TRACK REVIEW: Billie Marten - Live

TRACK REVIEW:

 

Billie Marten

 

 Live

9.7/10

Live is available at:

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

RELEASE DATE:

30^th October, 2016

GENRE:

Folk

ORIGIN:

Ripon, U.K.

_________________

I have been experiencing something rather odd the past…

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

PHOTO CREDIT: Victor De Jesus

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

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

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

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

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

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

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

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

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

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

PHOTO CREDIT: Victor De Jesus

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

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

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

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

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

THAT can make everything seem so much better.

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

________________________

Follow Billie Marten

 

Official:

http://www.billiemarten.com/

Facebook:

https://www.facebook.com/billiemarten/

Twitter:

https://twitter.com/billiemarten

Tumblr:

http://billiemarten.tumblr.com/

SoundCloud:

https://soundcloud.com/billie-marten

YouTube:

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

TRACK REVIEW: Lola Coca - Ego

TRACK REVIEW:

 

Lola Coca

 

 

Ego

 

9.7/10

Ego is available at:

https://soundcloud.com/lolacocamusic/ego

RELEASE DATE:

3^rd November, 2016

GENRE:

Pop; Hip-Hop; Rap

ORIGIN:

London, U.K.

WRITTEN BY:

Lola Coca, Neil Ormandy and Stefan Skarbek

_________________

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

EMBRACE and adore it.

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_____________________________

Follow Lola Coca

 

Official:

http://www.lolacoca.com/

Facebook:

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

Twitter:

https://twitter.com/lolacoca

Instagram:

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

SoundCloud:

https://soundcloud.com/lolacocamusic

YouTube:

https://www.youtube.com/lolacocamusic

FEATURE: The November Playlist: Vol. 1

FEATURE:

 

The November Playlist: Vol. 1

______________________

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

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

__________________

Ingrid Witt - Babies Gonna Cry

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

Section Boyz (ft. Skepta) - #Worst

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

Olly Murs – Grow Up

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

Emily Reo – Spell

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

Goo Goo Dolls – Over and Over

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

 

The Charlatans – Tellin’ Stories

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

Emeli Sandé - Breathing Underwater

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

Michelle O Faith - Birthday Blues

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

Alex D'Rosso - Stand By Me

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

Sting – I Can’t Stop Thinking About You

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

Dua Lipa – Room for 2

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

Harper – No Love in the Jungle

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

Little Mix – You Gotta Not

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

Saint Motel - Move (360 Virtualiser)

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

Louisa Johnson – So Good

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

Pharrell Williams - Runnin'

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

Anohni – Hoplessness

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

Superjoint – Ruin You

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

Pixies – Classic Masher

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

Crowded House – Fall at Your Feet

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

Sad13 – Less Than 2

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

Jim James – Same Old Lie

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

Shura – Nothing’s Real

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

Kungs (ft. Ephemerals) – I Feel So Bad

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

Röyksopp (ft Susanne Sundfør) - Never Ever

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

 

Pixie Geldof – Sweet Thing

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

Pretty Maids – Kingmaker

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

Shirley Collins – Death and the Lady

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

Metallica – Hardwired

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

Stevie Nicks – Think About It (Alternate Version)

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

Bruno Mars - Versace on the Floor

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

Super Furry Animals – Something 4 the Weekend

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

Enigma – Push the Limits

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

The 1975 – She’s American

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

Loscil - Monument Builders

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

Simian Mobile Disco - Remember In Reverse

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

  Luke Temple - The Birds of Late December

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

Adele – Water Under the Bridge

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

  Martha Wainwright – Traveler (Live @ Stingray PausePlay)

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

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

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

Papa M – Bloom

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

  Sleigh Bells – Hyper Dark

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

Lanikai – I’m Glad

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

Miranda Lambert - Keeper of the Flame

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

Thee Oh Sees - The Poem

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

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

TRACK REVIEW: Emnibis - Home

TRACK REVIEW:

 

Emnibis

 

Home

9.2/10

Home is available at:

https://soundcloud.com/emnibis/home

RELEASED: July 2016

GENRES: Alternative-Rock

ORIGIN:

Surrey, U.K.

PRODUCER:

Ben Sansom _______________________

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

MANY successful years ahead of them.

[soundcloud url="https://api.soundcloud.com/tracks/271200908" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

__________________________

Follow Emnibis

 

Facebook:

https://www.facebook.com/Emnibis

Twitter:

https://twitter.com/Emnibis

Instagram:

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

SoundCloud:

https://soundcloud.com/emnibis

YouTube:

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

INTERVIEW: James Sayer

INTERVIEW:

  

James Sayer

_________________________

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

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

________________________

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[soundcloud url="https://api.soundcloud.com/tracks/239847747" 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 is uplifting and has that fantastic piano-Pop sound. Do you think too much modern music is too dour and emotive? It is important to bare your soul in music but do you think there is too little positivity?

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

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

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

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

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

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

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

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

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

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

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

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

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

Thank you!

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

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

____________________

Follow James Sayer

 

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TRACK REVIEW: MAJIK - Real

TRACK REVIEW:

 

MAJIK

 

 

Real

9.6/10

Real is available at:

https://soundcloud.com/majiklondon/real

RELEASED: 24^th October, 2016

GENRE: Electronic

ORIGIN: London, U.K. ___________________________

THIS review will contain – disclaimer alert! - a heavy amount of wistfulness, vacillation...

and introspection. Given the arrival of my featured artists – who I shall introduce soon – I am minded to investigate the variety of young artists emerging right now; duos and how compelling they can be and songwriters that address everyday issues and deeper concerns. Before arriving at the bearded boys of MAJIK: I wanted to take a (brief) dip into the warm sea of new artists and their cocktail blends. I have waxed lyrical about certain musicians and have been very satisfied and nourished by the range of musicians that have presented themselves throughout 2016. Last year, as I have long-mentioned, there was a bit of a dip in 2015 – a year that was not as consistent and stunning as it could have been. Maybe it was the mainstream’s problem: musicians here not really creating the sort of records expected; that overall consistency lacking. New musicians always impress but have really stepped up this past year.

Aside from the wonderful bands and duos that have been emerging: solo artists have really come into their own – especially female musicians. I have rhapsodized concerning the divine merits of artists like Billie Marten – dedicating an entire piece to her music and talents – and she is just one (of many) exceptional musicians of 2016. Whilst Marten ensures critics are suitably immersed in her soul-grabbing vocals and wise-beyond-her-years lyrics; there are some fantastic Electronic acts and brilliant Rock bands emerging. I am not sure what is causing the spate of brilliant music but one suspects there is a connection to the state of the music/wider world and problems being faced. There are so many circumspect artists out there: finding terrific ones that have endurance potential is really encouraging. I will touch more on the importance of addressing the wider world but it seems like a fraught and unpredictable year has caused musicians to really up their game. The death of musical stalwarts like David Bowie have really had an effect on many artists – I have asked and there are a lot of musicians creating music in his honour. In terms of music-related deaths, it has been a rather active and unhappy year. In wider terms, the world at large is becoming unpredictable and unsettled. Given the political happenings in the U.S. and violence around the world: music seems like an escape and perfect way to immerse oneself in something comforting and safe. That is not to say all great music has stemmed from a general fear but there seems to be a correlation. Speaking to a lot of new artists coming into music at the moment and they have the same feeling: there is a desire to try and make the world better and change things; provide something beautiful and deep. It is hard to say just how many other incredible acts will showcase before this year is done but it has been a wonderful year. Not only is the quality and passion at an all-time peak: the variations and genre-mixture is scintillating.

This is something I will elaborate on towards the end of the year but I am stunned by how many stars of the future are arriving in 2016. It is unsurprising to find a duo like MAJIK arriving in the fold and fitting directly into my discussion – a duo that has a very clear and definite future - who just walked away from Unsigned Music Awards as Best Electronic Act. I will raise a couple of new points, but before I do, let me introduce them to you:

“MAJIK are a band of two talented twenty-something’s who don’t mix ordinarily. Don’t be fooled by their identikit beards. They lead separate lives and come from very different backgrounds. There’s Jamie: the scientist from Ayrshire, Scotland – the college-trained music wizard of Logic, and the guitar. And then there’s Marcus: the artist from Marlow, England – the sensitive, soul-searching wordsmith turned vocalist. 

