylines

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

King Charles – Find a Way

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

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

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

The Courteeners - No One Will Ever Replace Us

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

Illy (ft. Anne-Marie) – Catch 22

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

Kelly Rowland (ft. Trevor Jackson) – Dumb

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

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

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

Dusky – Songs of Phase

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

Faith No More – Cone of Shame

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

The Naked and Famous – Higher

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

Helmet – Bad News

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

Tanya Tagaq (ft. Shad) - Centre

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

Jimmy Eat World - Integrity Blues (Acoustic)

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

Spirit Club – Broken Link

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

John K. Samson - Winter Wheat

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

Korn – Baby

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

Lori Cullen – Then There Were Three

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

Savoy Motel – Sorry People

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

The Hidden Cameras – The Day I Left Home

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

 

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

TRACK REVIEW: Yotam Mahler - Birthday Wishes

TRACK REVIEW:

 

Yotam Mahler

 

 

Birthday Wishes

9.5/10

Birthday Wishes is available at:

https://soundcloud.com/yotammahler/birthday-wishes-1

RELEASED: 6^th September, 2016

GENRES: Pop; R&B; Soul; Electronic

ORIGIN:

Tel Aviv, Israel

CREDITS: 

Music, Lyrics; Production, Piano; Fender and Vocals: Yotam Mahler Bass: Eyal Matri Violins: Galit Rolbin and Yoav Bar Cello: Yael Shapira Beatbox: Adi Mahler Mix: Noam Helfer and Roey Avital Master: Matt Colton

____________________________

BEFORE I come to looking at a truly unique musician…

his arrival (to my ears) has prompted a reevaluation of Israeli music and international acts; electronic music and the variations and mobility in the genre; looking at classic musical and bringing a sense of sophistication into music. I have been spending a lot of time interviewing various artists: getting to know what they do and the type of music they are playing. From sassy U.S. solo singers to British bands; all forms of life and musician – quite an eye-opening experience. It is fascinating getting to know artists and what goes into the creative process; where they come from and where they want to head. In the modern music age, everything is so disposable and quick: we never really sit down and take the time to discover a musician and what they are about. I bring this point up because I am not only getting a chance to feature a great range of artists but take my mind outside of London and the U.K. It is awesome promoting British acts but it is great getting out of the country and going somewhere else. It has been a while since I have ‘visited’ Israel – perhaps not since I reviewed ADI (Ulmansky). Many people are unaware Israel has a music culture, let alone one that is both modern and burgeoning. When one thinks of nations like Israel; you have the preconceived notions and ideas of what can be found. I guess, from an outsider’s viewpoint, there is that perception of rather localized, World-sounding music that has no commercial appeal and the chance of appeal – either that or U.S. /U.K. chart music infiltrating the radio stations and bars. That is true to an extent – the country embraces British and American sounds – but the nation has its own stars and bands emerging. Before I look at Tel Aviv on its own merits, it is worth looking at some of the best artists coming out of the country of Israel.

Many websites and publications made tips for this year – back in 2015 – but have not updated the lists in the last year-or-so. Maybe that means there are no new wave of great bands or perhaps those acts – that were tipped back then – are still making their way through. If one thinks about bands such as Orphaned Land, Mashina and Rockfour; Hadag Nahash and Monica Sex – a few examples of Israeli artists from the 1980s – present. Distorted Harmony, Garden City Movement and Hammercult are newer and more recent in terms of relevance – just showing the variation and genre-blend that one can find there. In terms of the new artists emerging from Israel – it would be foolhardy to overlook the likes of The Angelcy. The band came together in 2011 and have played festivals around Europe. Eclectic music – Folk, Reggae and Oriental among them – is backed by ukulele, flute and contrabass (among other instruments) and the ensemble are ones to watch carefully. Tamar Eisenman has already crafted a longlist of great songs. The self-produced star composes her songs in both Hebrew and English; working on a couple of albums and is a musician that has a distinct future. A Post-Rock/Electronic/Groove band: Tiny Fingers have played at festivals across the U.S. and Europe. Having just released their album MegaFauna; it is a forty-five-minute instrumental experience like no other – the four-piece band is one of the most distinct in Israel. Ethiopian looks/heritage and Israeli basing mean Ester Rada is one of the most alluring, fascinating and multi-cultural musicians around. Bits of Ethio-Jazz and Funk come with Soul-cum-R&B shades – a bright and brilliant young talent you should clear some time for. Tatran are the last Israeli act I will bring in and recommend. The three-piece instrumental guitar-bass-drum are as varied and eclectic as they come – the trio has released an album and have a very dedicated following in their home country.

Making moves and steps throughout 2016: they have the heart and talent to translate into Western markets and mainstream tastes. Before I come to my next topic – making my way to the music in question – it is worth investigating Yotam Mahler in the context of Tel Aviv. He is my featured artist and someone who takes inspiration from Classical music but the sounds and sights of Tel Aviv. It is not a surprise finding a Tel Aviv resident make such exceptional music and prosper. The city is the financial and technological hub of Israel and home to near quarter-of-a-million people. Not only a financial and technological epicenter: the city has a diverse nightlife filled with nightclubs and bars staying open to well past midnight – much more electric and exciting than a lot of British cities. A young and vibrant city:  Tel Aviv has been dubbed ‘the best gay city in the world’ by American Airlines – a hugely popular destination for L.G.B.T. tourists and community. The city hosts a famous pride parade – the biggest in Asia – and attracts over 10,000 people a year. Throw into the mix the city’s luscious beaches and promenades – Hayarkon Park is the most-visited urban park in the country – you have that balance of L.A.’s sun-kiss shores and London’s cosmopolitan, vivacious night scene.

Mahler vibes from the city’s cultures and contradictions but draws heavily from the culture and classical touches of Tel Aviv. Not only inspired by Tchaikovsky and Shostakovich – two of his favourite composers – he learned a lot from the Jerusalem Academy of Music and is finding much influence and support in Tel Aviv. Electronic music is a genre that is as wide-open and varied as any out there at the moment. Perhaps in past decades, it was a more linear, less expansive genre – that is not the case in 2016. You only have to look around the find a plethora of musicians stretching Electronic music to its limits. Whether stirring it with warm Pop sounds or harsher Dance beats - maybe cinematic elements thrown in or something more omnidirectional and restrained. Given Mahler education and impressionistic leanings: his music has that age-old, traditional quality but a modern orchestral twist. The colours, textures and scenes the greats of Classical music painted have clearly resonated inside the young artist. He has been driven by their command, genius and innovation – updating that sound and teasing it with fresh and urgent strands.

