FEATURE: Leonard Cohen: The Light Inside the Cracks - Ten Essential Recordings

FEATURE:

  

Leonard Cohen: The Light Inside the Cracks

 

  

Ten Essential Recordings

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IT was perhaps not so much of a shock that 2016…

in its rather cruel and predictable way, has claimed yet another legend – few come bigger and more influential than Leonard Cohen. I, like many others, woke up to that awful news: the Canadian poet-musician was dead. The tragedy was mitigated (to an extent) by the fact he had lived a full, fantastic live – reaching the tender age of eighty-two and having laid down some life-changing albums. It is impossible to fully explain the full extent of Cohen’s genius, legacy and influence. I have been listening to Leonard Cohen's extensive, stunning back catalogue– in order to compile a list of his ten essential recordings.

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Suzanne (Songs of Leonard Cohen)

[youtube https://www.youtube.com/watch?v=svitEEpI07E&w=560&h=315]

So Long, Marianne (Songs of Leonard Cohen)

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

Bird on a Wire (Songs from a Room)

[youtube https://www.youtube.com/watch?v=K8fT7rnRotY&w=560&h=315]

Famous Blue Raincoat (Songs of Love and Hate)

[youtube https://www.youtube.com/watch?v=ohk3DP5fMCg&w=560&h=315]

Chelsea Hotel #2 (New Skin for the Old Ceremony)

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

Dance Me to the End of Love (Various Positions)

[youtube https://www.youtube.com/watch?v=fUM_hiU3p3w&w=560&h=315]

Hallelujah (Various Positions)

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

Everybody Knows (I’m Your Man)

[youtube https://www.youtube.com/watch?v=Gxd23UVID7k&w=560&h=315]

Tower of Song (I’m Your Man)

[youtube https://www.youtube.com/watch?v=ev730NKYs7Q&w=560&h=315]

You Want It Darker (You Want It Darker)

[youtube https://www.youtube.com/watch?v=v0nmHymgM7Y&w=560&h=315]

COMPETITION: CM: Changing Lives Through Music

COMPETITION:

 

 

CM: Changing Lives Through Music

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"CM is the longest-running community music company in the U.K. and has been working with young musicians from a variety of backgrounds since 1983. CM have turned out well-known talent over the years including Tom Barnes - of production team TMS (Little Mix, Olly Murs, James Arthur) - female rapper Baby Blue; Steve 'Chandrasonic' Savale of Asian Dub Foundation and beat-boxer Intensi-T.

CM are offering the unique opportunity for 13 aspiring producers to take part in a free studio day offering production tutoring; learning the basics of how to make music for beginners or brushing up on skills - if you are an already-experienced producer. 

Winners will have their own workstations and experience a full day in the studio gaining an insight into production and recording with CM's professional tutors. 

This is to promote that CM offer a range of courses including the Creative Music Production & Business Foundation degree from their base in Whitechapel, East London.

Day will run from 10.30am - 4.30pm"

If you'd like to take part: drop me a message at https://www.facebook.com/musicmusingsandsuch/?fref=ts stating why you'd like to be considered.

Winners will be announced shortly.

Further details can be found at http://www.cmsounds.com

INTERVIEW: Natalie Bouloudis

INTERVIEW:

 

 

Natalie Bouloudis

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EAST Sussex native Natalie Bouloudis is preparing for the…

official release of her single, Burning Pier. It stems from fascinating origins – which she explains in the interview – and sets her up for an exciting end to 2016. Bouloudis will be playing The Finsbury in December (to launch her single) and is preparing to take her new music to the people. The former culture guide copywriter spent her days – whilst at work – scribbling notes and observations – fueling that love for music and a clear passion. I have been asking about her plans for the coming months, her feelings on the London music scene and what inspires the songwriting process.

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

Hi. I'm Natalie Bouloudis. I'm a London-based singer-songwriter and I'm all about making smoky Folk-y-Blues-y music.

Burning Pier is your debut single. What can you tell us about the song’s themes and sound? 