To date, the magic’s happened in the bedroom – in makeshift studios where they’ve managed to conjure a potion of sounds and soothing vocals that are already intoxicating thousands of fans and have garnered support from the likes of BBC Introducing and Radio X. Real is no exception; a heady mix of lush chords and potent words with the power to heal. 

MAJIK:  “Real talks of the introspective world we live in, when discovering ones commitment; before we lose ourselves in one another.”  

The single release is supported by a debut European tour alongside Eden, including a sold out show at London’s Dingwalls on the 17th November.

Last week, MAJIK were awarded 'Best Electronic Act' at The Unsigned Music Awards. The show will be broadcast tonight on Sky Showcase (Channel 212) from 9.30pm (GMT)”. 

MAJIK are yet another duo sprouting from the capital and get me thinking about just how many are out there. From my favourites REWS and Gypsyfingers (London) to ISSIMO (Bradford); there are so many awesome duos making music much more interesting and strong. I have speculated what it is about duos that make them more appealing than bands but have yet to formulate a conclusion I am happy with. I feel the two-piece has that undeniable connection and togetherness that is missing from a band or solo artist. I love both musical camps – and am fascinated by the solo acts of this year – but the duos often get overlooked by a lot of people. Whereas the sole musician will be applauded by their one-man/woman fortitude and steeliness: the bands are congratulated and featured in the coolest music websites and magazines around – always a fixture of critical allure and the acts that fill festivals and venues. I am fascinated by duos and the music they play. Not only (is the music) freer and more nimble: the tightness and kinship of the two members are very special and unique. In terms of sounds; I find the duo is as agile and ambitious as any artist you’ll hear. Solo artists are, by and large, limited with regards scope and sound whereas a band tends to be more ‘focused’ and linear – often fitting into mainstream demands and replicating their heroes.

It may a general, all-sweeping statement but there is something in it. Jamie and Marcus certainly prove my point before musically and spirituality. Almost brother-like in their bond and energy: listening to their music and one senses two distinct (but familiar) artists that have that natural affection and understanding. When you properly listen to the music; you get a real sense of affinity and passion – both chaps really putting their all into every word and note. I am not sure when the duo came together but MAJIK seem like a years-old duo that have been touring the world and sharing some wonderful experiences – two men whose excellent and original music is the result of a close friendship and huge respect for one another. I can, and will, spend more time unraveling the merits and complexities of the duos, but the point is this: they are, in my view, the kind of acts we should be watching closely. Often overlooked by much of the music media: MAJIK are a perfect example of a two-piece that has the ability to adapt to the demands of the mainstream and provide something quite wonderful.

Before I get down to reviewing the guys’ music: their approach to songwriting has stirred something rather emotional and vulnerable in me – denuded my soul and created quite a sensation. Jamie’s wizardry and technological prowess and Marcus’ sensitive side: both fuse to create something affirmative and heartbreaking. Real is a song that I will provide my own views on but, in their own words, it looks at the introspective world and the danger of losing oneself – becoming adrift and disconnected; not opening our eyes to what is around the embracing opportunity. It may seem like, on the surface and image-wise, the duo are similar and identical – as they explain, their souls and personalities are quite distinct. It is Jamie’s college training and scientific background that provides the music an intellectual edge and philosophical depth – able to burrow into the deep recesses of the subconscious and ensure the listener thinks more deeply about the world (and themselves). On the other hand; Marcus has that poetic tenderness and curious heart – a wordsmith who resonates in the heart and provokes emotive outpouring and self-searching. Together, they are an irresistible combination of tones, bones and contradictions – a unity and brethren whose music is among the most arresting and nuanced about. I use a word like ‘nuanced’ and it is not something you can apply to many new acts. Those that go for the gut and keep their minds close to the groin will never have any sense of nuance and mystique. In fact, love and relationships – broken and endangered – are commonplace and becoming rather fatigued. Those musicians that step away from relationships and (unselfishly) concentrate on something more important and

MAJIK have been casting a spell for a while now and have a series of songs under their belts. The boys have produced tracks like It’s Alright, Save Me and Closer but have, in my opinion, not crafted something as compelling and full as Real. It is, in a lot of ways, their most daring and immediate track – a song that gets to you straight away but has plenty of charm and intrigue the more you play it. That is quite a hard feat in music and one they do rather well. It makes one wonder whether the boys have an album or E.P. in the pipeline. It seems like there is plenty of energy, inspiration and creative impetus in the ranks – surely enough momentum and reason to put something out to the world. That may come with time – and arrive next year – but Real is a song that really announces them and distinguishes MAJIK. It’s Alright has just been released on YouTube – its video arrived two weeks back – and shows a different side to the duo. More bracing and driving than Real – a soulful and pulsing moment that you clasp to the heart. Despite the song having been out for a while: the fact it has a video release shows there is a lot of demand and faith in the song. It is quite rightly placed as it, perhaps dissimilarly to Real, deals more with the heart and personal relations. In a sense, the combination of composition and themes reminded me of London Grammar – those sparse and twilight electronics (the sort that runs through tracks like Strong and Wasting My Young Years).

Although the vocal is up-front and in charge: the backing provides spirituality, verve and passion; a myriad of emotions, thoughts and ideas. Combining with a silky but lustful vocal performance – a song that is a paen to a girl; a private prayer to the benefits of a deep connection. Maybe I am misreading the song but it has a pure beating heart and a loyalty to it – the hero connecting with the girl and satisfied with his lot. Despite personal interpretations and the complexities of the song: it is a beautiful number that has a contemporary edge but very much the sound of MAJIK. I have mentioned touches of London Grammar – other acts can be heard – but the boys’ rare talent overcomes and makes it very much their own creation. It is fascinating digging into the song and trying to reveal its truths and hidden layers. It is a contrast to Real but shows a definite consistency – an urgency and instant reaction. It’s Alright overflows with sensuality, sweat and sexiness – perfect audio accompaniment and perfectly-placed notes with a smoky and breathy vocal. Whereas It’s Alright accompanies you on a night-time drive and is a perfect soundtrack for a city drive – where the lights are dimming and you are alone with your thoughts – Real makes you sit up and concentrate – a song that appeals to a different side of the listener; a more cerebral number but no less raw and attractive. The fact MAJIK have started their careers so strongly shows there is more life in them and plenty of determination. I would love to see an L.P. from them and a greater exploration of their (multiple) talents and abilities.

It is hard to pinpoint the most impressive facet from Real’s first moments – it is a veritable smorgasbord of synaesthesia and intertwining emotions. You get the sound of a metronome (or a representation of one) and some faint beats; little shivers, shimmer and edges of light – some dark undertones and crackling neon. Perhaps it is the liquid, shivering guitar line that registers hardest, first. I have brought in London Grammar but you hear that line and think of their debut album – the same sturdy and disciplined sound; packed with coolness, potential and candour. The compositional elements perfectly set the stage and get the listener involved and imagining. All the best songs spare little time seducing and flirting: making sure impressions are made right up-top and you jump right into the track. I leaped into Real and cast my mind between a bedroom scene and a young man’s view of the modern world. I have stated how MAJIK are writing songs that look out at the world and assess the state we are – introverted a little reluctant to embrace improvement and the need to affect change. On the other hand, one can hear – in the initial lyrics – some romantic revelations and something close to the heart. The duo have laid down their interpretation of the track but Real is a fascinating song that will have many reaching for different definitions. I get the feeling – when the song was written – there was a split feeling between being committed in a relationship and being faithful to the world. One senses that need to open up and be honest: making sure (you) let your feelings out and not lose your identity; again, I get the idea the boys are casting their gaze to the larger population and seeing too many people getting lost and turn their eyes away from harsh realities and their fellow man. Our hero is willing to let things slide; he is able to sacrifice himself. Running on “instinct for you” one gets the feeling more than a single relationship is in his mind. Maybe having been scarred and let down in the past: a general malaise and commentary about how cloistered and closed some people can be. In my mind, I see an alluring and beautiful girl: someone who is more addicted to technology and electronic feelings; perhaps a little vain and self-centred.

