INTERVIEW: Hero Fisher

INTERVIEW:

 

 

Hero Fisher

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EVER since she put out her first song, it seems, there has been…

PHOTO CREDIT: @saulwodak

a huge wave of affection and respect for Hero Fisher. The video for new single, Sylvie, has a low-cost horror feel – sort of like The Blair Witch Project. It is a fascinatingly eerie video – one that accompanies a song that is tender and emotive. I ask the French-raised, British-based artist about the song and what we can expect from the album, Glue Moon. It follows her hugely impressive debut, Delivery, and marks her as one of the finest songwriters we have in this country.

This notion is backed by the likes of The Horrors and Blur – both of whom were blown away by her debut album. She has collaborated with Boy George and opened for, among others, The Rolling Stones and Neil Young; garnered huge support and is tipped as a mainstream star of the future. Her protean, filmic music is matched by fiery and emphatic vocals – one is reminded of PJ Harvey and Patti Smith.

I ask her about influences and the albums she treasures; what gigs she has coming up and whether there are any big collaborations/surprises coming up.

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

Hi! I’m good, thanks.

My week has been full of good things since Sylvie has been released - I’m very happy to finally get some new stuff out into the world.

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

I’m a musician, singer and songwriter. I mainly play the guitar and piano. I’m British but grew up in France - with Australian parents.

I released my first album, Delivery, in 2015 and will be releasing singles from my second album throughout this year.

The full album, Glue Moon, will come out early next year.

Tell me a bit about Sylvie and what the track is all about. How did that song come together?

Sylvie was inspired by a character from the book, Housekeeping, by Marilynne Robinson.

She’s a strange drifter who speaks of a ghost-town hidden in the woods by the lake - a place once full of life now almost gone. There are traces of houses left and she says that if you stand still and quiet, ghost children will come out of hiding.

The song, Sylvie, was written from the perspective of the ghost children.

(You asked!)

What was the video like to shoot? You edited and directed it, too. Was that quite a challenge to do or something you were determined to do?

We shot it up in the Lake District - a place I wasn’t familiar with. It’s very beautiful up there: it’s like something out of a fairy tale. There were only three of us so it was pretty makeshift - we just thought we’d go and film a load of stuff and see what looked good.

I spent some hours in the freezing rain that day and was really sick for the rest of our stay - which was a challenge.

Editing was the hard bit, as I’m just learning how to do that, but I’m very determined to be as hands-on as I possibly can be - on the visual side of things.

I just finished editing my next single, Push the Boat Out.

In the video, there is juxtaposition between the song’s haunting (beautiful) tones and a visual eeriness. Was it instinctual to make the video this way and were any films influential in terms of the storyline/direction?

A lot of the songs on this album are written with a particular place in mind: it's the wee hours by a lake under a big pale, green moon. The eeriness in the video comes from imagining this place for so long that it came through pretty organically.

Also, the album is more low-fi than the first - and I wanted the visuals to have more a homemade feel about them. So, anything with older film colours (like Kodachrome or graininess) seem to fit this album.

Sylvie has made its way onto Spotify’s Indie Songs for Slackers. Were you quite chuffed hearing that?

I was super-chuffed about Sylvie making Spotify’s Indie Songs for Slackers playlist!

Glue Moon is your sophomore album. What can you tell us about the record and how does it differ from the debut – in terms of style and song themes?

There’s a haziness/dreamlike quality to the general atmosphere of this album.

It feels a bit otherworldly and very colourful. It still has a melancholic feel, in keeping with most of my work, but I think there's a lightness and a sense of relief that comes through on this album.

You were born in Britain but raised in France – now back in London. How the music scenes in Britain and France differ? Any plans returning to France or playing some gigs there?

I only played in bars in Paris - never bigger venues; so I can't compare them, really.

I wasn't as extroverted with my songs back when I was living there. But now, I'd absolutely love a chance to play at L'Olympia or the Grand Rex (or La Cigale)!

So far, you have won fandom from Blur and opened for Neil Young; collaborate with Boy George and win praise from huge stars. Does it all feel like a dream or has that kind of patronage made you a more confident artist?

Meeting other bigger artists is a great motivator and reminder that making music for a living is actually possible.

That such amazing people are so supportive feels great.

PHOTO CREDIT: @julian_broad_studio

Any collaborations or big surprises coming up? What do you have planned for the next few months?

I've only been collaborating with close mates recently - but, I've been dabbling in writing for other artists as well.

I'm definitely more open to the idea of collaboration now that I've written two albums of my own.  

In terms of touring; where can we come see you play?

We’ll be announcing shows very soon. Keep an eye on my Facebook page

Who are the songwriters and musicians you emulate or take guidance from? What kind of music did you grow up listening to?

The two people I look to when in doubt are Bob Dylan and PJ Harvey.  I admire them both so much...also:

Jeff Buckley

Billie Holliday

Thom Yorke

Nick Cave

Are there any new artists you recommend we check out?

I’m really loving Chelsea Wolfe at the moment.

Also, Trixie Whitley and Nils Frahm.

I’ve also discovered a lovely singer from the 1950s called Connie Coverse, recently…

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

Nick Cave’s Skeleton Tree AND Push the Sky Away

I can’t pick a favourite between them. There’s a delicate, spontaneous feel to both these albums that is so touching - I love these albums so much.

Astral Weeks by Van Morrison

Because, it makes me really happy and reminds me of being a kid.

Blood on the Tracks by Bob Dylan

Because, discovering it, was a massive turning-point for me in how I looked at songs and how I wrote songs from then on.  

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

Don't over-think things.

Everybody else feels like they’re winging it, too.

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

We No Who U R by Nick Cave

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Follow Hero Fisher

TRACK REVIEW: NÝNA - Faces

TRACK REVIEW:

 

NÝNA

 

 

 Faces

 

 

9.5/10

 

 Faces is available at:

https://www.youtube.com/watch?v=o-q8L7tCT-c

GENRES:

Electro-Pop

PRODUCERS:

NÝNA; Shemzy

ORIGIN:

London, U.K.