Burning Pier stemmed from an apocalyptic short story I once wrote inspired by some of my favourite nautical references and figments from the real coastal places near where I grew up.

The song uses the event of smouldering wood sinking into the ocean as a metaphor for that light-bulb moment when shock and disaster strike so we see everything differently – both the past and the future.

[soundcloud url="https://api.soundcloud.com/tracks/283334088" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

I believe the song, in part, addresses the fate of seaside piers and those that have succumb to fire. It is quite a rare source of inspiration. Is it a subject/plight you hold dear to your heart? What is about a burning pier that evokes such sadness and loss?

I loved Hans Christian Andersen as a child with the idea of Gothic literature and mythology - and I'd like to somehow incorporate this along with the smoky atmosphere of a film noir in my music. I think you can find inspiration from anything from stormy oceans to dystopian fiction and notions of life; love and death to anything like the event of a burning pier. I like subjects which seem like they would make good stories and I don't see why they can't make good narratives for songs too.

The song came together in a live, one-shot take (albeit a drum overdub). What was the reason for this approach? Do you think the song would have lost something were it polished and subject to studio procedure? 

I really wanted to capture the atmosphere which you get with live recording. For me, that's when this sort of music really comes alive at the height of a good performance.

The song was recorded live in one room, one take - with just drummer Hannah adding the beautiful sparkling Rhodes piano part afterward. I think we succeeded in capturing the drama and the song never concludes but rather fades into eternal foggy waters - like it is being lured by sirens calling.

PICTURE CREDIT: Sasha Jor

You used to be a culture guide and copywriter – where you started/composed your debut single. Was it quite a fulfilling job and what compelled the move to music writing and performing?

I have always been scribbling down lyrics and playing little flourishes on my guitar for as long as I can remember really - but I didn't properly start sharing them until recent years. It got to the point that I had collected a long list of songs so one day I just made a home recording and put in online. It all sprung from there.

Being based out of East Sussex: how does the music scene differ to cities like London? Are there are a lot of opportunities for a young musician to find gigs in East Sussex?

When I was growing up, Brighton always had a big music scene and I'm glad that it keeps the torch brightly shining with things like the Great Escape Festival. It's also great that places like Eastbourne now have Printers Playhouse and The Eagle to keep the local music scene rolling.  These are the places where we all start.  I've had the pleasure of playing in so many London venues in recent years but I would really like to now also book some gigs in Sussex and around the country.

London is your home now. What are the main differences you have found – crowds and venues – and are you excited about your single launch at The Finsbury?

There are plenty of places to play in London. Last week we played in The Slaughtered Lamb and it was a real pleasure to find a full room with warm attention. I really enjoyed playing in the candlelit Servant Jazz Quarters recently too and it was amazing to have some great friends in the audience that night. I've seen some quality bands in The Finsbury and I'm really looking forward to having my moment on the red-curtained stage on 1st December.

I know you have a loyal fanbase and have gigged across London. What do you think of the recent closures of venues like fabric? Is the London music scene in danger at the moment?

I moved to London a decade ago and I still believe the music, arts and cultural scene cannot be matched. But it's a sad reality that we keep hearing the same story of developers pushing aside what makes this city so special.

Fabric is an iconic clubbing location and the end of an era but it’s not the only venue struggling to stay open - with places like Passing Clouds and Elephant and Castle's Coronet to name but a few. Even Wax Studios, where we recorded, had moved location after being pushed out of Hackney. I really hope we can save this city from becoming just rows of soulless new apartments

Your debut E.P. will be arriving soon. Can you give us any insight into the songs and types of stories that one will find on the E.P.?

Burning Pier has a lot of the same ingredients  that the rest of the tunes (on the E.P.) have. That being said, Dead Sea Scripts is a collection of tales: each song a distinctive chapter and tone in itself to complete the whole story. There's some old-fashioned heartbreak tunes in there like in Whirlwinds which is a dramatic moonlit track. Then you find a completely different mood like in Firebird - capturing that moment when you decide to be a phoenix rising from the ashes.

Wax Studios was where the E.P. was recorded. What was it like recording there?