Classical music is used by acts like The Cinematic Orchestra and, to a lesser extent, by a lot of modern chart acts. I hear so many musicians that employ strings and quartets in their songs: maybe something fuller and more sweeping. From Pop/Soul acts Lana Del Rey to bygone legends David Bowie: one cannot underestimate or ignore how relevant Classical sounds are in the twenty-first-century. The foundation and basis (debatably) for all music as we know it – strings and orchestral elements are hardly being employed ironically or casually. There is that inherent and unbreakable bond to eighteenth and nineteenth-century composers (especially). Following Romanticism and the period between 1800 and 1850 – where literature, art and music was defined by emotion and individualism – there was a move towards Romantic composers in the Classical genre. Although Mahler sources Tchaikovsky as influences – who had a wide stylistic emotional range and switched from salon works of little charm to tremulous symphonies – there was always a sense of tenderness and passion beneath the power – as defined in his operas and works like The Nutcracker Suite and Swan Lake. A lot of modern musicians possess elements and ideas of Tchaikovsky’s ballets and romantic work – there is a greater tendency towards more urgent, imperious string articulation. With that appropriate surname (Mahler), you get elements of centuries-old composers but there is that modern, contemporary outer skin. Not only do you get cross-pollinations of dance-floor and concert hall – you get a very personal and sophisticated musicianship. Birthday Wishes is a song very much for our time, but one that could only derive from a man like Yotam Mahler.

Birthday Wishes is the second single to be taken from (the forthcoming) What Is Your Art? E.P. It is pertinent we look back at Maher’s work to see how he has progressed. Last week I looked at Michelle O Faith and her song, Birthday Blues – questioning her achievements and taking a deep look at life. Mahler’s latest single is a more uplifted and (lyrically) hopeful song. It follows from Late Bloomer which begins its life with soothing, smooth electronics and subtle percussive clicks. A fusion of R&B and Soul: one is transported back to the 1990s with a little bit of Stevie Wonder thrown into the mix. Strings enter and yearn: swaying, graceful and curious as they rise and fall back down. When Mahler comes to the microphone; the first verse offers some revelation and curiosity: “Driving Through my attempts/I've been beaten up (you've been beaten up)/A sweet release/I can only be myself”. One gets impressions of vocal harmony groups (Boyz II Men, perhaps) but a more subtle, slowed-down version. Mahler layers his vocals and ensures his words are presented with complete commitment, passion and meaning. One feels he is referring to a sweetheart and the mistakes he’s made in the past. Being someone who has taken a long time to achieve and get where he needs to be – the song is a catharsis and explanation of the man he is today. Whether he is sending a message to a lover – or simply documenting his path in life and way things have changed – it is fascinating to get into his mind. Mahler’s voice is serene and sensual throughout; rising to a delicious falsetto before calming into a low-down, low-pitched contemplative burr. In that sense, one hears embers of early-career Prince: the way the voice can acrobatically work through the lyrics whilst never losing control. In the lyrics, the hero knows he can only be himself and can overcome the obstacles. Whether a person causes him strain or (life in general) is hard to take: he will make his way through it all and come out the other end.

Late Bloomer is a stunning and confident track from a young artist who seems fully formed and complete. Of course, Mahler has been playing music for years but few artists present something so cohesive, original and compelling the first time out. Birthday Wishes carries on from its stablemate – in terms of sounds and composition – but changes the lyrics slightly and addresses different themes. One can see some cohesion and consistency between the two songs – that distinct, cinematic sound; honeyed vocals and passion running throughout – but no shortage of confidence and presence. How the rest of What Is Your Art? will sound like will be interesting to see. Given what we know about the E.P. – the themes and stories being explored – it will be wonderful seeing what sounds and vocals go into those songs. Birthday Wishes is a worthy equal of Late Bloomer and proves Mahler is not a one-off fluke. He is a musician that brings together his Classical background but updates it with Electronic urgency and soulful sensuality. It is a busy and heady blend that one can dissect and examine: every time you hear the music, new things are revealed. This early command and quality mean future E.P.s and songs will grow and expand from this – that is quite a proposition.

I mentioned how Birthday Wishes was a more positive beast compares with Birthday Blues – perhaps there is a similar thread of doubt and self-reflection. Mahler’s once-a-year theme finds him starting in pensive and reflective mood. Before the hero comes to the microphone; there is a child’s voice – perhaps Mahler himself – that draws you back to the past and has quite a vintage, oldskool vibe. Mahler approaches and asks: “I want to receive my birthday wishes back/all these coins in the river”. Perhaps life is not going his way or things have not worked like he’d imagined. Maybe new events and unfolding have meant there is that desire to change things and get to a better place. In terms of composition, there are heartbeat-like, accelerated beats. It is quite a tense and racing coda but one that does not encroach on the song and its focus. What one notice is how meaningful and emotional the vocal presentation is. It makes one wonder whether something traumatic has occurred or a break-up, perhaps. Maybe there is just a general malaise and knowing things have not panned out like they should. Perhaps I am instantly assuming negativity. It may be the case (the song) looks at life in general and knows things are as they should be – no need to be superstitious and rely on talisman and good luck charms. It is an intriguing and deep investigation and one that compels the listener to involve themselves – rather than push them away. As the song kicks up a gear, that beat remains and keeps firm without combining with strings or electronics. By keeping things basic and sparse; it means the vocal is given a chance to shine and take central focus. The hero lets his voice glide but it almost breaks at times. Such is the emotion and themes being performed: it is quite a hard and emotional revelation. Between the first and second verse, there is little time for pause and reflection. The song keeps its energy flowing and does not drop a beat. “Hey world I have waited a while/I got more to say” suggests two possible avenues. There is that sense of mortality and a man starting to think about the end. Maybe the song looks at an older figure (or someone who feels old) and is unsure whether he has too many good years left. Maybe the song is just about a general fatigue and not wanting things to go by so fast. Mahler is a man who has seen the world and experienced a lot but is not in the mindset and place he wants to be. At the back of my mind, I am always thinking of relationships and a girl that got away. Perhaps there has been a recent collapse and that is weighing heavy on his mind.

That might be simplistic, although you can hear a very heartfelt and pure vocal. That voice is king and resonates directly with the listener. Able to present a sense of pain and loss with sexuality and something very primal and sweaty – you get a blend of urgency passion and contemplative maturity. I have mentioned artists like Prince and Michael Jackson: it is hardly an exaggeration to make comparisons between the artists. Mahler is an original and fresh musician but one who is deeply in awe of Soul and Pop greats. One hears the spirit of Prince and Jackson throughout Birthday Wishes. Our man lets it be known he has “waited a while” (a message to the world) and has much more to say. With every new line, one feels the shivers and longing emerge. It is by the second verse we get the first taste of strings. Most modern artists do not use strings effectively enough and see them as a bit of a novelty. Mahler has a definite bond and knowledge of Classical music and knows exactly how to elicit reaction and provocation. The strings have a definite grandeur and gracefulness and a real sense of class. Mahler’s voice is quite considered and never rushes. It is always slowed and calm; it does not feel the need to explode of race through the gears. This means the lyrics are easy to understand and appreciate; the meanings and expressions have better a chance of affecting and the listener does not feel harried and overwhelmed. It those newly-introduced strings that cause one to lean in and try to jump into the song. Our hero keeps the words and supplications coming: “Hey world keep my lovers around/I got more wisdom to pass them on”. After the first time through the lyrics: Mahler goes back to the start and gives the lyrics a bit more speed and intensity. Combining with Eyal Matri’s bass; the violin of Glait Rolbin and Yoav Bar; the cello of Yael Shaprira and the beatboxing of Adi Mahler – it is almost like an orchestra one is hearing. The lyrics are no less striking and meaningful when repeated. If anything, they pick up new relevance and seem to reveal more of the puzzle. It is tempting to find fatalistic ideas within the lyrics – a man that is down on his luck and defeated.