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BEFORE I come to NÝNA and looking at…

her music; I want to have a bit of a rant. In fact, that is not fair: it is more a series of points but, before the more light-hearted ones, a note to artists. I am getting a lot of requests for interviews and reviews – which is always good – but so many artists are naively assuming they do not have to do a lot their end. What I mean by that is taking little care getting images put online. It seems like my favourite subject, I know, but the problem is not easing. Even me, who does not get interviewed or featured, is capable of putting a series of images online. If I fancied it; I could hire a local photographer and get a couple of dozen good images put online. It might be a simple concept or a more elaborate set: whatever the design; it would give reviewers and interviewers options. That way, they could take their pick of the photos and produce something visually-pleasing. For me, and the way I write, there are a lot of paragraphs – as one will see – so I do require a bare-minimum. I am finding artists with one or two photos come to me for reviews. Even my interviews require seven images so it is no good approaching me if you are not prepared. If I, as a journalist, has to conform to a certain standard – an official website and being prolific – then artists need to get up to scratch. It does not take a lot of effort (or money) to get photos online so why are so many not doing this?! This does, actually, neatly bring me to NÝNA who, pleasingly, is prepared for music and the demands journalists might place on her. Her social media is fulsome and clear; she has lots of photos and ensures she keeps her fans updated. This is the first point I want to explore but, after this, look at artists born outside London – who come to the capital – and honesty in music; female artists and issues that have been swirling; transitioning from covers and building a fanbase – ending with a little on influences and how that can contribute to a unique sound.

Let us consider my first point and how instrumental and important it is being visible and revealing. I am not saying artists need to uncover their soul and put everything out there. In fact, holding a certain amount back allows the listener to interpret and guess. The most annoying parts of my role is having to do the work for artists. Many do not put their social media links together – or feel it necessary to have a Twitter account – and there are loads that have crummy images – or do not keep them updated. I know there is a lot to think about if you’re a musician but your career will only endure if you consider every aspect and do not get complacent. I have had to turn people away because they do not have images online. It is sad but visuals are just as important as the music itself. It is no good assuming, if you have a great song, that will be enough and journalists will be happy with that. For me, I need images, otherwise there are lots of gaps and will not be able to put the article up. NÝNA is not someone who takes music lightly and ensures she keeps her sites updated. One gets some great images and lots of information; background about her music and some great details. I shall leave this point here but want to urge all artists to take more time to get photos online and take more care in regards their social media. If I have to go scrabbling for details and links – searching online for their SoundCloud and Twitter sites – it puts me in a bad mood and makes me less likely to feature them in the future. The competitive nature of modern music means those who are insufficient or lacking will find their careers relatively short-lived. Journalism today relies on a certain visual aspect so one needs to be appreciative of that. It seems like I am opening on a rant but it is a genuine concern and observation. NÝNA gets what I am saying and, seeing her social media pages, and there are so many positives one can take away from it.

NÝNA was born in Serbia but has been in the U.K. for a long time now. I am always interested in artists born overseas – that come over here to make a bid of their careers. For NÝNA, she has taken, from her birthplace, a lot of education, memories and experiences. It is understandable she would have moved from Serbia because, compared to the U.K., the music scene is quite sparse. That said, Serbia is not a nation that should be overlooked. It is the southeast of Europe’s Balkan Peninsula with northern plateaus and mountainous ski resorts. Its capital is bedecked with Communist-era architecture and is a beautiful area. One can enjoy opera and ballet at the Norodno Pozorište and is worth a visit, for sure. The country is renowned for its opera and ballet so, if you are inclined, there are ample options in Serbia. Move away from that and there are enough venues for those who prefer their music a little more mainstream. If you visit Čorba Kafe, one will, most likely, be drenched in sweat and have an ‘evocative’ evening. It is a small space but one renowned for its energetic performances and range of genres – from ‘70s music to Metal and Pop. If you are not in the mood, Belgrade’s Vox Blues Club is a more relaxed and sedate environment. It is a magnificent club that welcomes international and local acts – patrons are invited to join in the jams. Bitef Art Café is a wonderful mixture of sounds and styles. Here, one can enjoy World and Classic music – in addition to Rock and Soul. In the summer months, Bitef move their music to the Kalemegdan Fortress. Kombank Arena is a natural stopping-off venue for international acts visiting Serbia; Kolarac University Concert Hall is home to the Belgrade Philharmonic and welcomes all manner of Classic artists. There are few notable Serbian bands but the improvised Noise-Rock of Klopka Za Pionira and Činč - consisting Đorđe Ilić and Luka Stanisavljević – are two notable acts from the country.

It might not seem there is much to discuss about Serbia but there are some stunning venues in the country. It is a great place to visit – the architecture, heritage and mix of people – but it has a rich and diverse music scene. Those terrific spaces – intimate and packed Rock clubs to concert halls – are the envy of most nations; so many international acts have come to Serbia to perform. I can understand why NÝNA wanted to move because, here, we have a larger music economy and better opportunities. That said, she has brought quite a lot from Serbia. Her roots have not left her, so, one gets that Classic influences and balletic/operatic side. It would have been hard to avoid the culture of Serbia when she was growing up. That was, as I will explain, taken to heart at a young age – where she bonded with the piano and a more sophisticated, romantic style of music. That all goes into her current single but, one feels, a British influence has mingled with Serbia. One gets the Classic strands of the nation but I hear Pop and Soul of Britain. It is a fascinating mix and one that marks her for big things. I can appreciate why so many artists would want to come and live in the U.K. – London, especially. It is great hearing such a mixed and interesting group of musicians reside here. Were we to see only British acts reside in the capital; it would make the music homogenised and restrict so much potential. All the big music hubs of the country – Manchester and Glasgow, for instance – welcome musicians from all around the world. Here, in the capital, there are huge venues and so many smaller spots: the artist has so many options and a large and supportive community around them. Let’s hope NÝNA remains her for many more years – as she is someone who seems at home in London and excited to see what the city offers her.

I will come to look at NÝNA’s upbringing, to an extent, but, before then, wanted to talk about honesty. I, myself, am not always that honest and can find it quite difficult. One holds back certain truths and seems to mask their true feelings. For me, I have been concealing quite a lot of pain and doubts – through fear it would alienate me from people and make me more vulnerable. The same is true when it comes to romantic anxieties: harbouring feelings for a certain girl but holding it back to, in my mind, save a friendship from being sacrificed. I guess life, to a degree, is a series of tough mistakes and inevitable frustrations. In my mind, I feel I need to be a certain way as not to offend or keep a certain reputation. It means, a lot of times, I am less happy but go without things like love and affection. Maybe I am doing things the wrong way but feel there are issues when one is too honest – it does not always work out the way you wish. In music, there are problems inherent with being too open and transparent. It is, therefore, always impressive seeing a young artist come through who is willing to bare their soul. NÝNA, on Faces, is not one to hold back. She has encountered a lot and, like us all, had to make hard decisions. Maybe, as I will examine when reviewing the song, she has had to conceal her true feelings or disclose less than she’d hope. What I get from her music is honesty and compassion. It serves as an important lesson for us all: if we are too guarded and hesitant; it means chances will pass by and we might end up hurting ourselves. I guess it is hard striking a balance that means we do not keep too many secrets – at the same time, one has to open themselves up here and there. In musical terms, the greatest ‘honesty’ comes when talking about relationships. This seems to be the number one source of therapy and revelation. I hear so many love songs and, for the most part, they are not exactly censorship and redacted. All the dirty laundry hangs out; the intimate details are published and the artist is keen to have their say. Sometimes, this can come across crass and unwise. There are few who are honest when talking about their problems and true feelings. When one is jilted or heartbroken; there are fewer inhibitions and reasons to remain anonymous. If we look inside ourselves, and address doubts, depression and feelings, it can be a lot harder to do. NÝNA is an artist unafraid to talk about herself – in addition to romantic encounters. That serves as inspiration to other musicians who might feel exposed and vulnerable. One can get that balance right and, as one hears on Faces, it leads to extraordinary music.