We really did have a great time recording with the very chilled (but attuned) Robert Strauss at Wax Studios. We set up; I had a glass of wine at my side and we just enjoyed playing in the room all together. This was the first proper recording of my songs with a band - that hadn’t been recorded in my kitchen with a laptop.

I wanted to keep that intimate performance element so live recording was the only way for me.

I like the sound of old records which were recorded in similar circumstances: just a bunch of musicians in a  room smashing it.

PHOTO CREDIT: Luke Novak

I imagine – as with many new studios – it quite technology-heavy. Did you get a lot of chances to perform songs live-sounding and naturally or was it quite hard adapting to that environment? 

I'm definitely not the most technically knowledgeable person in the world but Robert took care of all that side of stuff. It was great to be able to try different things until we achieved the right sound. I particularly loved the use of the Echoplex tape delay effect on the outro of Burning Pier. It brings an amazing ‘60s ethereal mistiness.

Who are the artists and musicians that have influenced you most would you say?

It's so difficult to just choose a few people when you love music.

I've always been particularly into strong female singer-songwriters like Fiona Apple, Patti Smith; PJ Harvey, Kate Bush and Etta James to name a few.

I also love the storytelling of people like Nick Cave, Bob Dylan; The Cure, and of course, Bowie.

 What plans for the future? What are your goals for the next few months/years?

This is such an exciting time with the E.P. launch just around the corner. I also have my first music video coming out in the next few weeks to go alongside the release of Burning Pier.

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

Anyone in the music business is fueled by passion and you need that drive. It can be unrewarding and disappointing at times but every time I record or get on the stage I feel like part of my dreams are coming true.

Practice, listen and work with as many other artists as you can - and just keep going.

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.

How about Tom Waits’ Invitation to the Blues.

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

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Follow Natalie Bouloudis

 

Facebook:

https://www.facebook.com/Natalie-Bouloudis-The-Mermaids-318641888276300/

Twitter:

https://twitter.com/nbouloudis

Instagram:

https://www.instagram.com/nataliecatalie_/

SoundCloud:

https://soundcloud.com/nataliebouloudis

INTERVIEW: Emily Mac

INTERVIEW:

  

Emily Mac

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IT may seem like the (democratic) world has come to an abrupt end…

but there is plenty of light and hope to be salvaged. Canadian Soul-Rock singer Emily Mac is a veritable ray of uplift and beauty – a singer that can shake away the post-election blues. Her voice is honeyed and smoky: recalling the raspiness and strength of Janis Joplin with the smoothness and Blues command of Etta James. Having been raised on Motown – and growing up in Toronto – Emily Mac brings all these dichotomies and contrasts into her rich, varied music. In Awe of You is the new lyric video that proves what a spectacular, impressive talent she is. I ask her about that vivid upbringing and her musical tastes; what the following year holds (in terms of her music) and the three albums that mean the most.

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

Great! Really busy. This whole fall has been a bit of a whirlwind but I wouldn’t have it any other way. I’ve been spending my time doing what I love making music!

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

I’m a Soul-Rock artist from Toronto, Canada. Songwriting is my therapy. I write songs to express the things that are burning inside me - to get out that I can’t quite say in day-to-day life.

I live to perform and be on a stage, and oddly, I feel more comfortable there than any place else.

One of the things that attracted me to your music was that mix of Etta James and Janis Joplin vocal sounds. When did you first take up singing and who were the idols and musicians heard around the childhood house?

I love Etta and Janis! I’ve always been inspired by gutsy raw female singers with big huge voices who are unapologetically themselves and full of sass! There was always music playing in my house growing up Motown artists like Otis Redding, The Temptations, and of course, the Queen of Soul herself, Aretha Franklin

In 2014, you received the Competitive FACTOR Demo Grant – an award from the Canadian government aimed to support aspiring musicians. What was that like receiving it and how long had your been making music up until that point?