Maybe there is shyness but one imagines she is being reserved for the wrong reasons – not so much coy but uncaring; getting lost in the social media world we live in. With the hero willing to give up himself and overlook certain things: you wonder if there is any way back for the ill-fated lovers. The chemistry and instinct of MAJIK’s conjurers make the song such a beguiling and tender thing. In the back, one discovers some rich and whispered embers; a graceful guitar line and plenty of atmosphere. In the foreground, the sermon-like vocals are knee-buckling and honeyed – one man so close to the microphone and eyes closed; letting his soul and doubts flood out. Listening to the song and it seems like a gamble is being taken. The hero will give up a lot and compromise, if his girl is willing to be open and real. It seems like the love, as genuine and solid as it seems, is missing that necessary spark and hit. If it were pure and unbreakable; one would get that warm and nourished sense – that is not happening here. It is easy to assign blame but the hero seems to have it all figured: too much insularity and coded messages; not enough human conversation and honesty. Trying to assuage that anxiety and anger: the central performance mixes huge soulfulness with something tempered and refined. The song never comes on too heavy and you are not carried away with histrionics and melodrama. Similarly, the vocal is never too slight and casual that it passes you by. The best thing one can say (of) a track like Real is it mixes the sparseness and raw sound of a bedroom-made production with the finery and polish of the studio. MAJIK have built a reputation on D.I.Y. dynamics: here, they put half your mind to the wall (a fly listening to pillow talk and lovers conspiring) and the other in the modernity and luxuries of a high-end recording facility. There are plenty of other compliments one can levy at Real. Pattering, tom-tom beats and flat-packed edges drive the song forward and really help illuminate the lyrics. If there is a gravitas towards the vocals then one cannot ignore the command and relevance of the composition. Whether you are compelled by the bright and heartfelt guitar twinges or the heartbeat vocals – so much story and progression are achieved in the composition.

The guys not only unite and entwine throughout Real but have their distinct merits and roles to play. You get hooked by the lyrics and the bare honesty of a young man who wants something committed and uncomplicated. It seems, delving into the lyrics of Real, that not only do you get some personal insights into a rocky relationship – there are nods to those who keep themselves shrouded; people who shut themselves off from truths and reality. I always like to peel away the façade of songs and look for deeper meaning. Listening to Real unfurl and swim, and one imagines themselves immersed in the tranquil recesses o f a coral bay or secluded island. One detects a distinct hazy breeze and sun-kissed entice: there is a dichotomous emotive drive and organic pain that is hard to overlook. These contradiction and distinct pillars and brought together in a song that continues to search and question into its latter stages.

Real becomes heavier, more emphatic and orchestral as it progresses: the full weight of the situation starting to crystallise. “Why don’t we feel a little bit more? /It’s all that I’m asking for” seems to the central coda - the supplication that is falling on deaf ears. One can picture the two sweethearts pacing a room and exchanging furtive glances: not willing to talk; each with a tense look on their face. It would be interesting to imagine where the song originated – whether a previous relationship for one of the guys or a general composite of failed relationships – but it is a song both personal and ubiquitous. Everyone who has found pure love has experiences the turbulence and silent hurricanes of Real. It is not until the final seconds one sits back and takes the song in. I was instantly revisiting Real and discovering it in a different light. A song that resonates the first time you play it but keeps on giving you light and meaning (upon further spins). It is that n-word again: the nuance that few other acts can muster. A lot of love songs deal with carnality and impunity: so forcefully and unsophisticated in their mandate you come away spent and unlikely to revisit the song – if you do it sounds flat and insipid. The thing with Real is it a song that has some distinct burdens and woes but carries hope and strength with it. Never defeatist or capitulated: the hero is always looking for an answer and resolution to the problems faced.

That is one (of many) reasons the song captures the heart and mind. The other reason is the musicianship and vocal brilliance of Marcus and Jamie. Their spoonerism-anagram-portmanteau has come up with something both modern and unsettled with oldskool vibes – complete with widescreen messages and intelligent concerns. Real posits the benefits of communication and the dangers of insularity – applicable to every relationship and problem that arises in the modern world. Jamie’s twin peaks of guitar mastery and Logic rationale gives Real its clothing, flesh and movement. Whilst I am typing this, I’m cleansing the palette with some Groove Armada – At the River, to be precise. Listening to that song it makes me think more deeply about Real and what I have heard. You will swoon over Jamie’s blood-rushing guitars and the way he blends technological beats with pure and unfettered strings – making sure the track is consistently engaging, grand and beautiful (listening to the luscious horns from At the River gets me thinking about the vocals and lyrics). Marcus’ words and vocals are curative, semi—philosophical and imbued with poetic sentiments and bravery. Another terrifically spine-tingling vocal turn and set of lyrics that gets one thinking and looking at the world around them. Not only does his prowess and talents draw you directly into the song: Real stays in the head and will continue to release timely snippets and echoes when needed most. Put all of these ingredients and components together and you have a terrific song from a duo on the rise. Real is not only a wonderful number from the London-based boys – one hopes it will parlay into new material and big ambitions.

There is already a pretty loyal and impressive fanbase behind MAJIK. The conjuring duo of Marcus and Jamie have already impressed radio stations like Radio X and made their way under the radar of B.B.C. Introducing. If – thematically and sonically – the magic happens in the bedroom: the boys have transitioned from the four-walled safety of home to the vicissitudes of the world. So far, things are looking very positive. Over the next few weeks, MAJIK have some impressive tour dates under their belt - MAJIK Live (w/Eden): 15th November – King Tuts, Glasgow, 16th November – Deaf Institute, Manchester SOLD OUT; 17th November – Dingwalls, London SOLD OUT, 18th November – The Academy, Dublin SOLD OUT; 20th November – Oh Yeah Centre, Belfast, 22nd November – Prince Charles, Berlin SOLD OUT; 24th November – Paradiso, Amsterdam SOLD OUT, 25th November – Botanique, Brussels SOLD OUT; 26th November – Les Etoiles Theatre, Paris, 27th November – Start The Bus, Bristol  (w/ CUT_); 6th December – Birthdays, London (w/ CUT_)  - and will ensure their music reaches as many ears as possible. The Parisians will love the guys and (the) Deaf Institute is going to be an unforgettable gig. It occurs – given the fate and spate of London venues closing – the duo could restore some local pride and perform at some of the capital’s most notable venues – they seem readymade for Village Underground down Shoreditch’s Holywell Lane. There is a lot of territory the boys can claim in London: they might be too busy touring the country to consider that just now.

I will complete the review summing up their future but, and with some focused brevity, a worth revoking the earlier points – the young talent of 2016; duos and their merits with a bit about addressing unobvious themes. I opinioned this year has been a stronger time for music than 2015: a declaration I maintain and find no burden of proof. Billie Marten – someone whose name I will flaunt like a tattered feather boa; I composed a piece dedicated to her – is a perfect example of the key pillars of a future-star talent: sustainability, originality and personability. Her music is ageless and the progeny of the guardians of legendary Folk and Pop – from John Martyn – her surname was part-inspired by him and her favourite shoes, Dr. Martens (mine too, truth be told); her real surname is Tweddle – Nick Drake and Kate Bush -  and  an apostle of inspiration for those entering music. Her agile, bird-song voice – best exemplified in her album Writing of Blues and Yellow’s standouts, Heavy Weather and Bird – is enough to tempt the Muses from the Heavens. She comes across in interviews as grounded, modest - and a juxtaposition of ideals we hold on teenage musicians. I am also in awe of solo artists like XamVolo and (band) Saints Patience – the latter I housed at The Finsbury a few days ago. While Marten is top of my ‘to-see-live’ list, MAJIK are very close in second - another hugely viable act that fulfills the trio of considerations – two men whose music will endure and evolve; likeable and fascinating with plenty of original sentiment. Real is the purest distillation of their talents so far: a song that could form the basis of a solid and variegated E.P.

I am not sure what the duo have in mind with regards an E.P./album. I would imagine Real to feature in the top-half – it seems like a perfect second track; maybe following It’s Alright – and you’d imagine a four/five-track release could make its way into the hands of international D.J.s and venues – bolstering the boys’ portfolio and raising their stock immeasurably. Until that arrives, we must note them as one of the most promising duos in the country – a nation that is top-of-the-league when it comes to the two-piece dynamic. You can hear and feel the simpatico and faith between Jamie and Marcus – two boys that have a quasi-brotherly relationship. Aside from the away-from-music revelry and play is a seriousness and focus that is already reaping dividends. Incorporating familiar threads – assessing love through a prism of Electronic and Pop sounds – and something resolutely personal has seen MAJIK overcome early hurdles and establish them as serious players. It is their approach to songwriting and lyrical palette – tender and poetic but always universal – that impresses me; the incredible interplay and seductive vocals. I’ll leave it there, only to urge those reading to listen to Real and discover a young band with a rich body of work and a busy touring schedule. If you can see them live then please do – sure to be a memorable experience. You can say what you want about their moniker: when it comes to London’s MAJIK they are…

 

HARDLY an illusion.