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I shall talk about NÝNA’s rise through the ranks but, before then, I want to talk about ugliness. Not in relation to NÝNA, obviously – she is incredibly beautiful and a very striking young woman – but that, in a sense, creates its own issues. We have all seen occasions, recently, of certain artists perpetrating toxic misogyny and unashamed sexism. In the most-recent occurrence, it was a member of The Dickies – a Punk-Rock band – who have been shamed. It is not an issue that seems confined to genre and nation. A few acts, over the past few months, have been in the news for the wrong reasons. I am getting tired of seeing male artists show such demeaning attitudes to women. One sees this and wonders how ingrained and widespread this ill is. Look at the music industry – make attitudes towards female artists – and there is that undeniable sexism. If we allow our male musicians to spew such old-fashioned and discriminatory attitudes – what does that say about the music industry and the way it treats women?! I worry people like NÝNA will encounter this prejudice in the future. I am not suggesting EVERY male artist is sexist but we are seeing more and more artists not thinking before opening their mouths. What is the solution to this Stone Age practice?! We can ban culpable artists from performing and fine them. That would send a severe message to anyone who thinks it is acceptable to promote their twisted and misogynistic agendas. I am concerned how indoctrinated and unmonitored this problem is. NÝNA is a superb and original artist but I have worries when she becomes big and steps out into the wider world. Maybe she will be afforded fewer opportunities – compared to her male peers – and face the kind of provocation that was displayed at the recent Dickies gig. We definitely need to patrol and police those musicians who feel it is okay to treat women as second-class citizens. I shall come back to this in the conclusion but wanted to take to task the male artists who have shamed music. I know NÝNA is a strong artist who is surrounded by loving people but, when she performs more widely, will see have to face these upsetting and shocking scenes?! Let’s hope not but there is always that concern – considering the regularity and severity of these type of events.

Let us talk about NÝNA and her route into music. Right now, she has Faces out, and that comes complete with a fantastic video and great production values – she has linked with Shemzy who brings extreme confidence and a unique touch to the song. This is the first point I want to explore but, after this, look at artists born outside London – who come to the capital – and honesty in music; female artists and issues that have been swirling; transitioning from covers and building a fanbase – ending with a little on influences and how that can contribute to a unique sound. Before coming to this point; NÝNA built a loyal online following with her interpretations of others’ songs – including a stirring and original rendition of Hozier’s Take Me to Church and Adele’s I Miss You. These songs, much-heard and recognised, were given fresh light and new personalities. In addition, NÝNA featured in Fortitude and Vents magazines; appeared in Contact Music and got her voice/talents recognised and promoted. I guess the ‘covers route’ is a natural introduction for any artist. They want to test and experiment; see which songs suit their voice and how they will mould their own talent. It is fascinating seeing artists tackle certain songs and what they bring to it. I was, earlier this week, on Lauren Laverne’s ‘6 Music show – as caller on her ‘Biorhythms’ section – and chose, as one of my songs, a cut from Jeff Buckley’s Live at Sin-é. The reason I chose a Buckley song, Calling You (a cover of the Jeveta Steele track), was because of the delivery and difference. It is/was a mesmeric performance that reinvented the song and afforded it fresh nuance, beauty and grace. You should go to Spotify/YouTube to hear that performance – and get the Legacy Edition of the album if you can – because Buckley, more than any other artist, showed little fear when tackling songs. He began doing covers and, one can argue, were it not for performances and interpretations; he might not have become the singer we heard on Grace. NÝNA is an artist who has a similar lack of fear when covering songs. I hear her true self, emerge. She does not replicate the song note-for-note and, instead, brings her own agenda and spin to the track. Let’s hope she continues to cover songs because, I feel, it makes her a stronger singer and writer. That chance to mould and push her voice – and see how it adapts to various genres – has given her the confidence to right a song like Faces.

NÝNA has an itinerant and fascinating background. She began life in Serbia and grew up, one images, on a diet of Western music and local sounds. In terms of Serbian music, during the late-1990s I guess, there would have been few local treasures. Sure, there were bands and artists playing in Serbia but they were not quite as attractive as the artists she would have heard on the radio. NÝNA discovered the likes of Alanis Morrisette and Madonna; bits of Nirvana and, lately, Lana Del Rey and London Grammar. Those ‘older’ influences have grit, legacy and passion; the newer artists emotion, cinema and beauty. Together, it creates a heady and scintillating aroma. It all goes into her own music and gets me thinking about influence and how important it is. My list of influences is impressive and diverse so, if I ever embarked on a music career, I would incorporate them into my sounds. NÝNA lionises strong female artists but has a great affection for all types of music. As a youngster; NÝNA started writing modern Classic music. She found the piano at five and wrote from twelve – I could make a bad time joke at this point – but transitioned to Pop a bit later. One can tie this to her move from Serbia to England. One imagines the Pop music heard in Serbia would have been predominantly British and American. It is unsurprising she was more connected to older, mainstream music than the artists coming through in Serbia. I can hear Classic elements to her music but, now, NÝNA is more influenced by acts like Sia and London Grammar – elements of Lorde and Lana Del Rey combine. Maybe this is a commercial move – more popular and accessible – but one makes a connection between NÝNA’s childhood and the modern mainstream. I like all the artists she is inspired by so, it is no surprise, I bonded with Faces. I feel too many modern artists do not have that broad a range of inspiration. They take from modern music but do not cast their mind back that far. This can create something quite limited and simplistic. For NÝNA, even though she is very young, her influences go back to the 1980s and '90s. Bring that together with of-the-moment musicians and one gets a rich and fulsome blend. Of course, her originality shines through but it is nice hearing elements of other artists in her work.