I have been singing in bands for years but it was really only a year before I received the FACTOR grant that I decided to go solo and focus on original music. This was a scary move for me. I had lots of experience performing in cover bands but to put my own work out there felt very vulnerable so to be acknowledged by FACTOR meant a lot to me. It has helped to grow my confidence and open doors in the Canadian music industry.

[youtube https://www.youtube.com/watch?v=UMQPVa96Low&w=560&h=315]

I know you spent a lot of time in New York – falling in love with the city and its theatres in your early-20s. Is it tempting to move their full-time and what was the most magical memory you have of New York?

I actually lived in N.Y.C. for two years and it influenced me so much.

B.B. King has this amazing small Blues club in Times Square where you can see big acts in an intimate venue. When I saw Al Green there I was so moved by his voice and presence that I was literally bawling like a total fan-girl.

It was a spiritual experience to see him live. That night changed my life and I knew I would never be fully satisfied unless I was up on that stage too. I hadn’t been there in years and just this past spring I went back and performed at the Rockwood Music Hall. I felt myself fall in love with the city all over again and I can’t wait to go back!

You were born in Toronto – which is tantalisingly close to Detroit. Did you get to spend a lot of time in Detroit and what was the music scene like in Toronto by comparison?

Unfortunately, I haven’t been to Detroit since I was a kid. My grandparents use to live across the river so I went there lots when I was young. To be that close to where so much great music has been made was amazing! One of my favourite places to visit was the Henry Ford Museum - where they have all these vintage cars, trains and automobiles. As a teen, my dad spent a lot of time going to clubs in Detroit; sneaking in with a fake I.D. - that sorta thing. He would tell me all the stories of his adventures as he played the records to me growing up.

I hear there is a new single/lyric video arriving very soon. What can you tell us about that?

The song I’m releasing is called In Awe of You. It’s kinda like a love song about music. Music is a powerful thing and it can change your life.

I’ve had many times when I’ve felt low but music was there for me and it helped pull me through. I think a lot of people feel this way so to finally share this song makes me happy!

It is evident the Soul legends play a very important part in your musical sound and upbringing. How do you rate the new Soul artists coming through?

What I love about a lot of the new music coming out right now is that it isn’t so defined as one genre. There’s a lot of cross-bending of different styles and sounds out there and I think that's exciting. I really love Judith Hill. Her voice is killer and the groove in her songs is amazing. Her album, Back in Time, was also produced by one of my idols, Prince,;so right there you know the music is gonna be great!

Many people overlook Toronto (and Canada) as a source of great new music. Do you feel the city/country deserves more focus and which local artists would you recommend to us?

I think more and more Canada is getting to be known for its talent. There is a great community of artists and musicians here.

Some of my local favourites are Lindi Ortega and Samantha Martin and Delta Sugar.

[youtube https://www.youtube.com/watch?v=SHaQA-_O0_A&w=560&h=315]

In Awe of You is a song of yours I particularly admire. What was the inspiration behind that and how has it been received by the live crowds?

Thank you! In Awe of You is the song that most people come up to me after a show and tell me that it moved them. This is the very reason I make music to inspire other people. I decided to give In Awe of You to my fans for free as a thank you for their love and support. All you have to do is go to http://www.emilymacmusic.com/ and sign up for my insiders list - then you’ll receive the free download.

Looking back at your career so far: what has been your proudest achievement?

Writing and releasing In Awe of You is a pretty big deal to me. I think it’s the best song I’ve written so far. As an artist, you can struggle to find your sound and I really feel like I’ve found it with this song. It feels good to be releasing music that is very near and dear to my heart.

You strike me as someone very inspirational and positive. What message would you give those who follow you across social media – the fans that look up to you?

Never give up on your dreams. People will tell you (you) can’t do it. It will be more challenging than you can imagine; you may end up down the wrong road a few times but a life lived with purpose and passion is way more rewarding than a life lived outta fear.

Canadian Thanksgiving has just passed. How did you spend the day and are you looking ahead to Christmas  (or is it far too early to be asking such things?!)

I spent the day at my aunt’s house with my 97-year-old grandma; all of my family and a golden Lab. named Mikey! It was a lovely relaxing time.