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______________________________

Follow MAJIK

  

Official:

http://www.majiklondon.com

Facebook:

www.facebook.com/majiklondon

Twitter:

www.twitter.com/majiklondon 

Instagram:

https://www.instagram.com/majiklondon/

SoundCloud:

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INTERVIEW: Megana

INTERVIEW:

 

 

Megana

_________________________

ONE of the really cool things regarding new music is…

unearthing someone making their first steps – eager and ambitious. Megana hails from Liverpool but is based in the south - preparing to release her E.P., Feel Alive. She is excited about what is to come and how her music will be received. If previous originals and covers are to be taken into consideration: the E.P. is going to be a stunner and cement her place as one of the strongest young songwriters around. With a voice that has been compared with the likes of Adele and Amy Winehouse; a broad and impressive lyrical palette and a natural live presence – be sure to watch the young musician fly. I have been fortunate enough to learn more about Megana’s past and what will go into Feel Alive; she talks about fashion and how the remainder of this year is looking.

HEADER PHOTO CREDIT: Without a Landmine

__________________________

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

Yeah. Good, thanks. I have been very busy in preparation for my single and E.P. release but I’m enjoying it!

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

Yeah sure. So. I am Megana and I write Soul/Pop music with flavours of Country as well. I write songs which tell stories, of which I hope, connect and relate to others and also evoke emotions in people.

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I believe you just successfully funded a music video via Kickstarter. What was your reaction to that and can you tell us a bit about the video? 

Yes.

My incredible followers on Facebook helped my raise just over £400 for a music video (released this Sunday along with my first single What Is the Cure). I was so shocked at the willingness to help me: I feel like we really came together as a little community.

I was overwhelmed and so thankful! The video is so good: we filmed in quite a few different locations; it’s very emotional and moody that’s all I’m saying, haha.

You have spent a lot of time recording (originals and covers) at Lark Studios in Surrey. What is it like recording there and what is about the space that keeps you coming back?

It’s great. Lark' is such a great place to record. It’s only small but it’s a space which allowed me to feel very free and comfortable when recording my E.P. here (as well).

Originally from Liverpool, you are now based in Surrey. What compelled the move from Liverpool and what is the main difference between the two areas in terms of the music scene?

So. I moved to Surrey just over two years to study Vocals at the Academy of Contemporary Music. When I moved, I noticed quite a few differences to be honest.

For one, there is a lot more competition and the standard seemed to be set very high - which initially was very daunting.

However, there are more opportunities so that’s better! I’m glad I moved I am enjoying getting more engrossed in the London music scene.

PHOTO CREDIT: Lark Recordings

How was it playing the Buskers’ Stage at Always the Sun Festival recently?

So much fun. It took me out my comfort zone a bit as I decided to play acoustic versions of my tracks on my guitar - which I don’t usually do but I think it paid off. I had a great response and there was such a good vibe in the tent.

Looking at your fashion and style, it seems like you are inspired by the ‘60s. Have your parents had an influence on that and have you any particular style icons?

I would say I just love anything vintage or aged. I love the character in some old garments and so they have always interested me.

From a young teenager, I would always raid the charity shops in Liverpool for unique buys. My mum has always had a cool style as well so perhaps I got it from her, haha.

In November you’ll be releasing your first E.P. What can we expect from that and is it a mix of covers or purely originals?

So. My debut E.P. is out on the 13th November and it’s called Feel Alive. The E.P. consists of four tracks which were all written by myself. The songs explore heartbreak, romance; self-exploration as well as my spirituality.

Following on from the E.P., what does the rest of 2016 have in store?

I have a very few busy months leading up to the New Year. I want to really promote this E.P. and play live; but as well as this, I am part of a group called Urban Voices Collective and we have many exciting gigs in the pipeline leading up to Christmas. I am preparing myself for a very busy period.

Having appeared at a number of festivals this year and recorded at some great studios: what have been your fondest and proudest memories so far?

This year I was proud to play at Wembley Arena - performing a song as part of a variety show for two consecutive nights.

I was also delighted to be flown over to play an extremely fun beer festival over in Austria. And, not to forget, the hard work that went into my upcoming E.P. I am so proud of the finished music.

Of all the songs you have written, is there one that stands out as is particularly meaningful to you?

Yes. My first single What Is the Cure. It was a song written in one of my lowest moments over the past two years and it was a song that really helped me to find my feet again. I hold this song very close to my heart.

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As a musician, how do you think you have changed and grown over the last couple of years?

I have grown massively. Through studying, I have developed my vocal technique and songwriting ability; but also throughout my writing process for the E.P. it has allowed me to grow as a person. I have written down my feelings and explored my emotions way deeper than I ever thought I could.

Do you get time to switch off from music and wind down, and if so, how do you spend your free time?

It’s quite hard to switch off sometimes because so much of an artist’s success (these days) is determined by their presence online - so I feel I am forever posting.

You have to be persistent and determined. However, when I can switch off I love shopping for vintage gems, baking and sewing my own fashion pieces.

Are there any fellow local artists or mainstream artists you feel we should check out?

I really love a lady called Lissie. She inspired me a lot in my writing. She is an American Country/Rock singer, and boy, can she sing! Check out her first album Catching a Tiger.

For anyone reading that wants to follow you into music: what advice would you offer?

Please do join the Megana family: your support is so appreciated.

I tend to use Facebook as my main social media - so if you find me on there you will be fully connected to all I do in terms of live gigs, releases and any of crazy stuff on my agenda.

Finally, and for being a good sport, you can select any song (other than one of yours as I’ll put that in) and I’ll play it here…

Lissie – Loosen the Knot.

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

_______________________

Follow Megana

 

PHOTO CREDIT: Without a Landmine

Official:

http://megbirchy.wixsite.com/megana

Facebook:

https://www.facebook.com/Megana.co.uk/?fref=ts

Twitter:

https://twitter.com/meganaheart

Instagram:

https://www.instagram.com/meganaofficial/

SoundCloud:

https://soundcloud.com/meganaofficial

YouTube:

https://www.youtube.com/channel/UCx0qIwz5yrfAjQYU8IF9oMA

INTERVIEW: Shenna

INTERVIEW:

 

 

Shenna

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WHEN it comes to the solo stars performing in New York…

there are few that are as intriguing, eye-catching and vivacious as Shenna. Her current album, Made of Gold, features production from Austin Bello (singer with The Sickest Kids) and is already starting to get people talking and hooked. Since discovering a passion for music at a young age, Shenna has opened for En Vogue and is busy as a voice-over artist. It seems there are no limitations to her talent and scope, so with that in mind, I was eager to spend some time getting to know the stunning Shenna. She talks about her latest album and what it was like working with Austin Bello; plans for the coming month and a Georgia-based (U.S.) musician we should be checking out.

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

I'm great Sam! Thank you so much for interviewing me!

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

Of course! My name is Shenna and I am an unsigned Indie-Pop artist currently based in N.Y.C. I've been performing all over the U.S. and throughout Canada with my band The Dreamers - and have had my music and videos placed on MTV, VH1; AXS, CMT and The Bad Girls Club!

I am always fascinated by artists from New York. What is it like for a musician? How inspiring is the city and are there enough chances to perform and gig?

Yeah. New York is definitely the place to be for an aspiring artist.

I actually moved here two years ago from Virginia to have more opportunities for my music; it has definitely been a journey! I met all my bandmates here and all my friends are creatives. There are so many people from different countries and states here pursuing music but endless places to perform. If you really wanted to you could perform at an open mic. Every day!

[soundcloud url="https://api.soundcloud.com/tracks/269216672" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Made of Gold has just been released. What compelled you to write the album and what sort of themes/events influenced the songs?

I started writing Made of Gold shortly after I released my first project Dream in Color E.P. I honestly just felt that I was developing so much as an artist at that time and understand the music business in a whole new light - that a lot of the songs were influenced by my journey out here in N.Y.C. Every struggle like So Low; every funny character like Charlie Shut Up!; the music venue scene backstage when you feel glamourous (You Can't Sit With Us!) and even having to move away from my hometown to N.Y.C. (Echo).