Right from the off; one gets shots and slams of artists like Lorde, Sia and Lana Del Rey. That is not to label NÝNA’s music but show the urgency, modernity and quality of it. That essential ethos – “Nothing’s gonna break my world” – is put up-front and chanted proudly. In the video, one sees a fast-flowing series of images – some disturbing and hard; others, more defiant and compelling. Despite the challenges and cruelty of life; there is not going to be a barrier big enough to stop the heroine. She, backed by electronics and big drums, lets her voice ring and reign loudly. Faces could refer to the façade and masks one must adopt: maybe, it is about the two sides to a person and the deceit we are all open to. I am not sure but, one think I do know, is how effecting and strong the opening moments are. NÝNA takes command of the song and ensures her words are drilled into the brain. The heroine, elucidating on the title, is engulfed by millions of faces and at the mercy of life’s capriciousness and fragility. There is judgement and expectation; a pressure and anxiety on the street. In the video – one I shall return to when commentating – she sits at a piano as imagines appear on a screen. It is the embodiment of a calm and passionate soul surrounded by the wider world – one that is not as sympathetic and dignified as her. There are people who are happy to offer hostility and brutality. The faces are being seen – of ordinary people and those caught in the rush of life – and feeling the weight and fatigue of modern life. Our heroine is aware of this and share their pain. It is hard dethatching from the realities of life and finding time to reflect and embrace the self. NÝNA is struggling to make sense of  the conflicting emotions and mass of sad faces around her. Maybe that is the reality of the city: it is so fast-moving and packed it is rare finding reformation and happiness. One experiences it here and there but, in reality, many people are busy and are not necessarily unhappy. Perhaps projecting a smiling image is not natural or easy to do.

Regardless; there are people who are struggling to find the good and discover a sense of self-worth. Mindfulness is hard to achieve in a city and busy environment. NÝNA is the same as all of us but is determined to embrace the good inside her and appreciate all she has to offer. One gets a real rush of emotion and physicality in the composition. The piano notes and punctuated and precise but have a romance and flourish to them. Beats and electronics mingle to summon a concrete sense of the city and the modern world. One hears and feels the cracks form in the pavement; the strains and age in the faces – all those upturned smiles and tearful eyes. There is little chance of NÝNA taking control and solving these issues around her – she can “walk away”, as it is said. That might seem submissive but she is not uncoupling herself from humans the world around her. Instead, she is not letting bad things get in and taking life’s realities too much to heart. It is easy letting that stuff absorb in the skin and affecting your mood. Instead, the heroine is pragmatic and sympathetic – that need to give herself a break and discover goodness is paramount. If anything, I would like to hear the vocal higher up the mix. I know how strong NÝNA’s voice is. Sometimes, when the composition is accentuated; the vocal seems to take second-place. This might be a production decision to promote the beat and electronics – ensuring they summon new images and emotions – but NÝNA regains spotlight when the mood is taken down. Softer, compassionate and contemplative: her voice whispers, searches and calms. She has, by this point, managed to throw off many of the ghosts and shackles of modern life. Faces is brilliantly balanced and unexpected. One predicts a certain structure: that never really arrives. Instead, there is a nimbleness and sense of flourish and Classical suite – the song goes through stages and grows.

Towards the final stages; NÝNA brings the chorus into the light and repeats its defiant and strong message. She sings about the pollution, injustice and poverty we all see. Images continue to project and open the eyes. There is, as we all know, so much horror and injustice in the world. The news is full of this but does not really break the skin. The true extent of the world’s problems will never be known: Faces, in a way, suggests we should not obsess over the scale and not let it drag us down. Again, this might seem like walking away but it is the only thing one can do. We cannot solve the problems ourselves but that does not mean we do not care. If one lets all those bad images and stark scenes linger in the imagination – that will have a destructive impact on our lives. Everyone should be conscious of what is happening around them but find balance. NÝNA is connected to the world but determined not to neglect herself. Faces is the sound of a young woman seeing so much upset around her. Rather than let it haunt her bones; she is discovering the potential and goodness inside her. Not many songwriters look at these areas and promote an air of positivity. Many, when talking of love, lose perspective and struggle to realise there are bigger issues happening elsewhere in the world. NÝNA understands this point and, with it, the need to find a way to cope with the realities of life. One is struck by the range and emotions inherent in NÝNA’s voice. She goes from powerful and impassioned – shades of Alanis Morissette, one assumes – to tender and emotive – colours of London Grammar, Lana Del Rey and Madonna come through. Faces is a huge and impressive song from a young talent who has a lot more to say. I know many singles will come but they will have a lot of work to do to equal Faces. It is a song that seems apt for the times we live in. Many of us will struggle to find positive light in the darkness around us – Faces is a song that will linger in the mind long after you have heard it.

I shall leave things here but, before trotting on, wanted to have a look forward for NÝNA and what is approaching. I know there are more releases coming and, as we can see from her social media, people are reacting to her music. It is hard generating publicity and appreciation: it is not always the case music does all the talking. Faces is about dealing with the badness of the world and finding love for yourself. That can be hard in these modern times. We are subject to so much negativity and vitriol; it can be hard embracing the love and goodness that is around us. It is encouraging finding a song like Faces and something that promotes a self-love and worth. That might seem all New Age and hippy but it is actually a very positive and relatable message. How many of us go through life and dedicate time and effort to appreciating ourselves? It can be very draining and tiring going through the day – never much chance to uplift and channel any positivity. NÝNA’s latest track will give inspiration and motivation to many of us. The video for the song is striking and has had a lot of care and effort put into it. It is clear NÝNA is taking music very seriously and ready for the challenges ahead of her. I shall return to my earlier points but wanted to look at NÝNA’s diary. She was recently interviewed at Hard Rock Café and hosts Mada Presents… in London on 23rd August. Lianne Kaye and guests will be performing and it is one of many dates coming up for NÝNA. Everyone from Electronic North and The Drunken Coconut – THERE’s a band name if ever I heard one – have lent their thoughts to Faces. A lot of love is coming in and it seems. I am very pleased for NÝNA and know she will be making some big moves this year.