I find the song more hopeful in the sense Mahler wants to change and make things better. Perhaps this run of bad luck is what leads to a drive for betterment and fulfillment. Birthday Wishes is a track you are bonded to and appreciate the first time you hear but start to get inside the more you hear it. Not a song you can have in the background and just ignore: it demands some attention and the listener to immerse themselves in the music. It shows and unites all Mahler’s training, musical teaching and love into the one song. A delirious and stunning blend of ‘80s-‘90s Soul with Classic edges and modern Electronic elements – a wonderfully rich and compelling song. The vocals are consistently pure and sensitive but have a definite wounded heart and need for hope – you almost want to hug Mahler and let it known things will get better. There is never the sense (the hero) is wallowing and hopeless. He is always working and pressing; searching and questioning his mind and trying to get life back onto a sturdier track. You should listen to the song for the composition alone which grows and develops as the song goes on. The strings captivate and are luscious: they rise and have that cinematic grandeur. Almost like a drive through the Hollywood Hills: a blend of black-and-white film romance and symphonic rush. It is a brilliant and unforgeable instrumentation that not only has an emotional effectiveness but paints images and moves the story on. You feel the hero is driving away through the dusk and heading to a new destination – where that is will be down to the listener. By the end, you are happy for having heard Birthday Wishes and got into the mindset and world of Yotam Mahler. Another exceptional and memorable song from a fine young artist. Even stronger than Late Bloomer in terms of nuance and instantaneousness – make sure you check it out now. Credit must be given to Noam Helfer and Roey Avital who mix the track superbly and ensure all the notes and themes merge and hold naturally. Matt Colton’s mastering is exceptional too and the trio provides the song a gloss and polish that emphasises all the notes and vocals without diluting things and making the sentiments sound fake.

What is Your Art? is the forthcoming E.P. from Mahler and will arrive later this autumn. There is too much attention and focus paid to critically-approved artists and chart-friendly musicians. It might be risky embracing someone a little more ‘unique’ – a human that does not fit into conventional moulds and tries something different. Yotam Mahler is not completely separated from modern sensibilities; far from it, in fact. Late Bloomer was the lead-off single from the E.P. and laid down the foundations. Following it up with a tremendously fascinating and personal track – one that causes you to wonder and delve deeper – it is likely to be a sensational work. Mahler resides in a nineteenth-century home near the Mediterranean Sea and the wall-to-wall paintings and high ceilings are the source of inspiration and wonder – Mahler sees it like stepping into a museum. The half-Israeli half-Danish was raised in a secular community but never lived the established, traditional lifestyle – Mahler connected with Gospel music at a young age and performed at pluralistic synagogues in Jewish-Israeli communities. Feeling drawn and connected with his Jewish roots: the young musician-in-waiting brings his Classical, religious and community spirits into music that spills over with experience, pride and curiosity. Prior to Mahler completing his E.P., he had just completed a Hebrew-only album that was ready to be released.

Unfortunately, a hardware-related mishap and freak accident meant the product was destroyed – Mahler starting from scratch and producing his English-language E.P. instead.  What is Your Art? will see talents such as Noam Helfer and Roey Avital (from city-mate band Garden City Movement) come into the fold. It is not just the Classical elements that come into the work. Gospel and Soul play heavy roles and is almost uncredited characters in the story. The 1990s’ finest Soul sounds combine with lush string arrangements – all iced with wall-of-sound vocals and tense atmospherics. Late Bloomer was influenced by a daily Jewish morning prayer whereas David and Jonathan (a track that will feature on the E.P.) derives from King David’s lament for Jonathan – a new, inter-faith Romeo and Juliet-type love affair. When one looks at Mahler, you get an almost mythical figure who has a traditional, semi-religious heart and soul and the bones and blood of a young man in a modern city. Whilst working in his Tel Aviv studio – a transgender prostitute worked nearby at night – Mahler conversed with the prostitute and learned more about the life experience being discussed – that directly influenced the E.P. title track. If Birthday Wishes, Late Bloomer and David and Jonathan have more transcendent, divine and ecumenical derivations: What Is Your Art? is more lively, heretical and vivacious. The song captures the street-life in a prism of sound and love-filled vocals: a performer in awe of Tel Aviv’s multiple sides and side-alley dramas – stories and mini-dramas that unfurl during the night; dormant and tender during daylight hours. It (the title track) is not just a paen to the multitude energies of Tel Aviv: it questions contradictory chatter of society and anodyne criticisms that is levied at the pure and honest. With its street-walking, yet utterly charming, ignition: the song protects and promotes the fascinating, kind people that are often the target of subjugation, discrimination and bigoted imperiousness.

Before I bring everything down to a close; I wanted to look at the opening points about international music and Classical/Electronic seduction: artists that have depth and originality and how sophisticated, refined musical chemistry can lead to something ethereal and affirmative. I have mentioned Israel (Tel Aviv especially) and how prosperous and busy the country/city is. If you ignore and walk by Tel Aviv, then you are not only overlooked a bustling and beautiful city – you risk missing out on a whole world of wonderful music and fantastic talent. People stick to stereotypes and assume a particular country is going to have ‘national’ music and nothing that can be classed as digestible, appealing and commercial. That could not be further from the true when you think of Israel. In previous posts, I have examined nations like Sweden, Canada and Iceland: looking to subvert expectations and clichés we have about the nations; the types of music that will emanate from here. In terms of Israel, one might assume Asian music – employing traditional instruments and themes – will be all you’d hear. True, there are some Israeli acts that perform in Hebrew and have a more ‘local’ and traditional sentiment. Tel Aviv is one of the music world’s fastest-growing epicenters and is producing wonderful Pop musicians and Soul acts with African and European origins – and some terrific, tight bands. How many of these heralded artists will translate and integrate into British/American charts is hard to say. There are plenty of modern Israeli musicians that have the potential to be big stars in the future. ADI – who I name-checked at the header of this review – is a Future-Beats musician who addresses deeper themes – depression and anxieties – through kaleidoscopic electronics and soul-pounding, scuttling beats. Yotam Mahler is someone who seems at home and in love with Tel Aviv and Israel. He is provided a wonderful, rich music scene and a fantastic blend of history, faith and exciting nightlife – between the beach and the monuments, all manner of inspiration awaits!

It will be interesting seeing how Mahler progresses in the next few years and whether he choose to remain in Israel or moves out to Europe or the U.S. A lot of Israel’s best artists are touring continents but choosing to remain at home – clearly, there is a supportive and opportunity-laden music scene for young artists in the country. Perhaps not quite as prosperous and commercial as nations like Britain and America: there is something about Israel that is keeping musicians rooted and satisfied. Given the reaction and praise Mahler’s work has been given so far, one would assume he will consider a move in years to come. London is a city that seems ready-made for him – he is looked after by Brick P.R. based out of East London – and there is a Tel Aviv-esque vibe to London – albeit without the beaches and some of the glorious landscape. Perhaps the national following or clement environment will see him rooted but I would love to see Mahler perform live and spend more time in the capital – tour Europe and the U.K. and bring his music this way. In that sense, there is a big U.S. market that awaits. I mentioned (half-jokingly) how Tel Aviva brings the best of London and Los Angeles into one city. The sun and panoramic beauty of Los Angeles might tempt the young Mahler to tour and spent some time there – similarly, the energy and unpredictability of London is a seductive and alluring mistress. How that will translate and resonate with Mahler is hard to say but one feels he has a lot of places to visit.