I hate the snow so I’m gonna be spending a hot Christmas in sunny Florida on the beach - with a tropical drink in hand!

If you could take three albums to a desert island – those that mean most to you – which would they be and why?

Exile on Main St. - The Rolling Stones.

I love this album I can listen to it again and again. Shine a Light is one of my all-time favourite songs. The southern Bluesy-Rock vibe of the album and the raw edge hit a chord deep in my soul and make me wanna shake my hips.

Is it cheating if I take Otis Redding’s King of Soul collection - it has 92 songs on it!

I would definitely need Otis’ sweet soulful voice to soothe away my loneliness if I was trapped on a desert island. I’d be playing Try a Little Tenderness, I’ve Been Loving You Too Long and Amen on repeat.

Sometimes I’d need to just blow off some steam and dance around so I’d be taking Prince - The Hits/The B-Sides!

I’d be bopping around to When Doves Cry: singing at the top of my lungs to Purple Rain, and when I had enough of being on that deserted island, I’d sing Let’s Go Crazy.

Can we expect to see an album or E.P. in the coming months at all?

I am gonna release an E.P. in 2017 and possibly even an L.P. too!

I will keep you posted on release dates...

For any new musicians coming through: what advice would you offer with regards getting started?

You’re gonna get a lot of advice and opinions from other people: take it all with a grain of salt. You wanna keep growing and learning, but at the end of the day, the most important thing to listen to is your own instincts and heart - they will guide you to where you need to go.

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

Angel Olsen - Intern

[youtube https://www.youtube.com/watch?v=r248o_rUfKE&w=560&h=315]

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Follow Emily Mac

 

Official:

http://www.emilymacmusic.com/

Facebook:

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

Twitter:

https://twitter.com/emilymacmusic

Instagram: https://www.instagram.com/emilymacmusic/

YouTube:

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

INTERVIEW: Whenyoung

INTERVIEW:

 

 Whenyoung

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MOST of us yearn for a time when we were young; if tomorrow’s….

U.S. election results go the ‘wrong way’ – most of us will be pining for a safer, childhood time. Luckily, London-based trio Whenyoung evokes youthful spirit and hopefulness. Among that positivity come reflectiveness, fears and introspection. Following their debut single, See How They Run; a lot of eyes were cast in their direction. Actor is their latest track and proves they are a highly consistent and impressive band. I was excited to find out about the guys and talk about how London influences them; how the band came together and the inspiration behind Actor. They discuss their start in Limerick, what their plans for the next year are – with a little secret about each of the members.

________________________________

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

Hello. We've had a great week: rehearsed, wrote a new song; saw some shows - Crows at the 100 Club, Christine & the Queens in Brixton; Merchandise at The Lexington. Slaved at our day jobs, washed the dishes - just the usual stuff!

For those new to the band: can you introduce yourself, please?

We're called Whenyoung. Andrew is on drums, Niall is on guitar and Aoife is on bass and vocals.

How did you guys get together? Did you know each other from way back?

We met in Ireland when we were kids - sneaking into discos and house parties. We all ended up in London, and through our shared love of music, we decided to start a band.

[soundcloud url="https://api.soundcloud.com/tracks/250937372" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

The band hails from Ireland? What is the music scene like where you are? Has Whenyoung had opportunities to perform and gain exposure?

We're from a small city called Limerick that doesn't really have a huge music scene - but some great bands and musicians have come from there. We played a gig in Dublin last month which went down really well - but we haven't played in Limerick yet.

I know you are based in London now. What motivated the move? Is it easier to get reception and attention in London?

We started Whenyoung in London, not in Ireland. I think if you're doing something interesting and engaging enough you'll be noticed wherever you're situated.

For us, London is the place to be for inspiration and excitement. With that comes a lot of competition but that just drives us.

See How They Run was your debut single. How would you say the band has developed or changed since the debut? Have there been any changes?

We're experimenting more with weird, freaky (ugly) sounds. There haven't been any huge changes. We've always known what path we want to take as a band. So, I guess we have a little bit more experience, lots more songs and a few live shows under our belt.