The summer is approaching – the hot weather is already with her – so it is a prime time to get gigs and festival appearances. I am not sure how may gigs she has later this year but, right now, NÝNA is looking ahead to some cool dates. Faces is out and a tantalising insight onto a raw and unique talent. I will end things by returning to a couple of points I raised earlier: artists who come from the U.K. (to other nations) and sexism in music; honesty in music and influences – I know that is more than two but I meant ‘a couple’ in conversational terms. Serbia, as I said, might not jump out as a musical hotbed of wonder but it is not to be sniffed at. There are great venues – not only reserved for Classical music – that suites the diversity of music one hears in the country. There are European nations that have fairly fallow music scenes: that is not the case with Serbia. It has a rich history of Classic music and some wonderful Opera. Whilst a lot of its modern Rock and Pop is inherited from Britain and America; there are some great local acts that remain in Serbia. I feel many come to the U.K. to find opportunity and bigger crowds. There are limits to the Serbian music industry and it is not really set-up to accommodate ambitious artists. I see a lot of artists emigrate because the country they live in is a little confined. Even acts from Sweden – one of the most productive and astonishing nations for music – come to Britain and the U.S. It is testament to a nation like ours so many are happily settling here. We have some of the best venues in the world and greatest young artists. NÝNA would have been exposed to British music as a child and fascinated by the lure and history of our land. Not that hers was that immigrant-sailing-to-the-new-world scenario but there would have been an attraction to Britain. That desire to embrace her music ambitions is impressive. She is, as it stands, one of the more interesting artists is London – one whom is gaining a huge public support and critical affection.

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Sexism and misogyny are, rather troublingly, aspects of society that are bleeding into music. We need to cauterise the spate of male artists who spit such arrogant and degrading remarks at women. It is not only troglodytes like The Dickies’ frontman who should be banished from music: there is sexism woven into the grain and fabric of the music industry. I can understand how there would have been sexist attitudes decades ago – people were a bit more ignorant and naïve back then – and it was, unfortunately, seen as part of society. We know better now so should not indulge or accept sexist attitudes. We all know female artists are not put on the same pedestal as the men: this is something that need changing very soon. If we want to accentuate the finest aspects of the music industry – the talent, vitality and love we all know it possesses – the dark and seedy underbelly needs to be savaged. It is an issue created by the white man – one they need to eradicate and overcome. I know most male musicians are very respectful and open-minded but it is the minority creating a problem. NÝNA is a fantastic artist who not only creates stunning music – her videos are eye-catching and impressive. She is active on social media and proven she is level to the demands of the mainstream. That transition is imminent you’d think but, when she gets there, is she going to be exposed to the same sexism and indiscretions levelled at her female peers? It is a very present and possible danger and one I am uncomfortable contemplating. Will she be judged upon her looks or overlooked because of her gender? It is quite telling little is being done (by men) to address and stamp out sexist practices. Every artist should be valued and judged on talent and promise – not their gender and colour of their skin. NÝNA is strong and determined but, like everyone, has a vulnerability that does not need to be tested needlessly. She proves how stupid and infuriating the sexist issue is. Her music is among the best you’ll hear this year so, why then, should she have to work harder to get her voice heard?!

Faces was written and produced with her close friend, Shemzy – whom she met at music college a while back. The artistic partnership has blossomed and led to the nosegay delights of Faces’ bouquet. The Baroque-Pop aspects, one imagines, are part of her Serbian heritage and Pop idolisation (as a child). The dense drums and lustrous strings create a happy-sad dynamic that has resonates with many people. There is so much going on and beautiful vocals. The honesty and revelations from NÝNA are the most striking elements of the song. Empowerment and self-love are the mantras and mandates that guide the song to the heavens. One wonders how much of NÝNA’s idols go into her music. Certainty, I can hear the boldness, confidence and allure of Madonna; the emotive and emphatic tones of Morissette and the gracefulness of London Grammar. It all formulates and bubbles in a wonderful brew – one that hits all the senses and gets one thinking. I shall wrap up this review but want people to follow NÝNA and all she does. One of those acts who deserves big acclaim and lots of opportunities. I know there are gigs coming up but there is a lot of love coming her way. People are connecting with her music and a wonderful human. That is it but it has been a pleasure discovering Faces: the start of a productive and wonderful career for NÝNA. She has a stocked and ready arsenal; a bucket-load of talent and the passion to succeed. Those ingredients are reserved to a certain few so it seems inevitable NÝNA is…

GOING all the way to the top.

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INTERVIEW: CC Smugglers

INTERVIEW:

 

 

 CC Smugglers

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AFTER the success of their single, Rhythm…

many eyes and ears have turned the way of CC Smugglers. That song was picked up by BBC Radio 2 and BBC Radio 6 Music – the band played live sessions of the station. The boys have enjoyed sold-out shows across the U.K. and Europe; great festival appearances – including Latitude – and supporting the likes of Old Crow Medicine Show and Bruce Springsteen.

The new single, Dirty Money, is another huge track and one I was eager to find more out about. Richie from the band talks about their music and details of each member; how they all came together and what their diary is looking like – and, whether being a sextet is a benefit or quite unwieldy.

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

Hello.

I’m fine, thank you very much.

This week, we’ve just returned from three dates in Switzerland playing some great festivals - including Montreux Jazz Festival!

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

We are a group of lads who play original music with a gung-ho attitude for cross-breeding influences, old and new, from around the world. We are very proud of our well-established reputation for absolute scorching live shows.

We use Folk instruments like fiddles, banjos; harmonicas, acoustic guitars - alongside electric guitars keyboard and full drum kits.

Did you catch Glastonbury? What was your opinion? Any performances stand out to you?

I caught bits and pieces but I don’t have a lot of time for telly really. I spent most of that weekend demoing a track I was writing – but I was aware it was on.

I do know Jamie Cullum was playing. I would have loved to have seen that live. I also watched Jeremy Corbyn’s speech on social media: that was quite interesting, I must say.

Dirty Money is the new track. What inspired the track and what can you reveal about it?

Being a musician in the music industry is hard: in the same way being a human in the 21st century is hard.

There’s always something just out of reach that will make us happy when we finally get it - and when we get it, there’s always something else… just out of reach. Money’s a bit like that. Doesn’t matter how much I earn: I’m always skint.

It’s taken me many years to realise that happiness isn’t a result from getting something, or having money or buying something. That stuff is fun, but fun isn’t happiness.

So, like many of my songs, they’re just notes to myself to remind myself of feelings - some of them we end up sharing with everyone – I think this one's relevant to most people.

Is there going to be more material coming soon? What can we expect later in the year?

We are toiling over some secret plans – just be patient, you cheeky rogues.

I am interested in the name, 'CC Smugglers' – sorry if you’ve been asked before – but where does that band name come from?

Yes, that is something we’ve been asked a few times…

Let’s just say ‘CC’ refers to the 125 C.C. motorbikes we used to ride when we were troublesome kids - riding across the fields in our home county.