His music is already established and known in London and one suspects there are U.S. sources that are similarly vigilante. It has been great investigating Birthday Wishes and the story of Yotam Mahler. He is a musician that perhaps embodies the new generation of Israeli artist but someone many here (U.K.) will not be familiar with – in terms of similar personalities and sounds. Mahler has that classically-trained heritage and a combination of religious/Jewish teachings and that love of Gospel and Soul. Maybe there are British artists as intriguing and interesting but I have found, over the last few months, there are not that many that distinguish themselves from the rest – all sort of looking the same with similar back-stories. Ensure Yotam Mahler is part of your new music rotation and get to understand the man behind the music. He is a fascinating human and someone whose E.P. is sure to establish him as one of the finest young musicians in Asia – a possible mainstream fixture in this country down the line. I always enjoy the opportunity to assess international acts and what is going down in their corner of the globe. Not only have I been afforded the chance to dig deep into the treasure chest that is Tel Aviv but discover an artist that prompts one to think and dig deep; gets the mind and imagination working and creates smiles, warmth and admiration. There are many English words to describe Yotam Mahler but, with regards to Hebrew, the young master…

IS simply מטריף.

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INTERVIEW: Signal

INTERVIEW:

 

Signal

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MY breath has just come back from reviewing Signal’s latest…

single, Down. The combination of slick, sick vocals and exceptional production (Jay Picasso) brought the song to life. Collaborating with Eclipse (Picasso and his wife, Jamie Jooste) it is a bold and memorable declaration from one of Britain’s fastest-rising and most promising Hip-Hop/Rap stars. I have been following Signal since his last single, All Night. I am confident a wonderful future lays ahead and few deserve it more – always putting his all into music and throwing tonnes of passion into everything. After a busy last few months, I was eager to see how Signal has been; what inspired Down and what the Basingstoke (where he is based) scene is like – and a cheeky question about his football club, Liverpool.

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

Hi Sam. The last couple of weeks has been hectic since the Down release. It’s like music is a twenty-four-seven thing for me: if I’m not writing I’m busy promoting, doing research or updating my social media. I went to Liverpool last weekend to see some family with my dad (which was nice to have a little break). Back on it now, though: no rest for the wicked!

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

It’s 'Big Sig'…. ha! I’m a rapper from Basingstoke and I’ve been making music for ten years. I studied at the Academy of Contemporary Music (in Guildford) and graduated with a degree in Music Production.

All I’ve ever wanted to do is make music and perform.

I like to think my style is unique and I have featured heavily on B.B.C. Introducing this past year. I’m a telecoms giant during the day (big-up Peter from Dragons' Den) and artist at night.

You recently launched (new single) Down at Fever & Boutique in Basingstoke (with Eclipse). What was that night like and what was the crowd’s reaction like?

The whole night was a movie! It was such a sick experience and gave me a real taste of what’s to come. The support was overwhelming: lots of people grabbed up a C.D. that I was giving away. Big-up the team for passing through and Thom from Fever for the Making it Happen hashtag!  

[youtube https://www.youtube.com/watch?v=51qP6nTKWYI&w=560&h=315]

Speaking on the new single: can you tell us what inspired that song?

The inspiration came from a lot of things, to be honest. I wanted to be able to dance (you should see my hip-move) to the beat and after listening to my E.P. I couldn’t really hear any of those tunes in a nightclub as such. So I guess it was kinda (sic.) stepping out of my comfort zone but probably the best decision I’ve ever made. It goes down as my favourite and best material to date that’s for sure.

The session was organic; the beat and lyrics were written there and then within a five-hour studio session.

Jamie vocalised the chorus at a later date. I have just finished recording the next single which, again, is influenced by this sound (and is featuring Eclipse).

You join with Eclipse for this single. How long have you been a fan of them (Jamie Jooste and Jay Picasso)?

Since I knew about them! It wasn’t until a couple of months after I met Jay that he mentioned that he could rap (as well as produce) and showed me his E.P. It is sick by the way. Testament E.P. - check it out!  I then discovered Jay and Jamie as Eclipse and became a fan instantly. We worked together on Leave This Girl Alone taken from the Make It Happen E.P. Jamie is ridiculously talented and her chemistry with Jay - being his wife and all - compliments any beat they work on together. 

Down finds you re-join with Jay Picasso – who produces and provides backing vocal. What is he like to work with and how influential has he been with regards moulding your music?

I’ve got the utmost respect for Jay Picasso: not only as a producer and a musician but as a good friend.

Jay has been fundamental in my development and the quality of my music has stepped up significantly since I was introduced to him. He’s a pleasure to work with: we’re always on the same page and it’s got to the point where I’m reluctant to work with anyone else - unless it has Jay’s input in terms of the production. The guy is a machine!

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

All Night was your previous track and gained huge feedback and praise. Were you surprised by the reaction it accrued?

Big shout-out to Ryan Samuda and Nana on the visuals! It’s a typical ‘Signal’ song: witty lyrics full of innuendos and a bad-boy production from ‘Kenan’ (Sorry Jay: you mentioned ‘Big Sig’ in your interview). The most surprising thing was the support from the B.B.C. Introducing team at the time of release. I had two radio interviews; a freestyle and live session from B.B.C. in Brighton and Reading in less than three days. It certainly makes doing what I do worth it.

Can we expect to see a Signal E.P. in the coming months?

Definitely - after releasing the Make It Happen E.P. earlier this year. The focus has been on single releases and finding a sound that best suits my style. I believe I have found that sound through Down and a collaboration E.P. might be on the cards - even talks of a new group. I’m sure you know who I’m talking about - the new N-Dubz? :)

You hail from Basingstoke. What is the music like there and how much support have you received from the home crowds?

The music scene is definitely growing.

The one thing that Basingstoke lacks is opportunities for local artists.

There used to be an event called Beats ‘n’ Bars (shouts to Patsy) which was essentially an Urban event - with local rappers/singers showcasing their talent and often opening up for a headline act. Kano and Chipmunk came down - this was like eight years ago.

Back then it was absolute madness: times of Channel U! The only thing us Urban acts have got to look forward to is Basingstoke Live every year on the Sunrise Stage - which is effectively continuing the Beats ‘n’ Bars tradition. In terms of the support, it has been amazing - especially within the last year. My social media is growing as a result and the Basingstoke Gazette has featured me in articles on numerous occasions. I’m sure you’ll get to see me perform at Fever & Boutique again with future releases.

I know you spend a lot of time performing in London. Is that a city you’d like to move to? What are your favourite venues/areas of London as a performer and music fan?

Absolutely!

The dream is to be in the studio every day: making music and performing in London on a consistent basis.