[soundcloud url="https://api.soundcloud.com/tracks/287542298" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Actor is your current single. What can you tell us about the origins and inspiration behind it?

Actor is a comment on the world that our generation lives in. The song is about projecting artificial images of yourself through social media and in real-life interactions with others.

From doing that we receive temporary reassurance which keeps you going in the short-term but it's a fake visage - and beneath it all, there's a sinking feeling. It’s tiring: we need to find an honest existence. We hope it's inspiring and uplifting. It's also a great soundtrack for getting dressed in the morning.

You will be playing Shacklewell Arms on 24th of this month. Are you excited about the date and is it the first time (for the band) at the venue?

Yeah. we're playing The Shacklewell Arms for the single launch of Actor. We're really excited about this gig as it's our local haunt and we'll have lots of our friends (and hopefully) fans there.

Can we expect to see an E.P. or album in the coming months?

It's probably a little bit early for us for an album.

There will certainly be lots more music.

You guys have been compared to acts like Honeyblood and Veronica Falls – with your short and memorable songs. Which artists inspired the band and are most important to you?

That's interesting. I don't really think we sound like them apart from the obvious female vocals. We share a love for Blondie, Television; Patti Smith, The Clash; The Modern Lovers, Merchandise and Marching Church.

Which new artists would you recommend we spend time investigating?

We're really intrigued by Happy Meal Ltd. It's always good to hear something different that catches your ear and eye.

You have achieved a lot over the last year. What have been the fondest memories for each of you?

Recording Actor was really satisfying and we were so happy with what we created. Also, making the video for Actor - with Daisy Finetto - was such an amazing experience. We played with INHEAVEN for their headline (London) show and that was crazy-good.

Even though it's early days we still have to pinch ourselves sometimes. The kindness of people - who are willing to help us for the love of the art rather than the money - always makes us feel grateful.

What do you hope to achieve over the next year as a band?

We'd like to play to bigger crowds in bigger venues. We really want to get our music out to a wide audience - to be the band that can soundtrack a generation. There was a couple having a snog at the side of one of our gigs recently. Love that.

 

Can you reveal a secret about the band – something nobody knows? Is there a particular troublemaker in the group or someone with a secret talent, perhaps?

Aoife is a Francophile, Niall deals books and Andrew is a sommelier.

Any artists that are coming through right now: can you offer any advice or guidance to them?

Only listen to people who completely and utterly believe in you and who you know want the best for you.

In general, I think it's important to go with your gut even if it's scary or wild.

Finally, and for being a good sport, you can select any song to play here (not your own as I’ll include that).

Je t’aime…moi non plus - Serge Gainsbourg

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

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Follow Whenyoung

Facebook:

https://www.facebook.com/whenyoungband

Twitter:

https://twitter.com/whenyoungband

Instagram:

https://www.instagram.com/whenyoungband/

SoundCloud:

https://soundcloud.com/whenyoung

FEATURE: In the Spotlight: Lánre

FEATURE:

  

In the Spotlight:

Lánre

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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 second edition; I focus on the sensational musician Lánre. Not only is she one of the most positive and uplifting humans in music - she produces music that seeps into the soul and transforms the senses. Surely one of the most promising musicians working in the U.K.

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https://www.youtube.com/watch?v=ErXy0S5YZxM

WHO IS SHE?

(From https://lanreworld.wordpress.com/about/)

“I was born in Stoke-On-Trent England many years ago to an amazing mum and an adorable dad. Some people say they can trace their earliest memory to way back in their mama’s womb but mine was on my first birthday trying to blow out the candle on my cake, strapped in a walker!

Yeah, I did not walk unaided until after my first birthday, I figured I would be walking all my life anyway, why the rush. (LOL!)

My parents thought it was a good idea to learn about my heritage and to grow up knowing the rest of my extended family, so at age four I traveled to Nigeria with my parents where I spent the next twenty years studying, learning and living.

My first public performance was at the age of eight when I got picked to lead the song ‘Don’t do that to the poor pussy cat’ at the local radio station. My teacher chose me to lead because according to her, I sang like an Angel. Awwwwwwwwwwww!