Is there a particular song from the album that resonates hard? Any that has a particularly fond place in your heart?

The last song I wrote - So Low - resonates hard because as you grow as a person, and especially in your career field - a lot of people will try to help you make your decisions or even leave you in the dust. Sometimes you have to feel so low and go solo to rise to the top!

Austin Bello was a producer on the album. What was it like working with him?

Austin is awesome!

I must say the album isn't just about me transitioning as an artist: you can hear his style and versatility growing so much!

The first song we made off this project was actually Made of Gold and the last was So Low. His sounds and rhythmic choices are insane!

 

Image-wise, you certainly stand out from the crowd. Are there any designers/musicians that you look up to in that respect?

Thank you so much! I really love fashion and don't like to be stuck to just one style – even though I believe signatures are important. My red hair is definitely one of my signatures but I love how Rihanna always switches up her style as well as Zendaya! Top Shop and Zara are my favorite stores! I'm also a huge fan of vintage shopping in New York. That's where I find my most unique pieces!

You have performed in venues as diverse as Disney World and Webster Hall. Which has been the most memorable performance of 2016

I would say going back to my University in D.C. and performing at the Howard Theater with my band from N.Y.C. was such a great vibe! The venue was gorgeous, the sound crew was awesome and having so many familiar faces was amazing!

As part of the D.C. Pride Festival in 2015, you opened for En Vogue. Did you get to meet the girls and what was that experience like?

We didn't get to meet the girls but the overall experience was fun! We could see the monuments behind us as we performed.

 [soundcloud url="https://api.soundcloud.com/tracks/288827608" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Since your debut album, 2014’s Dream in Color, you have experienced a lot and grown. What is the biggest different – sound and theme-wise – between Dream in Color and Made of Gold?

I think the difference sound-wise is (definitely) Dream in Color being more sweet to Made of Gold (being more in your face).

The theme of Dream in Color was to pay attention to the little details of life and the theme of Made of Gold was that no matter who you there is something that makes you strong and a champion – therefore, you are “made of gold"

Some of your songs have been featured on T.V. shows. Has that led to a lot of new fans coming in and do you think that is something new musicians should think about – help to get their music to a wider audience?

Thanks to apps. like Shazam and YouTube I have gained more supporters - who heard my music on the T.V. episodes. It's always a great feeling and I think artists should definitely tap into the commercial licensing lane!

 You are quoted as saying: "I WENT TO THE VINTAGE STORE AT THE AGE OF 7 AND BOUGHT A RECORD PLAYER AND VINYLS WITH MY ALLOWANCE MONEY. I WOULD RUN TO MY ROOM FOR HOURS AND STUDY MJ AND DIANA ROSS WHILE THE KIDS PLAYED OUTSIDE" Are those artists still influencing your work? Which current acts are you particularly struck by?

Thanks for reading that quote! Yes. Definitely, I would say more there work ethic and longevity in the music industry for sure! Current artists I am looking at are (of course) Rihanna, Beyoncé; I really like DNCE - their music is so catchy and fun! I would love to open for them on tour!

 

Are there any plans to come and see us in the U.K. anytime soon?

Yes! I am planning on visiting next year: definitely one of my top goals is (actually) to tap into the U.K. music scene!

Looking ahead to 2017: what plans do you have either musically or personally?

I honestly want to tour and to gain my following by weekly cover songs on YouTube. I want to tour so I can keep pushing this project and release new singles as well.

If you could narrow it down to three albums – that have been most important to you as a musician – which would they be and why?

Yes. This is easy for me!

Definitely Corinne Bailey Rae's self-titled album from 2006 - because she is my absolute favorite artist. Her writing style, her vibe on stage and the mood her music puts you in is truly captivating.

Mariah Carey’s Emancipation of Mimi because every song was great on that and she even had bonus songs that were hot! I loved the writing on that album so much and that she actually had some dance-type such as It's Like That.

Christina Aguilera’s Back to Basics Part 1 & 2. I thought there were so many songs that showed who she truly was on these two disc - and the writing was so great. All three of these albums have timeless music!

Are there any new musicians – in New York or the U.S. - coming through you recommend we check out?

To be honest, I listen to a majority of rising artist from the U.K.! There are some very fierce amazing artist over there! One of my favorite rising artist in the U.S. is from Atlanta, Georgia - his name is Raury!

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

Yes! There are times when nothing seems like it's going right or even a slow period but never quit - you never know when your next blessing will come!

Keep shining: you’re made of gold!

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.

Okay! Since I mentioned Raury (above) I would love for his song God's Whisper (to play).

[youtube https://www.youtube.com/watch?v=bPt0LkdM8Bc&w=560&h=315]

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Follow Shenna

 

Official:

http://www.shennamusic.com/

Facebook:

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

Twitter:

https://twitter.com/shennamusic

Instagram:

https://www.instagram.com/shennamusic/

SoundCloud:

https://soundcloud.com/shennamusic

YouTube:

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

FEATURE: The Review Round-Up

FEATURE:

 

 

The Review Round-Up

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THERE are always those albums and singles that get overlooked...

or deserve a second look. There are a three distinct records - as part of a new thread - I feel deserve fresh ears and investigation. Either brand-new or an album/single that has caused some critical excitement in the last few weeks. In the first installment, I look at releases from Run the Jewels, The Radio Dept. and Julia Jacklin.

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SINGLE REVIEW: Run the Jewels - Talk to Me

The American hip-hop supergroup formed in New York in 2013 from the mind of rapper Killer Mike and rapper/producer El-P. Their eponymous debut album gained huge critical acclaim but it was the follow-up, Run the Jewels 2, that really put them on the map. That record showed Killer Mike and comrade El-P were worth of the hype and capable of topping a brilliant, original debut. Building the natural chemistry and simplicity of their opening salvo: that bond was solidified and found Killer Mike controlled and centered; giving room for El-P to maneuver and campaign. At the time, the album gained respect and praise but a few years down the line it is considered a pioneering hip-hop record and one of the finest (of its genre) of the time. Not only is the connection of the two stars rock-solid and combustible: the songs are uniformly splendid and nuanced.

That album laces traditional hip-hop put-downs with storytelling and personal insights. Run the Jewels spit rhymes at the rate of knots while the songwriting and lyrics are consistently spellbinding and peerless. You have to take a few days out to really enjoy the album and lets its multiple stories, diversion and ideas sink in. Not only the mark of a truly impressive musical force but two minds who knows what it takes to create the kind of music that remains in the mind – and will inspire generations to come.

Following the panicked and urgent Run the Jewels 2; the guys have been working with other artists and keeping themselves busy. They supported Jack White (at Madison Square Garden) back in 2015 and performed at events such as Bonnaroo Musical and Arts Festival. Not only that but they made a positive and huge impact to Nobody Speak – the lead single from DJ Shadow’s much-awaited album, The Mountain will Fall. It has been announced the third album from the hip-hop army will arrive before the end of the year. Talk to Me is the first single to be lifted from that album and coincides with the second anniversary of their Run the Jewels 2 record.

The song’s introduction is certainly edgy, compelling and adventurous. Squelchy electronics and jagged beats; rumbling protestations and street-level neon – all blended into something swaying and swaggered; break-neck yet restrained. Before a single word has been sung you are in the midst of another classic Run the Jewels introduction/song. Bad spray tans and toupees; wars with the Devil and gunplay – the words tumble out and you dive into a fast-flowing world of anger, violence and bizarre players.

Addressing terrorism, white-on-black racism and plane hijackings: subjects are close-to-the-bone but relevant. The guys rip the mask off fear and hesitation and let their words shoot into governments, corrupt politicians and the lesser species – those who perpetrate hatred and bigotry. You all gripped by the lyrics and stories but left dancing and head-nodding with a wave-crash combination of electronics and teasing beats. Despite a reliable attack of profanity and confidence, the song is never crude or petulant – another frantic, angry delivery and immense statement. In a time where Trump and political monsters threaten to exert influence and leadership – their music and brand of music are not only demanded but NEEDED. If Talk to Me is the typical sound of their third album: it will be another genius offering from one of the most pioneering acts in the world.