I’ve performed in Camden a few times and it’s always a sick vibe and atmosphere. I’ve seen various artists perform at the 02 Arena and Wembley; so to headline/support in one of those locations would be a dream come true - when Em. (Eminem) brought out (Dr.) Dre at Wembley!

How did you first get into music and what attracted you to the genres of Hip-Hop and Grime?

Well, I just about missed out on the Garage scene but my bro. Pete ‘Danger’ used to D.J. and ‘chat’ over Garage. There is six years between us so I think that had a major part to play in my upbringing from a young age. I was about thirteen/fourteen when some new kids moved down my street in Popley. They were from Reading and the kids were my age. Funnily enough, all the brothers could rap. It was them that got me into it properly and even thought of the name ‘Signal’. It’s kinda stuck since then although I wish I used the name ‘Amps’. It went from spitting over Grime beats with my new pals against the wall; making videos for Bebo to linking up with my best mate Onias ‘Serva’ - where we recorded my first studio song Sexy Love (at my old school, The Vyne). F.Y.I.: do not try and look for it on Google. Ha, proper cringey!

I released a mixtape called You Ain’t Ready for This which was followed by Demons in Disguise with Kamikaze - who I met at college. It was only when I got to uni. where I started experimenting with flows and styles - which created the path for my first Hip-Hop mixtape (Alive) with fellow students Jay O-K, Joe Kane and Serva. When I left university, I was signed to a management company called Titans Entertainment who introduced me to Jay Picasso. Big respect to Inspekta and KO for making the connection. The rest is history!

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

Are there any upcoming artists you’d like to give a shout-out to?

Wayne Woodward: say no more, really. The whole Starcity movement is doing things at the moment. Exciting times ahead. Watch out for Wayne’s album.

I know you’re an ardent Liverpool F.C. fan. What have you made of their season so far? Do you get much chance to go to football?

Man like Klopp! I’ve been very impressed with Liverpool this season. We’ve finally managed to find a bit of consistency (barring the Burnley game). I truly believe Liverpool’s going to win the league under Klopp - doubt it will be this year but certainly within the next few seasons; providing we can keep hold of Coutinho! I’ve been to a couple of games in the past but tickets are so hard to get hold of. I went for my twenty-first which was the best experience - sitting next to the Kop singing Y.N.W.A. (You’ll Never Walk Alone). Goosebumps!

Which artists and albums have been most important to you – either now or when growing up?

I was brought up on nothing but Michael Jackson - he was my hero! Imagine: my dad managed to get hold of tickets when the last batch came through for the 02 Arena and Michael died a couple of weeks later - heartbreaking! Kanye West’s Late Registration was the first Hip-Hop album that I bought so that will always remain an important album as well as John Cena’s (Yes, the wrestler, haha). Believe it or not, he’s not a bad rapper.

My biggest inspiration, though, has to be Eminem. Eminem is arguably one of the greatest rappers of all time, and in my opinion, the best!

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

Practice makes perfect! Be consistent; be prepared to make sacrifices and always take opportunities. Be as active as possible on social media and only put out material that you’re 100% happy with. Think of your music being a brand and a business. Marketing is essential!

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

Emile Sande – Hurts (Radio 1 Live Lounge version). Have you heard the passion in her vocals?!

 [youtube https://www.youtube.com/watch?v=7QO4g5zC3xU&w=560&h=315]

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Follow Signal

 

Official:

http://signalofficial.com/

Facebook:

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

Twitter:

https://twitter.com/signalofficial

Instagram:

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

YouTube:

https://www.youtube.com/user/signalofficial1 

INTERVIEW: Blayre Mic

INTERVIEW:

 

 

Blayre Mic

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YOU will not find too many in the world of music like Blayre Mic…

I can tell you that for certain. I have only know about her for a few months – I reviewed her single, Love B.M.P. quite recently – but have already fallen under her spell. The blue-haired, Oakland-born musician is in London right now and setting the city alight – getting tongues wagging and making her way under the radar of some of music’s biggest movers and shakers. Love B.M.P. has just been provided (an awesome remix) and I was eager to chat with Blayre Mic and ask her about the Oakland music scene; whether there is a gender/race imbalance in music and what she is making of London.

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

My week has been awesome! I’m so happy to be out promoting the remix to my lead single, Love B.P.M. (featuring Ms. Banks). I’ve been visiting radio D.J.s and speaking with bloggers throughout London. I also found a little time to visit neighborhoods in London like Peckham, Elephant & Castle and Chelsea.

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

Greetings and Salutations! My name is Blayre Mic and I’m just your average blue-haired, BAD-ASS singer/songwriter/lyricist/cheeky-chick - here in London (by way of Oakland, California) trying to make my mark on the U.K.

 

The first thing that strikes me about you is your blue hair and unique look. How does image and fashion inspire you and do you think it is important to stand out from the crowd?

I love fashion and the story you can tell with it so it's a huge inspiration for me.

Besides my voice my blue hair is something that most people remember about me - but I didn’t start going blue as a means to stand out from the crowd. I started dying my hair blue to express myself with color and blue always seemed like a happy and inviting color to me. People initially told me I shouldn’t so it made me want to do it even more.

I think it’s important to stand out from the crowd in order to express yourself freely. Standing with the crowd is too easy… standing alone behind your decisions is much more interesting and empowering.

I mentioned your blue hair and distinct fashion, but it goes deeper than that – such an intriguing look. Are there any fashion icons and people that have compelled you in that respect?

Aww thanks! Oh wow, I’m inspired by so many people but I’d say the fashion icons that inspire me the most are: Grace Jones, Andre 3000; Alexander McQueen and Gwen Stefani.

[soundcloud url="https://api.soundcloud.com/tracks/276777346" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Love B.P.M. is your current single – one that I loved reviewing – and has got some hot reviews and love. Did you expect such a reaction to it?

Thanks for the love!

I really didn’t expect such a reaction to this song. Honestly, I didn’t expect to release this song at all. When I wrote it I just wanted to hold onto it because I wasn’t sure how it would be received.

It’s so in-your-face that my initial thought was that I would just keep it for myself - or maybe a future project. When people started to react to it I was blown away by all the positive vibes. The consistent phrase everyone says when they hear it is “Let’s hear that one again!”

What inspired the song and its themes? Was there a sweetheart or particular person that influenced it?

I wrote the song in a day and walked into the studio intending to write a love song with some ‘balls’ - from a modern woman’s point of view. I feel I accomplished that. There was a particular person that influenced my need to write something like this. Let’s just say I needed to know where I stood in the relationship and wanted this particular person to know I was ready to be their ‘franchise player’ (L.o.L.)

[soundcloud url="https://api.soundcloud.com/tracks/287520061" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

The song has been remixed by Grime producer S-X and M.C. Ms. Banks. How did you meet them and what was the reason behind remixing Love B.P.M.?

My team and I discussed different types of remixes we could do for this song and the idea  presented was to do a Grime remix. I thought it was a great idea but said the caveat was that I wanted to have a female M.C. on the track. I call this version my homage to London - I love this city! S-X was attached to the remix straight-away and then Ms. Banks’ name came up (whom I loved instantly). It was a pretty instant click for the three of us. They’re both lovely and so talented (at what they each brought to the track). It was an instant classic for me as soon as I heard the mix.