Growing up in Nigeria meant music was a hobby and passing my Maths, English and Sciences with flying colours became high on my priority list. I picked up my love for writing and music again in year 2002 when I joined the award winning UK collective GK REAL and that musical journey took me around the world singing and performing with amazing singers, writers and producers.

Discovering the guitar and freedom to express my thoughts is why you’re here reading my story which is to be continued…

So who am I….?

I am a writer

I am a singer

I am a wife

I am a sister

I am a daughter

I am a friend

I am African

I am British

I love God

I love reading

I can play a few chords on the guitar

I tend to go into my own shell even in the midst of a crowd

I have loads of stories locked up in my head

I am on a journey of discovery and I am excited!!”

https://www.youtube.com/watch?v=IH_AuFU073I

WHY GET EXCITED?

There are few artists that genuinely try and reach out to people and make the world better. Music can be defined by a certain insularity: artists playing music and keeping hidden; not using their platform to make the world better and spread their voice. That is not the case with London-based Lánre. Following the release of her acclaimed E.P. Home; she unveiled the four-song collection, Human. It is as raw, investigative and searching as you’d imagine. The songs capture Lánre’s art and back-story; the music is uplifting and constantly compelling.  In a city (London) where there are a fair few promising solo artists: None have the same appeal, allure and captivating soul as Lánre. She has toured Canada, France, and N.Y.C.; traveled to Sweden and brought her Yoruba heritage and blend of folk and soul to the Royal Albert Hall and Bath Music Festival – in addition to Edinburgh Fringe and Greenbelt Festival.

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

Lánre curates a monthly residence at Omnibus in Clapham Common and is one of those live performers that can silence audiences with her magnetic presence and stunning voice. The music taps into deep emotions and, whilst having a personal bent and introspective nature at times, turns its warmth and heart to the audience – someone who wants to connect with everybody she plays to. The songs – as evident throughout Human – are not bespoke and reserved to Lánre alone. They have a universal sound and capable of making their way onto the playlists of the nation’s most influential radio stations. The multi-discipline approach to music – tying in messages of humanity and socio-political themes – separates her aside from the mass of musicians content to just play a few songs and leave it at that.

https://www.youtube.com/watch?v=GUL3SsAEuMM

CRITICAL SNAPSHOT

“Headlining we had the beguiling Nigerian songstress Lánre, who held the auditorium in the palm of her hands. Armed only with her personality, her smile and an acoustic guitar, she took us on a journey back to her homeland (via Stoke-on-Trent) painting many vistas and drawing on many emotions with bright African colours – absolutely spellbinding” - John Drummond – Brewery Blues

“Relish in her soft yet soulful vocals…” - MTV UK

“This utterly soothing new single is well worth a listen.” - MOBO Awards

https://www.youtube.com/watch?v=OK3_-IsM7Ak

EXAMPLE LYRIC

“I’m on my own again

My shoes are worn, my heart is torn

Wandering down this lonely road

I got nowhere to go

Love has given up on me a very long time ago 

Will I ever find the peace for my restless soul”.

(Home)

https://www.youtube.com/watch?v=95BPqHsvPGc

TWEETS

https://twitter.com/iamlanre/status/793569098064097281

https://twitter.com/iamlanre/status/790968140322582528

https://twitter.com/iamlanre/status/781598766524690432

THE FUTURE

Human is still gathering affection and attention from fans and critics, but naturally, Lánre will be looking to the future and more music. What form a new release takes (whether an E.P. or album) it is sure to follow on from Human’s themes and sounds – the next stage in her career; more stories of love, life and human nature. 2016 is cooling off and Lánre’s warm and nurturing blends are always going to be in demand. It is worth keeping your ears and eyes peeled to Lánre’s social media pages and checking for updates. In addition to a string of gigs: Lánre will be putting material together and setting her sights on new audiences, venues and lands.