You can just use your imagination for the 'smugglers' bit.

How did you guys all form in the first place? Was there an instant spark the first time you got into the studio?

I was doing stuff on my own for a few years and went into a studio to make a demo. When I made that demo the producer laid some double bass and electric guitar.

It was then that I sent those demos to my two friends Ryan and Dan - who were traveling Australia. The pair of them flew home and we started a band! We never really looked back after that!

I am interested in the six-piece – I do not see too many bands with that many members. Do you think having that strength in numbers heightens your sound and makes the creative process easier?

It has its strengths and weaknesses but, as far as being on stage, we are a force to be reckoned with - and that is because we are a large, strong; well-rehearsed team unit.

Who are the real ‘characters’/trouble-makers in ranks? Any one member the rest have to keep a cheeky eye out for?

Well, that’s a bit personal, isn’t it!?

We all have our own unique little niches:

Sam, our fiddle player: he’s the pretty boy; insists on getting his hair cut twice a month; is a front-runner in fashion and loves a bit of self- grooming.

Dan is the ladies’ favourite: tall, dark and handsome; has done a bit of modelling in the past - but is the ultimate gentleman and a real kind caring chap.

Ryan. He’s the quiet, surly one: absolutely on-point all the time - but just watch out for the quiet ones. He’s always one step ahead: captain cool.

Tom is a total gent, very stylish - and one of the best musicians I’ve had the pleasure to work with.

Iain a true Scot: can drink like a fish, tumble like a boulder and graft hard.

I’m the loudest and gobbiest. I’m a bit scatty but can, and have, talked us out of a pickle or two (I’m also damn good at driving in deep mud and snow - and have almost dangerous amounts of confidence on and off the road.)

So, there…you asked one simple question and you got a character reference of everyone. I told you I was gobby.

What has it been like getting attention from stations like BBC Radio 2 and '6 Music? They are quite diverse so it must mean you are doing something right!

It’s amazing, really.

If I could tell that funny, little loner twelve-year-old sitting in the field playing his guitar terribly (me-twelve) - or the angsty, spotty Slipknot hoody-wearing fifteen-year-old playing the school guitars in the music corridor at lunch time (me-fifteen); that, one, day he’ll be legging it round the world playing gigs and getting played on national radio station…it would have done my self-esteem the world of good.

It’s funny how things work out: it would never have happened without a huge team effort. Not only from my best mates in the band, but our families and friends - and all of the people who work with us because they believe in it.

I know you have some tour dates coming up in October. Which venues are you most looking forward to playing and are there towns/cities on the list you have not played before?

Oh, there’s loads!

The Cambridge Junction one is a biggy!

Also, London at the Union Chapel is a big old show.

What is touring like for the band? Is that a side of things you enjoy or can it be quite demanding?

Oh, man!

That’s what I live for! It can be very demanding: long drives, short sleeps - especially when voices start getting tired - but I kind of see it; in a very pretentious and non-realistic way - like being a soldier.

We go out on tour with the squad and rough it; rely on each other; bond and get through it – it’s an absolute adventure where we get to see the world and we have moments of exhilarating adrenaline every night. That’s living!

Are there any new artists you recommend we check out?

My friends have formed a band called Funeral Shakes.

I have heard their stuff and heard the plan. When it drops it is going to drop-hot. They are quite heavy but so, so clever and artistic.

Trust me: it’s going to hit the ground running.

It’s not out yet, but, boy…when it comes…

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

For me, Jamie Cullum’s Twentysomething

It has been the soundtrack to every single one of my (blossoming) relationships and crushing breakups.

It introduced me to Jazz and Swing - and there is not a song on there that doesn’t remind me of someone or something.

I will always love that album.

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

Be different, be brave and never ever think you’ve done enough.

There will always be someone out there better than you: all you can do is do your best. The competition is high so work your fingers to the bone and always go the extra mile. You never know what may come of something so never make decisions out of fear.

Don’t think of reasons why not: think of ways to make things happen.

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

Ok, thanks!

Here goes:

Richie: Leon Redbone – Please Don’t Talk About Me When I’m Gone

Dan: Aretha Franklin – Think

Ryan: Muddy Waters – I Want to Be Loved

Sam: John Mayer - Slow Dancing in a Burning Room (Live in L.A.)

Tom: Billy Joel - New York State of Mind

Iain: The Brandon Brown Collective (ft. KIKI KYTE) – Honey

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FEATURE: Sexism and Misogyny in Music: Time for Changes

FEATURE:

 

Sexism and Misogyny in Music:

 

 PHOTO CREDIT: Unsplash

  Time for Changes

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THERE are two things I want to concentrate on tonight.

IN THIS PHOTO: Punk band, The Dickies

The first, as you will see, is quite weighty and serious: the second is a nod to the Bella Union label – which is twenty-years-old. I will come to that soon but, before then, something has reared its head. A music friend of mine – who works down in Brighton – has set up a Facebook group for promoters; essentially, ensuring bands who promote intimidation and fear are not given the oxygen of publicity and performance opportunities. This piece, and her group, to an extent, stemmed from an incident that occurred at a performance by the Punk band The Dickies. Frontman Leonard Graves Phillips, during the Warped Tour, directed a tirade against a young woman in the audience. There has been, in fact, an article published in LA Weekly that gives two sides to the debate. There are those in one camp – the older men who feel the ‘Punk Spirit’ is perfectly defined by such offensive and ill-judged verbal barrages – and those, quite rightly, who has taken umbrage at the attack. I believe the woman in the crowd was a friend of the band but, whether she agreed to be disparaged and belittled during that gig – does that send out a positive message?! Of course not! Even if Punk, which it doesn’t, depends on a certain amount of shock and disgust: where do we draw the lines and how far can we go?! I am all for music having some unpredictability and controversy. I am all for bands having a political motive and speaking out against corruptness and those who do not protect the needs of the masses. Artists might have a particular affection for environmentalism and conservation – that is impressive and commendable. So long as, playing devil’s advocate here, these subjects are not forced down the collective gullet – would one ever temporise and deter artists from having a voice?! I would say not. It is prudent musicians are not reserved to talking about music and being confined. So many artists are calculated, scared and confined to boxes – made to talk about their material and reluctant to have any ideas that might cause discussion.