You are working with U.K. talent, evidently. Is Britain a place you feel happy in and can we expect to see you tour this year (in the U.K.)?

I’m very happy here in London. Everyone has been so warm and receptive to me - it’s really a terrific feeling.

I’m definitely planning on touring the U.K. in early-2017. I jokingly have been referring to it as the ‘Heart-Breaker Tour’ because all the guys I’ve been meeting here have heard Love B.P.M. and say they’re going to be super-nice to me because they don’t want their hearts broken. It’s such a funny thing to me!

It may be a hard question but do you think black artists do not get equal opportunities and have to fight harder for recognition in the music scene?

This controversial question but I have to be honest here and say we don’t always get equal opportunities. It’s unfortunate and I think it goes beyond just skin color. I think equal opportunities are an issue if you’re a woman as well. We all fight hard to have a place and make our mark in the music scene. This industry isn’t for the faint at heart or the weak-skinned.

We all fight for different things but as black artists and women I feel what we fight for is telling our stories the way we want them to be told - and not what major media wants us to perpetuate.

We all have different stories and backgrounds but often (times) black artists get ‘pigeon-holed’ or placed in a box and told they have to make 'black music' or they won’t be successful. But what the hell is ‘black music’ anyway?! We all make MUSIC and art. And it ALL sells. It shouldn’t have color attached to it in my opinion because anyone can relate to the themes in music. That’s what makes music such a profound means of connecting us all.

It is certainly true female artists are expected to be less talent and capable of their male counterparts. Do you think there is sexism in the industry and have you had to fight prejudice?

The music industry is very reflective of how the world is right now in terms of the dynamic between men and women. Women are demanding a place at the boardroom table selling out STADIUMS: managing empires and doing it just as big as our male counterparts. We are just as talented and capable but have to work harder and raise our voices louder just to be heard.

Things are changing for us and the industry is starting to open up more opportunities but only because we are demanding it. Yes, there’s sexism in this industry and yes, I still have to fight prejudices because I don’t have a d*ck between my legs; but that’s par for the course when you have a brain and you’re a woman.

The Pledge is your debut E.P. What can we expect to find in the E.P. and what type of themes are explored?

Yes it is :) You can expect to find the beginning of a journey I want people to take with me (especially women). It’s an empowerment E.P. that celebrates womanhood, wearing your heart on your sleeve; owning your happiness and the need to have a voice.

I have a lot of love for Oakland musicians. Do you think the city gets overlook when compared with Los Angeles, perhaps?

Yay! I’m glad you have love for us.

Oakland is a great city and has a long history of exceptional talent in so many things including music.

It usually doesn’t get compared to Los Angeles because, well, it’s Los Angeles - the entertainment capital of the world! Oakland has its own vibe and we kind of enjoy being California’s best-kept little secret ;-)

 

Are there any Oakland artists you recommend we check out?

I’ve got a whole list! But I’d say besides checking out my music until your ears bleed you should check out: Kehlani, Goapele; Keak da Sneak and G-Easy to name a few.

In terms of the coming months and into 2017: what can we expect in terms of music and developments?

You can expect another single from The Pledge and a mixtape headed into 2017. I’m planning to tour in 2017 as well as dropping the second installment to The Pledge - called The Turn. I’ve also got some really cool collaborations in the works with more U.K. artists so busy, busy, busy 2017 for yours truly.

Looking ahead to the next few months: any new material being worked on or is it going to be touring and a bit of down-time?

I don’t have an ‘off’-switch these days so not a whole lot of down-time planned for me.

I’m in the studio finishing up recording for the mixtape and The Turn whilst getting in tour rehearsals with my D.J. and choreographer. I’ve got a busy group of ladies around me :)

 

If you had to be stranded to name the three albums that have defined you as a woman and musician, which would they be and why?

Janet Jackson -  Janet (the beginning of Janet owning her sexual liberation… and that album cover! O.M.G.)

Esthero - Wikked Lil Grrrls (a Jazz album wrapped in good ‘ol Pop/R&B/Hip-Hop - doesn’t get much better than this underrated album)

Lauryn Hill- The Miseducation of Lauryn Hill (Life-changing on so many levels and proof you can be a dope singer and M.C. simultaneously)

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

1. Follow your gut! If it feels right, it probably is.

2. You can’t do everything great so hire people that have an expertise in the things you don’t - so that the team you’ve built around you helps support your career goals.

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

SPZRKT & Sango - Soon Enough (my jam right now!)

[youtube https://www.youtube.com/watch?v=QFoID2JbOco&w=560&h=315]

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Follow Blayre Mic

 

Official:

http://blayremic.com/

Twitter:

https://twitter.com/blayremic?lang=hi

Instagram:

https://www.instagram.com/Blayremic/

SoundCloud:

https://soundcloud.com/Blayremic

YouTube:

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

INTERVIEW: Amber Richmond

INTERVIEW:

 

Amber Richmond

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IT is pretty damn hard pinning your hopes on a young artist….

as the pressures of music and changing times can render their early promise immaterial. So many find the pressure unnerving and try too hard to fit into commercial moulds. One thing you can say about Surrey-based musician Amber Richmond is she has a very promising future. Having just played the first-ever Always the Sun festival this year – set-up and run by local venue, Boileroom – there is something special about the sixteen-year-old. Richmond is masterful when covering contemporary songs but has shown a real knack for original, engaging songwriting. Her E.P., Fifteen, was a collection of songs written when Richmond was thirteen/fourteen – the same teenage songwriting talent the likes of Kate Bush showed on The Kick Inside. If not the sonic equal of Bush;there is a comparable sense of beauty, intimacy and ability. Richmond is down-to-earth and honest but has definite ambitions and goals. One feels her music will not be kept local for too long. Following on from her Always the Sun appearance – new dates lined up and fresh recordings planned – Richmond afforded me some time to talk about her childhood idols and what music means to her; how important Boileroom is and what advice she would offer similar young artists coming through.

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[youtube https://www.youtube.com/watch?v=UUC-ty3JjSg&w=560&h=315]

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

I've been practising with my drummer as we are going to record on Tuesday.

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

I'm Amber Richmond: a sixteen-year-old singer-songwriter

You have recently played at Always the Sun festival. How did you become involved with that and what was the day like for you?

It was really enjoyable. I had the first slot.

I was asked to do it as I'm part of the Boileroom's project. The weather was horrible but didn't stop it being fun.

Has that experience (at Always the Sun) got you thinking about future festivals? Will you be touring a lot in the next few months?

I have a project gig at the Boileroom on the 25th.

You have also played Boileroom – one of the most notable live venues in Surrey. I can imagine the crowds there are something else. Is that a venue you have a particular bond with?

It's my favourite place to play new material at. All of my songs have been tried out first at the Boileroom - I did my work experience there and know the staff well and love the atmosphere.

I have been listening to cover versions uploaded on your YouTube channel. You have a talent for reinterpretation and affinity for various styles of music. Which artist/song has been the most memorable covering and can we expect any new covers in the coming months?