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

FINAL THOUGHTS

The media is turning its attentions to Lánre and beginning to discover what a talent she is. In a recent interview – following the release of Human – she explained her processes and how the creative procedure comes together:

“Talking to Lánre, she appears to be a pragmatist as evidenced by the reason to release a second EP rather than a full album; she was collaborating for the first time with new musicians and folk instruments and wasn’t sure if the results would warrant committing to a full album. Furthermore, when writing songs that will be played live, she doesn’t always have the luxury of a band around her so the songs need to work as solos as well as with a band. She also admits to being a bit of a “control freak” (her words) as she self produces all her music which she also writes. Asked if self producing is a conscious choice, Lánre says that “in time, I don’t know what will happen but now it’s working for me...I understand what my sound is and it’s a better fit at the moment. I’ve had meetings with record labels but the control freak in me doesn’t think it will work”. All this was said with much laughter and more than a bit tongue in cheek I suspect.

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

As always when I interview songwriters, I’m interested to know about that process - what comes first, how do the ideas come? For Lánre, who has always sung, rather than played instruments, the lyrics and the sound of the vocals come first, followed by guitar chords and the melody before being shared with the musicians she is collaborates with. Describing this process, Lánre again mentions her tendency towards control, “I never played an instrument so I always had to rely on other people for that which brought out more of the control freak”.  

Although Lánre acknowledges this posed something of a dilemma in her songwriting, she says that it took the sudden death of her father to push her to learn to play her guitar. Her father was a musical person in that he listened to music a lot but never played an instrument and that pushed her to “go out and do what I want. Go for it, never waste time”. This pivotal moment in her life also prompted the decision to leave the safety and security of the six piece voice collective, GK Real and turn solo, again “doing what I wanted to do” although she admits it has been hard, “when you’re working with a band you have that support system but you have to do everything yourself when you go solo”.

(From http://www.huffingtonpost.co.uk/jane-ireland/lanres-human-soul_b_10451942.html)

If you have not discovered Lánre make sure you investigate her wonderful work so far - immerse yourself in its beauty, grace and uplifting power. As we transfer into 2017, Lánre is going to be busy and assessing her next move. Whatever she decides to do it going to be something rather special.

https://twitter.com/iamlanre/status/768802761605521408

____________________

Follow Lánre

Official:

https://lanreworld.wordpress.com/

Facebook:

https://www.facebook.com/LanreWorld

YouTube:

https://www.youtube.com/channel/UC94k5SNLzGR10Jo8m_Bc6QA

Twitter:

https://twitter.com/iamlanre?lang=en-gb

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]

________________________

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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.

[soundcloud url="https://api.soundcloud.com/tracks/291328885" 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 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!

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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

 

Official:

http://www.jamessayermusic.com/

Facebook:

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

Twitter:

https://twitter.com/jamessayermusic

SoundCloud:

https://soundcloud.com/jamessayermusic

YouTube:

https://www.youtube.com/channel/UCwzpkVeRFgyhBBbhs1EvkYA

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:

https://soundcloud.com/majiklondon

INTERVIEW: Megana

INTERVIEW:

 

 

Megana

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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

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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.

[soundcloud url="https://api.soundcloud.com/tracks/195651809" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

I 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.

[soundcloud url="https://api.soundcloud.com/tracks/218880113" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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]

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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!

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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.

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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.

____________________

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

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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

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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.

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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]

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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

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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.

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

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

[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

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

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

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

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

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

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

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

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

PHOTO CREDIT: Robin Clewley Photography

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

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

PHOTO CREDIT: Robin Clewley Photography

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

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

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

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

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

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

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

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

A man you can always rely on.

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

______________________________

Follow XamVolo

 

Official:

http://www.xamvolo.com/

Facebook:

https://www.facebook.com/Xamvolo

Twitter:

https://twitter.com/Xamvolo

Instagram:

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

SoundCloud:

https://soundcloud.com/xamvolo

YouTube:

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

INTERVIEW: Amy Allen of Amy & the Engine

INTERVIEW:

 

Amy Allen of Amy & the Engine

__________________________

FROM reviews and interviews with British-based artists…

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

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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]

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