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

ALBUM REVIEW: The Radio Dept. - Running Out of Love

It has been some twenty-one years since Elin Almered and Johan Duncanson got The Radio Dept. started – named for a gas-station-turned-radio-repair-shop called Radioavdelningen. Following a three-year hiatus (until 1998), the duo reformed and brought Lisa Carlberg – girlfriend of new member Martin Larsson – and by 2001, Per Blomberg on drums and Daniel Tjäder on keyboards, the two-piece had swollen to an unwieldy band – skepticism as to whether there would be necessary intrigue and intensity with a five-piece. The band began modestly (in 2001) and gained positive reviews and were featured in Sweden through magazines and radio stations. Striking the ear of Labrador Records: the band was signed and their debut album, Lesser Maters, not only resonated because of its clever-clever title but the stunning music within. Many magazines (including NME) awarded it near-top marks and proclaimed it as one of the best albums of 2003. From there, the band had the momentum and critical praise – Per Blomgren and Lisa Carlberg departed the group around the time and were not on the L.P. The band opted to use digital drum tracks and decided to draft in a bass player.

The Radio Dept. progressed and blossomed into 2006 and, buoyed by the widespread recognition of 2003-singles Pulling Our Weight and Keen on Boys, took in new sounds and directions. Gone were the early-days distortion and in its place was synthesisers. Little touring and insufficient exposure meant Pet Grief didn’t get a huge reception and gained mixed reviews. A lot of sources were less-than-kind and noted how the lack of discipline, too many changes and reinvention did not favour the band – yearning for the beauty, consistency and quality. Inter-album E.P.s were released prior to Clinging to a Scheme (their third album in 2010) but perhaps with less critical nod and excitement than their debut album. This slightly deteriorated attention has not deterred the band who announced their fourth album earlier in the year.

The band connects with multiple genres – alternative-rock and shoegazing among them – and bring more innovation and structure to their current work. Rather than reclaim and retreat to their debut album sounds: the band have gone more into electronic/synth. territory on their fourth L.P. Almost dispensing entirely of rock and electronic guitars: what we have now is a slicker and more polished collection of songs. Some have noted how professional and rough-around-the-edges some of the songs appear – enough fizz, fuzz and kick to evoke images of rock and recklessness. Now a trio – the band wrote and discarded an album of guitar-based songs prior to Running Out of Love – they are back and entering a new phase in their careers.

[youtube https://www.youtube.com/watch?v=KAmhKuVg69c&w=560&h=315]

Sloboda Narodu is a confusing and hard-to-spell title (annoying when you’re reviewing) but redeems itself by being full of interesting, patterned beats and percussive clash. Blending tribal pitter-patter with rousing, sea-crash clash provides the introduction plenty of guile and fascination. The vocals do get a little weighed under the composition-production and can be hard to decipher – maybe, in small part, due to the accent and delivery. The opening track has plenty of interesting diversions but is not the rousing and all-encompassing lead-off song one would hope. Swedish Guns fares better in that respect with its syncopated electronic stutters and militaristic jump – quite intense and swaggering to start; growing and becoming bolder with time. It is a song that has elements of hip-hop and rap – the instrumental delivery – but retains its colour, youthfulness and spirited dance. Again, some of the vocals get lost but there is more emphasis on texture and sound – the vocals add extra instrumentation but are never too revealing or vital to matter (if they are lost).

Thieves of State is one of the most interesting passages from Running Out of Love and a title track, perhaps. One gets romantic, tender electronic keys – signifying something passionate and hopeful – but the racing (background) synths. portray someone fleeing and elusive – perhaps impatient and bereft. It is a brief instrumental that is a sort of mid-way point and a chance for reflection. The band blend modernism with diasporic dread; banging, rousing jungle codas alongside something elliptical and graceful without ever losing their heads and sense of direction. Occupied recalls their early work but adds new strands and threads on top – mingling clapping percussive beats with luminous, enticing backing synths. It is a long and ambitious song that seems to (in theory) unify their previous work into one moment – for the most part, it works. Sometimes beach-set and seduced; at others, it is spirited and ready for a good ol’ dance; it will appeal to those who like their electronic music spiked and lacking inhibitions and those who prefer something more intelligent, controlled and engaging. Can’t Be Guilty does not really add much to their album and is one of the forgettable cuts. The title track (the actual one) suffers a bit from being low down the pack (the penultimate number) and is another song that never fully grips the senses.

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

Running Out of Love is nowhere near the peak of the band’s debut but is stronger than their last couple of albums. It would be nice to hear the vocal higher up and some stiffer editing – take out one or two tracks – as it can feel bloated and exhaustive at times. Some of the songs sound too alike and rehash the band’s older work. What shines is plenty of promise and plenty to draw you in. Emphasis and attention should be paid to the compositional ambitions which say so much without a word being sung. More a story/concept than ten individual songs – it is one you will want to get involved with and stick with until the end.

Running Out of Love is available now via Labrador Records

ALBUM REVIEW: Julia Jacklin - Don't Let the Kids Win

Julia Jacklin considered a career in social work, as the story goes. Raised in the Blue Mountains to a teaching family: Jacklin’s exposure to music and revelation was, rather oddly, Britney Spears. In addition to being a peculiar Muse – and making many of us feel rather old – she realised Spears has achieved a lot by the age of twelve – an impressionable and ambitious youngster felt rather unaccomplished and procrastinating compared with a pre-teen Spears. That mixture of charming precociousness and instant foresight saw her take classical singing lessons. Learning voice control was a key lesson – one she brings to her music – but soon found Jacklin yearning to join a band – whereupon she would daub herself in surf clothes and rock along to Avril Lavigne covers. Luckily, Julia Jacklin has grown into a cooler and more original artist; not someone who you’ll find aping a Canadian punk wannabe.

Her unending and unerring passion to sing and perform has defined her music career: few contemporaries have that lionised, all-consuming passion to give themselves to music. Her changing music tastes – as she grew into her twenties, Fiona Apple was an inspiration – meant by the age of twenty-five (whilst residing in a garage and selling essential oils) she was mixing the headiness of Fiona Apple’s words; the spicy and cutting electric guitar of Anna Calvi; natural interpretation from Angel Olsen. Despite all the name-dropping and fellow musicians: Julia Jacklin’s debut album, Don’t Let the Kids Win, is as much about her travels, growth and backstory than anyone else’s. She is still discovering and living life; searching and probing: this curiosity, emotion and self-discovery emanates beautifully throughout the record.

Recorded at New Zealand’s legendary Sitting Room studios with Ben Edwards: Don’t Let the Kids Win unifies heart-aching alt-country with spirited indie-folk; all topped and augmented by Jacklin's distinctive, rich voice and keen wit. Critics have been seduced by her heartfelt music and star quality: the embers of Angel Olsen and Fleetwood Mac; a relatable set of lyrics performed by someone who transcends expectations and the ordinary. Latest single Leadlight – a video directed by Jacklin herself – has garnered positive reviews and gives the listener an impression of what the record is all about. Having quit her factory job to pursue music, and being excited about its imminent release, she will embark on a string of tour dates. Currently in California; she will hit Portland and Vancouver; over to Germany later in the month before reaching Brighton on November 3^rd.

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

Given all the colourful and unique road-to-now build-up; Don’t Let the Kids Win ensures it makes its impressions in the first track. Pool Party details pool-side substance abuse but is given plenty of humour and wit. A staple of the coolest and savviest stations around the U.K.: many will be familiar with the song’s swaying vocal and country-meets-indie composition. Although some of Jacklin’s words can come across slurred and lack decipherability; you are enticing and graced by a beautiful and refined voice and insightful, story-filled narrative. Although the heroine wants the love (of her drug-taking boy) her heart is heavy when he’s high; she gulps with nerves every time her man jumps into a pool. Rather than going along with the unwise lifestyle choice: she is looking from the sidelines and knows how reckless it is. Pathos and humour mix; clever wordplay and stark emotions. Leadlight best frames Jacklin’s voice and is one of the most committed, beautiful and soul-baring performances on the record. In terms of the composition; it is a softer, more restrained take on Pool Party’s waltzing drum-and-guitar combination. Once again, the voice does get a little distorted and suffers from intelligibility – the listener might need a lyric sheet at certain points. That said – and similar to the opening track – the mood, performance and delivery compensate for any short-fallings.