PHOTO CREDIT: Ebru Yildi/IN THIS PHOTO: PWR BTTM

I am not saying every musician should say whatever they want but there need to be lines drawn and barriers opened – certain mouths need to be stapled shut, it seems! LA Weekly went on to offer some exposition and explanation:

“I consider myself a feminist (the piece was written by Lina Lecaro) and I think, in theory, that the idea of Safer Scenes is good and needed. But you can’t expect the people you oppose to take the higher ground if you don’t take it yourself. (We should all keep this in mind every time we insult Trump; we should focus on his shitty policies, not his bad hair, weight or orange-ness.) Safer Spaces is on the Warped Tour, with an info booth, to provide dialogue identifying, preventing and addressing sexual harassment and violence, racism and ableism at the festival. This should be done with positivity and some semblance of the respect they are fighting for”.

As a feminist; there would be easy temptation dangling from the tree in the Garden of Eden: attack Graves Phillips and his ‘publicity stunt’ and not provide any sort of balance. Lecaro went on to say:

“Actors don’t perform in blackface anymore. Rock stars don’t have sex with 13-year-old groupies anymore. Punks don’t wear Nazi regalia anymore. What’s acceptable culturally changes over time, and our entertainment reflects this. Those of us living through these transitions may find it more challenging to accept, but we need to try…At the heart of the present moment's transition is a simple truth, one that today's kids seem to grasp intuitively: If you’re not, for example, black, you will never really know what it’s like to be black, or know how certain trigger words feel when they’re uttered in your presence. Never. Same for women: If you don't have a vagina, you don’t know. (OK, dudes?) All that any of us can do is accept that we don’t really get it and respect others when they tell us this is so”.

IN THIS PHOTO: Eagles of Death Metal's Jesse Hughes

It is a fascinating piece and one that is delivered with maturity, candidness and consideration. As a man – and a lover of the rebels of Punk – there would be the temptation for me to say this is a one-off event and there should not be such a sensitive reaction and sense of outrage. The problem is this: it is not a one-off occurrence and it is getting worse. Artists/bands including Moose Blood, The King Blues and PWR BTTM have caused shockwaves - the sexual misconduct/allegations that were levied at, especially, members of Moose Blood and PWR BTTM, were truly shocking. I remember when PWR BTTM were accused of sexual assault - and found promoters and venues cancelling their shows through fears of uprising and protest. I know there are many who say Punk has always been associated with these kinds of issues – why make such a furore of it?! Back in the 1970s, bands like Sex Pistols would spout off and create a storm – often voicing their disapproval of the monarchy – and modern bands talk vociferously about the government and society. If it is ‘okay’ for them to show little discretion towards these issues then why should we be so protective and disgusted about sexism?! The sort of (crude) language and vulgarity Leonard Graves Phillips spewed during that set has reverberated through the music community and seen a lot of people speak out. It does not surprise me legendary bell-ends like Jesse Hughes (Eagles of Death Metal) offer his support to Graves Phillips. Consider the things he said about the Bataclan attacks – conspiracy theories regarding the security guards being involved – his views are not only predictable but completely insane. There are others, on social media, who have backed Graves Phillips and undermined the argument. They say people should get over it and, in the grand scheme of things; it is not such a big deal. If you heard this kind of thing on the street; would you shrug it off and forgive the culpable party?! You would, I hope, be offended and inculpate the offender – knowing they had done wrong and carried around tired and Neolithic attitudes. We are, I believe, in 2017 and know a lot better than previous generations. We cannot, without seeming idiotic, claim to be progressive and evolved when we allow, supposedly mature and intelligent adults, forum to promulgate such hideous ideals.

IN THIS PHOTO: U.S. journalist and D.J., Lina Lecaro

As a male journalist, I think it is important many more men express their disapproval and anger. It is great there is, for the most part, the right reaction to this event. We do not want children growing up thinking such things are commonplace and acceptable. Yes, there are a few isolated incidences but the fact there have been a few within a short space is worrying. If we had female artists saying sexist things you know the media would eat them alive – men would come out and take them to task. It seems the male writers and peers are not as loud and noticeable when it comes to tackling this issue. Maybe I am wrong but it would be nice to see more support from the boys. The Dwarves are another band who have opened their odious mouths and not engaged their peanut-sized brains. It is men creating the issue: my gender should do everything they can to eradicate such obstreperous and vile musicians. The music industry, as it should be, promotes love, togetherness and acceptance. Recent events like Grenfell – and the awful fire that engulfed the tower – have seen musicians come out in force and voice their opinions of the government – bringing love to the debate. The fact so many artists got together and did fundraisers; joined together and did all they could was very heartening. That is the positive and extraordinary side of music: when great people go the extra mile and try to make things better. The other side of the coin is tarnished and rusty: it is less severe and prevalent than the positive but leaves a very nasty aftertaste. I, like many, do not accept sexist and ‘male attitudes to women are not natural parts of a genre. Punk is all about free expression and an irascible spit. Going back to that LA Weekly article and a particular paragraph stood out:

“While nobody can define “punk" right now, we can probably all agree that it's a form of expression that came as a reaction to close-minded people imposing their views on others, right? If this is so, then the way it's delivered will have to change with the times, whether purists or old-schoolers like it or not. If that means my daughter feels more comfortable at a punk show when she's a teenager than I did, great. If it doesn't, I think she'll be OK, too”.

IN THIS PHOTO: Moose Blood, whose drummer, Glenn Harvey, was accused of sexual harassment

Maybe there is that generational argument: those who grew up where this kind of controversy was more common and more acceptable; those, now, who expect better standards from musicians and know it is not part-and-parcel of the modern age. Regardless of your age, upbringing and expectations; we cannot allow mealy-mouthed, black-souled sermons to be seen as ‘alright’ and impressive. Those who have stood in support of this sexism and offence are not people you’d expect to have a strong moral compass and be ambassadors of a purer society – making their idiotic opinions null and pathetic. It all comes down to how important music is and what legacy we want to leave for the generation. As I said; I think musicians shouldn’t be robotic soundbites who are puppets of the record label – speaking in clichés and making sure their answers as vanilla and safe as can be. We would be taking liberties – and denying basic human rights – were we to muzzle all artists. As a consequence of The Dickies’ controversy; they have had gigs pulled – included one scheduled in Leicester at The Musician. The promoters there felt the misogyny and crudeness displayed by The Dickies’ musician was unacceptable. That is the lesson for musicians: you think you have the right to descend to the level of the caveman and you will find yourself at the mercy of the Sabretooth Tiger – and get your head the f*ck bitten off! I’ll close this down now but wanted to bring to light a shade that is threatening to tarnish music’s good name. In the past, I have written extensively about sexism and how female artists are not given headline slots – fewer chances than the men and made to feel, by comparison, meagre and inferior. This hardly helps and leads me to think a major overhaul needs to happen. It is clear the kind of people perpetuating such sexist and old-fashioned ideals: the white middle-aged men. That is not true of ALL injustices but there is a clear pattern. Sure, certain Hip-Hop/Rap artists – among many other artists – have always been associated with a casual attitude to gender rights, sexism and decency.