My favourite cover is Toxic as it’s a really well-known song yet it sounds like a very different version. I'm working on a cover of Honey by Swim Deep at the moment - should be on SoundCloud in the next few weeks.

[soundcloud url="https://api.soundcloud.com/tracks/271103361" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Fifteen is your previous E.P. and was well-received on social media. Are you surprised by the reaction in garnered and how do you think you have changed as an artist since it was released?

I was surprised as I wrote those songs when I was thirteen/fourteen. The E.P. itself is acoustic and I have definitely changed since then as my music is more Indie-Rock now that I have a drummer (Ben Keynes).

Can we expect a new E.P. this/next year from you?

I'm currently in the studio recording three of my new songs which I hope to release.

[soundcloud url="https://api.soundcloud.com/tracks/230190822" 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 are based in Surrey but have performed further afield. What have been the most memorable gigs over the last few years? Any bad ones in there or have they been predominantly positive?

I loved doing the Guildford Lights as it was really cool to play on a balcony in front of so many. You always get some bad gigs but it's experience (in the end) and will definitely help.

Take me back to your early childhood. Who were the musicians you grew up listening to you? Was your household a particularly musical one?

My mum loved U2 and Simple Minds. I grew up listening to them and still do.

My earlier music is inspired by Daughter and Lucy Rose.

I ask this of many of my female interviews: do you think women have to work harder to gain recognition? Is there still an imbalance in music that needs redressing?

Not really. I feel like I have an equal chance to make it (as if I was) in a man’s would.

If you had to narrow down to a few albums that have been influential to you: which would they be and why?

If You Leave by Daughter - as I have always aspired to make my music as beautiful as hers. The 1975 by the 1975; Long Way Down by Tom Odell - because he manages to create such amazing music on a piano. Tell Me It’s Real by Seafret - because their music means so much to me and inspired me to write new songs.

Music means a lot of different things to different people. What does it mean to you, personally?

Being honest: I never stop listening to music. It's like a life support.

I listen when I'm sad; I listen when I'm chilling and when I want to party. It expresses the artist’s emotions and that can then be shared with the listener.

Which underground/new artists would you recommend we check out and investigate?

Sophie and the Giants. Known her for a few years now and she just keeps getting better.

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

Just keep writing. Being able to write good songs will separate you from other musicians and make you stand out.

Also... gig as much as possible.

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

Mumma by Spring King

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BOILEROOM PHOTO CREDITS: Thomas Brooker

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Follow Amber Richmond

 

Twitter:

https://twitter.com/amberichmond

SoundCloud:

https://soundcloud.com/amberichmond

YouTube:

https://www.youtube.com/channel/UCFISfcGseUs3jy_k3g6RGhw

INTERVIEW: Lydia Baylis

INTERVIEW:

Lydia Baylis

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THINKING back at all the favourite musicians that have featured on my blog…

and Lydia Baylis will always be near the top. She is a young artist that impresses me immensely. Able to seduce and enchant crowds in a coffee-house setting or impress with cinematic, dramatic music videos – someone who is capable of drawing you in and capturing the heart. Not only are her lyrics revealing, open and intelligent: Baylis has a voice at once sensual and inviting; hurt and affected the next. Previous singles Into the Water and Mirrors rank alongside by favourite songs by any new artist. It has been exciting catching up with Baylis and asking about her future – whether we will see a new E.P. arriving. She is heading to play New York’s Pianos later this month and is excited about the coming months. Baylis talks her about the importance of her family (to her music) and how she unwinds away from music.

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[youtube https://www.youtube.com/watch?v=fpa7ABHyk_c&w=560&h=315]

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

I am a singer-songwriter working and performing in London.

I see you are playing Pianos in New York (on 25th). Are you excited about this and is this your first time in New York?

It is my third time performing there - I am REALLY excited! I love New York and Pianos is a great venue!

PHOTO CREDIT: Patrick Ford and Jenni Davis

In terms of America as a future possibility: could you see yourself moving there or are you pretty settled in the U.K.?

I would love to move to America one day. I would love to live in L.A. for a bit. Any change of scene I think is good creatively for artists.

[youtube https://www.youtube.com/watch?v=ylvv0s3qsRc&w=560&h=315]

The last time I featured you on my blog, you were performing a series of gigs at coffee houses around the country. What was that experience like and can you see yourself doing it again in the future?

It was fun. Travelling is one of the best bits of this job.

I like being on the road and meeting the challenges of doing a difference venue, even two, every day.

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

You have a fascinating family – Lydia’s grandfathers both helped drive the Germans out of Brussels during World War II – and have strong Welsh roots. How important were you family with regards your career in music?

They were, and still are, so important.

My parents are my greatest supporters and brought us all up to follow our dreams.

Having studied at Oxford – and returned there to perform - do you get a chance to revisit your alma mater and family? I imagine the demands of music keep you pretty busy?

Music does keep me very busy but Oxford has a very special place in my heart (and I love to go back).

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Into the Water is my favourite song of yours. Can you remember what inspired the song? I see new cuts Anyway and You Don’t Love are available. What is the inspiration behind the two songs? Have you been putting them into recent live performances?

I love Into the Water too. It was inspired in part by Virginia Woolf (who drowned herself with stones in her pockets), but more figuratively, feeling (in life) like you are drowning sometimes - and that it might be you dragging yourself down.

Anyway and You Don’t Love are about the same period in my life: being unsure about someone and how they made me feel.

Can we expect a new Lydia Baylis E.P. or album in the near future?

Yes! I have been working on it for a long time and I think that I am nearly ready.

I know Joni Mitchell and Stevie Nicks are big influences of yours. What is it about those singers that attract you? Which other vocalists/musicians have inspired you?

Both of those women are irreverent in some way - they might not vocally be perfect but the attitude with which they perform and write is so real and soul-baring.

In terms of the albums that have meant the most to you: which three would you rank as the most important?

Astral Weeks  by Van Morrison; Lungs by Florence and the Machine and Rumours by Fleetwood Mac

How do you spend your time away from music? Do you get time to unwind or is it hard finding moments to disengage?

I love travelling, dancing and reading - but music is a constant companion.

[soundcloud url="https://api.soundcloud.com/tracks/265848495" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Are there any new musicians/underground musicians you suggest we check out?

Equador are awesome.

What advice would you give to any upcoming musicians looking to follow in your footsteps?

Do it because you love making music, not if you want to be famous.

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

You Only Live Once by the Strokes - there is not a problem that song cannot fix.

[youtube https://www.youtube.com/watch?v=pT68FS3YbQ4&w=560&h=315]

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Follow Lydia Baylis

 

PHOTO CREDIT: Brad Inglis (UBPICS)

Official:

https://lydiabaylis.com/

Facebook:

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

Twitter:

https://twitter.com/lydiabaylis

Instagram:

https://www.instagram.com/lydia.baylis/

SoundCloud:

https://soundcloud.com/lydiabaylis

YouTube:

https://www.youtube.com/channel/UCUvsl2a3LnrjN4BwenA1eHQ

INTERVIEW: MAR I AM

INTERVIEW:

 

PHOTO CREDIT: CK Goldiing

MAR I AM

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FOR a while I have been looking to interview a musician that has a real history…

and sense of originality about them. The interviewees I have covered are wonderful but MAR I AM is something special. The London-based artist combines sweet vocals with soulful allure: Pop and Alternative blends that fill the ears and sit alongside thought-provoking lyrics. A natural storyteller whose Nigerian roots go directly into her music: there are not many out there like her! Growing up to rhythmic drums and a community strong of family values: this upbringing compelled MAR I AM to enter music and share her stories with the public. Heart to Heart is an E.P. that will captivate and capture hearts; highlight a distinct and promising musician and give the music world something rather wonderful. Be There for Me has made its way into the world and being celebrated with glowing reviews and paens of affection. I got the chance to chat with MAR I AM and talk about her Nigerian upbringing; how songs come to her and what we can expect from her E.P.