Wrestling with relationship qualms and the admonishment of a friend; Elizabeth deals with tough concerns. “So shaky” are the first words and the heroine promises loyalty – even if it “all falls through”. Whether that is directed at her friend or a misjudged lover; you are transported into the song and act as a spectator as the events unfold. Involving, bare-naked and fragile: a song that boasts incredible evocative and varied guitar playing; a definite album standout. More electric drive and energy is added into Motherland. It finds Jacklin working over calm-strummed blues strings and is one of the most pressing and determined performances across Don’t Let the Kids Win. L.A. Dreams documents the banality of a relationship breakdown in slow-motion: a song that asks why her man went to the grocery store on the day he planned to leave. Left with an abundance of food – she is unable to eat –there is a little humour that emerges from a sense of huge loss and confusion.

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

Although the album is quite top-heavy and the vocal clarity (unable to understand the lyrics on some songs) can be a concern: there are many positives to take from Julia Jacklin’s debut album. Conceiving it as a heartbreak album; she realised it was a retrospective investigation – someone hitting 24 and feeling nostalgic about youth. Not the planet-saving social worker she imagined: that singular decision to consecrate herself to music is under the spotlight. If Jacklin is funny and relaxed in person: her serious subject matter and frank emotions might seem at odds and disarming. The album is Jacklin freaking out a bit. With her peers settling down and knowing what they want in life: she is the confused artist reconciling with her new choices.  Don’t Let the Kids Win confronts the issue of growing old but realises things will be okay – everyone feels the same. What one gets is a consistently revelatory and personal album run-through with heart-melting vocals and sonic richness. If Jacklin is unsure whether a life as a musician was a wise choice: Don’t Let the Kids Win should ease her mind and settle that debate.

Don't Let the Kids Win is available now through Transgressive Records.

FEATURE: In the Spotlight: RKZ

FEATURE:

  

In the Spotlight:

PHOTO CREDIT: Mr. Odin

RKZ

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In addition to other monthly features; I am keen to put an artist into the forefront - someone doing great work and making waves in the world of music. In the first edition, I focus on London-based singer-songwriter-photographer-spokesperson RKZ. A true Renaissance man and one of the most exciting talents around. With new work out and more in the pipeline: a perfect time to investigate the many sides of RKZ.

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https://www.youtube.com/watch?v=KhcI6sPAedw

WHO IS HE?

RKZ (pronounced 'Ricks') is a singer, writer and visual creative from Luton - currently based in Shoreditch, London. He began dabbling in rap music in 2008 before pursuing the arts professionally the following year. Developing his craft, RKZ became known for his singing-led live performances and eventually transitioned into a singer-songwriter. A stubborn determination to further develop and fine-tune his brand, he learned the ropes of video, photography and design which culminated in RKZ creating his own visuals, plus music videos for artists from various industries.

https://www.youtube.com/watch?v=k6QITU5iuB4&list=PLIrl_sGW_fQKGgaW2n4b0SjJbICik6uEz

WHY GET EXCITED?

RKZ is not a man who takes days off or limits himself to one discipline. Latest tracks Remix of the Mack and Bad (which unite) Handbook and Supreme Sol with RKZ – are gaining huge respect since their launch. The London-based multi-disciplinarian has also been photographing at London Fashion Week and recently spoke with Impakter – I got to speak with him about his work with CALM and how he wants to bring mental health into the precipices. The below is a sample of what you get with RKZ:

https://soundcloud.com/rkzuk/sxs

Music

From the release of his first single in 2009 - whilst he studied Commercial Music at the University of Westminster, London - to date, RKZ has released fourteen records including five mixtapes and three EPs. No stranger to media, he has received radio play on BBC Radio 1/1Xtra, BBC 6 Music, BBC Radio 4, BBC Three Counties, BBC Asian Network and more. He has also performed at T In The Park, Reading + Leeds, BBC London and Manchester Mela as well as music events at The Water Rats, Ace Hotel, Boxpark and Cargo.

In August 2014, RKZ released the highly-anticipated mixtape Science X Soul with Still Oceans, Think of Me and CLASH-premiered record Favourite Song as the lead singles. Following this, he released various one-off singles through Soundcloud (predominantly produced by Handbook) before his acclaimed single with the York-based producer called Visionaries.

“Let me add that Nujabes and J Dilla are here. Somewhere in the afterbeat, looking over their legacy.”- Neonized, on Visionaries.

https://soundcloud.com/rkzuk/visionaries

Creative

After shadowing visual creative S Sid Ahmed, RKZ began editing short films and vlogs with S Sid before venturing into music videos. The first was the remix of his single Gonna Be That. This opened the doors for music video productions for artists including GV, Little Simz, Cashtastic, Preeya Kalidas, Sophia Thakur, Roach Killa and more.

Through various video projects, RKZ built on his photography skills and has freelanced for various clients spanning fashion, music, retail and FMCG industries. He is currently part of BORN SOCIAL’s Creative Team.

https://www.youtube.com/watch?v=WuI5MS8dvE4

Writing & Philanthropy

An early passion for journalism pulled RKZ into creative writing, initially through music and poetry. He expanded this, becoming a feature writer for hip-hop blog Sampleface before taking over as UK Editor.

In 2012, RKZ was announced as Ambassador for CALM. The charity aims to reduce the suicide rate with men in the UK, particularly London. Suicide catalysed by depression and stress is the single biggest killer of young men aged 20-45 in the UK. He contributes to CALM’s website and monthly CALMzine as a guest writer, focusing on depression, society and youth culture.

He has self-published an online series called Motivational Prose, which is dedicated to instilling a positive mentality and outlook for young people.

Interview snippet taken from http://impakter.com/interview-musicianmental-health-ambassador-rkz/:

RKZ: I got in touch with them not too long after they set up in London. Suffering from depression for a long while, CALM was the first movement I saw that actually spoke to young men properly—without feeling intimidating or scary. I got involved and wanted to utilize my status (as a creative and musician in the U.K.) to help raise awareness with the audience I had. I performed at CALM events, wrote for the CALMzine and the website and started giving talks to young people and local communities to raise awareness of depression in young men. I still do a lot of that whenever an opportunity arises.

CALM:

"The Campaign Against Living Miserably is a charity working to prevent male suicide, currently the single biggest killer of men aged 20-45 in the UK. Nearly 8 out of every 10 suicides in the UK in 2013 were men. We campaign to break down the cultural barriers which prevent men from speaking out in times of crisis. We believe that if men felt able to ask for, and find, timely and appropriate help then hundreds of suicides could be prevented every year.

I joined CALM as an Ambassador in 2012, where I’ve extensively focused on promoting the cause through the mediums of music, writing and social media. I have contributed to the website and CALMzine as a writer covering the stigma of depression in youth culture and the Brit-Asian community. In 2015, we were proud to announce Professor Green as our new patron, as well as partnerships with Topman and Lynx".

CALM host a free, confidential and anonymous helpline and webchat service for men, which provides support for those in need of help – open every day from 5pm – midnight; on 0800 58 58 58 (national), 0808 802 5858 (London). For further information, you can follow them on Twitter (@theCALMzone) as well as head over to their website: thecalmzone.net

https://twitter.com/RKZUK/status/785582743962910724

BIGGER ISSUES

In November 2015, CALM launched the #BiggerIssues campaign with Lynx. Through the power of Thunderclap, they created an initiative to park the small talk and discuss the bigger issues of mental health and men’s health overall. With an overwhelming amount of press coverage and online support, the campaign reached 23.4m+ people. Find out more about Bigger Issues: click here.

https://soundcloud.com/rkzuk/sogone

NEWS:

17.08.16 | Interview — RKZ talks Music, Social Media and Mental Health with Impakter

14.08.16 | Music — So Gone Challenge

30.07.16 | Photoset — #KPSheenaWedding

30.05.16 | Music — BAD Official Music Video

08.08.16 | Article — It’s Okay To Talk

03.04.16 | Article — A Passionate Discourse

02.04.16 | Photoset — Ísland

04.03.16 | Article — RKZ writes about London Fashion Week for CALM

03.03.16 | Music — RKZ releases the TRIAD EP with Handbook and Supreme Sol

01.03.16 | Feature — RKZ features in the March issue of CALMzine

22.02.16 | Editorial — London Fashion Week for The Rakish Gent

29.01.16 | Music — RKZ releases his cover of WORK by Rihanna

22.01.16 | Editorial — London Collections: Men for The Rakish Gent

18.01.16 | Article — RKZ writes about the State of Instagram for BORN SOCIAL

16.01.16 | Photoset — Sophia at London Collections: Men

09.01.16 | Feature — RKZ features in Mashable Fashion’s coverage of London Collections: Men

All biographical information taken from http://rkzuk.com/

TWEETS:

https://twitter.com/RKZUK/status/780713773774540800

https://twitter.com/RKZUK/status/777645716680441856

https://twitter.com/RKZUK/status/774684995218726912

https://soundcloud.com/wearestereofox/sets/handbook-x-rkz-x-supreme-sol

REVIEW SAMPLE:

“TRIAD is formed by York-based producer Handbook, St. Louis rapper Supreme Sol (part of thePragmatic Theory collective) and Luton singer RKZ. Handbook, a prolific representative of theROOTNOTE collective, was perhaps the catalyst for this collaboration as he has worked with the other two on previous tracks.  His production for Sol dates back long time ago and have continued throughout the years with releases like "One More Time" and "Values", while him and RKZ recently teamed up Chino XL for their collab "They Don't Know Nothing". It appears that it was only a matter of time till the universe brought them in the studio together”.