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Hey MAR I AM. How has your week been? What have you been getting up to?

Hey! It’s been good thank you: very busy with work and preparing for my E.P. launch in just a few weeks. I’m very excited but there is a lot to be done.

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

Well. I’m a singer-songwriter and self-taught guitarist. I am a south Londoner who loves to tell stories through music.

You are based in London. What is life like there for a musician and how does it inspire you as a writer?

London is great for musicians: there is so much music happening here; there is always a great music night and amazing artists; very easy to get inspired by the different sounds you hear and art being made.

I am also inspired by life and people: so much happens in London that it is nice to sit back and take it all in. A lot of my songs come from just watching life.

[soundcloud url="https://api.soundcloud.com/tracks/278255185" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Be There for Me is your debut single. What was the inspiration behind it and are you excited now that it is completed and done?

Very excited! It’s so good to be able to see work finished and be able to share it. It was inspired by difficult friendships and life changes. I wrote it together with the producer I worked with on the E.P. (Feranmi Oguns) and it’s about those hard moments with people when you feel like there is no reciprocity. You feel like you’re giving a lot but not getting anything in return  and expressing how you really feel when that happens. You feel hurt, and in your heart, you want that person to know it. Songwriting is a difficult task at times. It’s a skill to be able to divulge the matters of the heart in only three minutes but working with such an amazing team at OL Music (Fez and Rohan) made it easier and fun.

The E.P. Heart to Heart is out on 4^th November. What can you tell us about the themes and songs that will be included?

Yes it is and I can’t wait to share it! Again, the title is called Heart to Heart and that is the theme: a conversation of love, growth and those defining moments in life where the emotion is real and there is no hiding. There is a song called Without You which is about feeling the pressure of life and realising you need help. There is a song like Grow where you are feeling on top of the world and ready to grow. The last song, Running, is an unfolding story and ends the E.P. very raw and dramatic but there is something for everyone - they are themes that everyone can relate to so you’re in for a real treat and I hope you enjoy it.

Your lyrics are insightful and you effortlessly blend catchy melodies into your music. Who were the artists and musicians that influenced that?

Ah, well, thank you. There are so many: I just love music. Ones I can think of now are Stevie wonder. He is so amazing to me both his musicianship and writing; his play on words have always inspired me. Lauryn Hill is incredible. Asa, Joni Mitchell; Bill Withers, Gospel music as a whole… the list goes on.

 

Having Nigerian roots; do you think that is important with regards your unique sound? Do you have many opportunities to visit Nigeria?

Yes, it is definitely important because it is a part of who I am and that is what makes my sound. I love my culture and it is what first introduced me to music - especially live musicianship and the art of storytelling.

I was there just last year enjoying the sun so hopefully, I’ll be back there soon - especially as it’s getting cold here.

Were you into music and poetry at a young age and was there a figure/person that sparked your love of words and music?

Yes, as young as I can remember I started writing poetry and stories (when I was like seven-years-old). I would draw a picture and write a story to it. It’s hard to say one person:

I (just) always loved reading stories in school at story time; seeing live music and dancing away to Michael Jackson. As a young girl, I (just) sat back and took it all in and just continued to write as a way of expressing myself.

It was 2011 you decided to go into music – joining the London Community Gospel Choir. What compelled that decision at the time?

Well, I joined the London Community Gospel Choir last year. In 2011, I was just playing my guitar and a song began to come to me. When I finished, it I just felt like I wanted to share it so I did: I was so nervous but it was something I always wanted to do (but was afraid to do). That year, I felt like life hit a brick wall, but out of that hard time, I began to dream again. I had friends who were singing already and I started supporting them - through backing vocals - and when I felt ready to do it full-time I joined the choir who are amazingly talented and professional.

 [soundcloud url="https://api.soundcloud.com/tracks/192162764" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

It might seem like a cliché question but how do songs come together? Do you need to get into a headspace or set time aside for writing?

It’s always a good question because no-one really knows. It varies. Some days, songs just fall from Heaven; other days you get a lyric stirring or a melody and you got to sit with it and fish it out. There are times when you need to be in a headspace - especially when it takes a while to come together. Other days, you have to just let it go and wait for it to come when it is ready. It is such an interesting process and very exciting when you feel something brewing.

Music is quite a challenging industry and demands hard work and perseverance. Have you had many obstacles to overcome so far and how do you disconnect from music and detach from it?

Loads! Too many to name. I think that the biggest obstacles are from yourself: believing in your craft and songs is the first obstacle. You can’t keep going if you are not content with you because it is hard; you are vulnerable so you have to be ok with the rejections - with people not liking your music or not supporting at times. You have to keep going. I take myself away to just refresh so mini-breaks are good to just process and enjoy life. It helps me to get back to doing what I love: singing and writing. If not, it will always feel like work, and it is a lot of work. You have to persevere but enjoy it too.

You have already – before your debut single came out – achieved and seen a lot. As a young musician; what have been your proudest memories to date?

One of my proudest moments was putting on a music-night for a charity I was working with called United for Change (that was raising money for a school in Nairobi, Kenya).

I was commissioned to write songs for it and perform them with a fellow artist - it was my first time organising an event and it was such a successful night (we raised over £800 for charity work in Kenya). I was happy to make music for such a special cause and get the chance to go to Kenya and see it - a fond memory of mine.

 

PHOTO CREDIT: CK Goldiing

Being in London, you must play a lot of gigs and see a lot of new talent come through. Any other names we should check out and follow?

Yes, there is so many I know. Some fantastic artists off the top of my head: I would say check out Lánre, Bianca Rose; Kacey Chambers, Abimaro; Santino, Alice Watts; Mike Kayihura and the amazing Samm Henshaw. There are loads more and these artists are awesome.

What are your plans heading into 2017? What do you hope to achieve in the year coming?

Lots of plans.

I’ve already starting planning for after my E.P. launch so keep an eye out for more music.

Of course, live performances (will follow) as it’s been a while and a music video or two. Very excited about the plans I have to share.

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

Don’t stop. It is all in the process: you learn as you go, and as you go, you grow (that’s a good Tweet!).

Enjoy your journey and know that you have what it takes and you have a story to be told.

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

Well, thank you, loads. It will have to be a song I’m loving at the moment: Cranes in the Sky by Solange. Thank you so much!

[youtube https://www.youtube.com/watch?v=S0qrinhNnOM&w=560&h=315]

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 PHOTO CREDIT: CK Goldiing

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