Review taken from http://www.stereofox.com/album-review-handbook-x-rkz-x-supreme-sol-triad-ep/

https://soundcloud.com/handbook/rkz-x-handbook-work

THE FUTURE:

RKZ will continue to work on new music and help campaign for CALM. He is a man who wants to highlight the plight of those who suffer mental health – a sector who often go unnoticed and overlooked. Away from his charity endeavours make sure you keep your eyes open to his SoundCloud page – new songs will be dropping. He is one of those rare musicians that seems incapable of dropping a beat and creating anything less than astonishing, imaginative music. More photoshoots and vivid portfolios will arrive and the fashion icon-cum-musician-cum-photographer is a serious credit to the music industry. His various traits, talents and personalities mean he is sure to be a mainstream proposition in years to come and is just what the music industry needs.

https://www.youtube.com/watch?v=9mGsoZkl62o

____________________

FOLLOW RKZ:

PHOTO CREDIT: Alice Cooke

Official:

http://rkzuk.com/

Facebook:

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

Twitter:

https://twitter.com/rkzuk

Instagram:

https://www.instagram.com/rkzuk/

YouTube:

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

INTERVIEW: I Am Willow

INTERVIEW:

  

I Am Willow

____________________________

MY love and respect for Maltese music is established and boundless…

in no small part due to the huge diversity and quality. Whilst Malta might not have a huge scene – something addressed in the interview – I Am Willow is someone who not only compels one to think deeply about Malta but music in general. Her debut single, Satellite, is out in December and has already gained the approval of a certain Annie Lennox. The Eurythmics legend has lauded I Am Willow and recongised her talent. It is early days but there are signs to suggest she will be a prominent and original talent of the future. I was lucky to ask her about Malta and the differences London provides; insight into Satellite and what we can expect over the coming months.

___________________________

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

I’m better than ever. My debut single is coming out in December and I’m already getting so much support. It’s been a week of preparation for my live shows and of songwriting. I’ve even had the chance to see my friends, which these days, doesn’t happen as often as I’d like. So it’s been a really good week!

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

Of course. I consider my music Cinematic/Pop.

The concept to everything I write relates to being able to look at the world and see it through your own unique perspective.

In my opinion, this is what makes the world so interesting and so beautiful - but I don’t think we’re often encouraged to really be ourselves. I guess you could say my music represents a gentle protest to the limitations society often brings upon us.

You were born in Malta – a nation that has quite a thriving music scene. What was it like growing up there and how does the music scene differ to that of the U.K.?

Well. I wouldn’t call the Maltese music scene ‘thriving’ - although, I believe the island carries some incredibly talented singers and musicians.  I often hear people say “there must be something in the water”. However, the Maltese are extremely rooted in

However, the Maltese are extremely rooted in tradition which, I feel, limits a certain creative way of thinking.

Before I moved to London I used to feel as if I had to fit into a box in order to be understood. In fact, London was quite the culture shock. It shook me awake! I believe I truly found myself here in London.

Now based out of London, you must notice a difference. What is the city like for a young musician? Does the pace and variation of the capital help the music in any way?

Absolutely! It’s a completely different life here. I love the diversity and integration of various communities - it’s inspiring, to say the least. It’s no surprise that comparing the rush and flavour of London life to the easy going, traditional Malta has inspired the very foundation of my music. To find that special space that’s all yours (mine is under a willow tree on top of a hill) and simply watch the world the way only you can see it. There’s no right or wrong way. This process has helped me connect with myself.

There are a lot of promising female singer-songwriters emerging at the moment. How would you say you differ from them?

All I know is that I’m not trying to be someone that I’m not - and I definitely know I’m the only me around.

 [soundcloud url="https://api.soundcloud.com/tracks/289864883" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Satellite is released on December 16^th. What can you tell us about it and the inspiration behind it?

Satellite came about due to a chance encounter. In a way it was karma. I had found a phone lying alone on a café table so I took it to the café owner. He had seen the person at the table and knew who it belonged to. I was still at my table when the phone was returned and when the café owner pointed me out Jon walked up to me to say thanks. Turned out he was a songwriter and producer who lived on my block. We booked a session and wrote Satellite. This was definitely one of the most random things that has ever happened to me!

At the time I was also getting back with my boyfriend and had all sorts of mixed feelings about it.

Writing Satellite made me realise I had to break down my walls and trust that everything would work out - and that’s what the song is about.

Will we see any new material into 2017? What are your plans for the coming year?

There’s a lot more where Satellite came from. I’ll be putting out a few more singles in 2017 and planning the follow-up E.P. It’s nonstop!

Your vocals are particularly impressive and standout. Which singers and artists were you inspired by as a youngster?

I think the first artist that really woke me up was Kate Bush. I must have been around fifteen/sixteen at the time. She was doing something I had never heard before with her voice and her songs were equally unique. That’s when my journey really started.

Annie Lennox has come out as a fan of yours. How did that make you feel? Are you a fan of her music?

Of course I’m a fan. In fact, I love to cover the Eurythmics song Sweet Dreams (Are Made of This) at my live gigs - but I never thought I’d be called in to perform privately for her. That made me feel all kinds of nervous! But, after my shaky performance she gave me a hug and offered her studio space for a while. It was amazing!

The likes of Q, BBC Introducing and The Line of Best Fit have heralded and tipped you for big things. How important are accolades like that with regards your music and your development?

To be honest, I had been so focused on writing for other artists, that when that happened to me, I was kind of taken by surprise.

It’s such a big honour and it really makes me want to live up to their expectations. I’m working harder than ever not to disappoint!

Can we see you play live anywhere in the coming months?

I’ll be performing at The Hospital Club on the 12^th November; A Vin’s Night In event. It’s guest list-only so P.M. me on my Facebook page to get on the list.

Which albums, in your opinion, have been most influential with regards your music and sound?

It’s not so much albums as much as individual songs - but artists like Kevin Garrett, M83; Woodkid, Seinabo Sey and Lana Del Ray certainly played a huge part in helping me develop my own sound.

Are there any new musicians coming through you recommend we check out?

Kevin Garrett, Rotana Tarabzouni and NAO are some of my current faves.

It is Halloween. Did you get involved with it at all or avoided it?

Yeah. Actually, my housemates and I carved some wicked pumpkin faces and organised a little candlelit night with friends. Our neighbours set off some amazing fireworks so we watched from the garden. One of my favourite Halloween nights to date!

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

The main advice is to persevere. Just trust that you’ll find where you need to be and never quit.

There’s more than one way to make it.  If one doesn’t work, try another way.

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.

Kevin Garrett - Coloring

[youtube https://www.youtube.com/watch?v=EGXfP9JGbqY&w=560&h=315]

________________________

Follow I Am Willow

 

Facebook:

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

Twitter:

https://twitter.com/IamWillowmusic

Instagram:

https://www.instagram.com/iamwillowmusic/

SoundCloud:

https://soundcloud.com/iamwillowmusic

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.

[bandcamp width=350 height=470 album=1798334013 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=1845806847]

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.

[soundcloud url="https://api.soundcloud.com/tracks/264082977" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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.

[soundcloud url="https://api.soundcloud.com/tracks/253140605" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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.

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

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.

_____________________________

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

__________________________

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.

[soundcloud url="https://api.soundcloud.com/tracks/213847394" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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

______________________

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.

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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'.

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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

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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

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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!

[soundcloud url="https://api.soundcloud.com/tracks/250735523" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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.

________________________

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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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.

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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

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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.

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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