PHOTO CREDIT: Unsplash

We cannot label a particular group and say it is the sole responsibility of the middle-aged man to correct their minds and come into the modern age. Sexism and misogyny extend across genres, nations and age ranges – it not confined to niche demographics and types of music. That might sound worrying on paper – like a plague spreading without abatement and cure – but it is not an unwinnable war. There needs to be education and outrage. If bands like The Dickies think it is acceptable to casually shoot off offensive insults and degrade a female gig-goer then their punishment, like gigs being pulled and widespread condemnation, should compel them to take stock and sober-up. I worry there will be those reluctant and rigidly hanging onto their beliefs: why should we change who we are and be tamed?! I have mentioned a few bands who have been accused of sexism but we cannot simply race to decry and band all of them – there needs to be constructive debates and decrees. Simply prohibiting all of them from touring would not be the right way to do things – not ever member of each band support their guilty member(s) and can be tarred with the same reputation. What we do need to do is, when certain artists create storms and problems, act swiftly and set examples. The harsher and, in fact, fairer the repercussions are, the less likely we are to see repeat offences. This should extend to racism and every type of similar offence. Sexism and misogyny are, essentially, a form of harassment. It is not acceptable for people to do this in society so why should we be more relaxed with musicians? I know it is hard determining boundaries (of) freedom of speech. If we reign-in bands like The Dickies, does that mean we are saying ALL musicians should be monitored? It is hard to police but it is clear the recent sexist/misogynistic happenings are completely unacceptable. Whether you are a Punk band of rebels or a stone-cold Hip-Hop stud: never should you demean a woman or think misogyny is ‘cool’ and necessary. It is 2017, guys, so, with that in mind, let’s, please…

PHOTO CREDIT: Shutterstock

GROW the hell up!

FEATURE: Bella Union: Twenty Years of Music Gold

FEATURE:

 

Bella Union:

 

  

Twenty Years of Music Gold

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I was, as I do most days, listening to BBC Radio 6 Music today and…

IN THIS PHOTO: Bella Union head, Simon Raymonde

heard an interview with Simon Raymonde. He was a member of Cocteau Twins between 1983 and 1997 and, after the breakup of the band, set up the Bella Union label. Listening to Lauren Laverne interview label boss Raymonde talk about the gestation and creation of Bella Union got me thinking – how many great artists are signed to them. In fact, following releases on the 4AD label - for most of their career - Cocteau Twins set up Bella Union – it wa spearheaded by Raymonde and Robin Guthrie. Dirty Three, the Australian band, were one of the earliest acts to sign up – the label features everyone from John Grant to Laura Veirs. Listening to that interview, just now, and I understand John Grant, when he first sent demos. to Raymonde, was not considered that good. He was in the band The Czars and took time to forge a sound that was approved of – I think it took nine months of back-and-forth submissions for Raymonde to fall for his charms. Raymonde has been in sole charge since 2000 and has steered and evolved one of the most reputable labels in the world. Fleet Foxes, in 2008 and 2009, remained in the charts for one-hundred weeks and had the biggest-selling independent album of the year. John Grant is a huge success story and one of the biggest name tied to Bella Union. Mercury Rev, The Low Anthem and Jambinai are a sprinkling (among a deluge) of stunning artists who have helped propel and cement the reputation of Bella Union. They won Independent Record Company of the Year in 2010, 2012; 2014 and 2016 – in 2014, John Grant was nominated for a BRIT Award; Holly Macve, the Yorkshire-born singer, was signed in 2015; Father John Misty was nominated for a BRIT – another mainstream act who is happy and proud to be with the label. In honour of twenty years of sterling service; I have collated a playlist of the Bella Union artists who have made Simon Raymonde’s stable…

IN THIS PHOTO: John Grant

SUCH an impressive one.

INTERVIEW: Sasha Brown

INTERVIEW:

 

 

Sasha Brown

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THERE are few as busy right now than Sasha Brown.

PHOTO CREDIT: @channelkish 

The singer-songwriter prepares to release her single, Parallel, on the 14th – she is busy D.J.ing at Hoxton Radio and seems to be constantly moving. She found some time to discuss her upcoming single and the story behind Parallel. I learn about her music past and how she got to this point; how influential her D.J. work is and the sort of music she is vibing to.

In addition, in a full-bodied interview, she talks about how Pete Tong discovered her music; whether she caught this year’s Glastonbury and what the approaching weeks have in store.

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

Sam! I'm good, I'm good.

Busy getting ready to release my debut single! 

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

Hey (*wave*).

I'm Sasha Brown: singer/songwriter; saxophonist; radio D.J. and presenter. 

Did you catch Glastonbury? What was your opinion? Will you be heading to any festivals this summer?

Please, don't even go there: I'm doomed against Glasto!

I can never get tickets even though I was sitting on about five devices with my mates! I caught Ed Sheeran's performance on T.V.

I've kinda been in love with his music since seeing him at Benicassim music festival at eighteen.

Parallel is your upcoming debut single. What can you reveal about the inspiration behind that track?

It's a reflection of where we're at today. I co-wrote it with these guys Joe Kearns and Jason Elliot - who are awesome.

I came into the session with this word that had been playing on my mind for a while: parallel. 

Jason was saying how the world's kinda messed up and sometimes it's hard to feel a connection when everything feels so lost. For me, there's a frustration behind the song. It's about a relationship. Two people are moving together - in the same direction - at the same speed but, for some reason, they aren't coming together.  

From the outside, everything looks perfect but it's not - there's no connection.

How much of your personal experience and romantic endeavours go into the song?

Haha, ummmmmm.

Yeah, I mean songs I write have to mean something to me or what's the point?

What I write about doesn't necessarily relate to current relationships. I like to play on the past, present and to think about the future.

It's probably better no one knows who I'm writing about - that's a lil dangerous! 

Was it quite nerve-wracking putting the song together? How does it feel releasing a debut single to the world?!

No, it feels really right, actually.

Last year, I had a featured release off Jamie Jones’ label, Hot Creations - which got quite a lot of (BBC) Radio 1 play and support from Pete Tong. That was a dream.

It was a Techno, track, though, and I'm a Pop artist – so, for the past year, I put myself into the studio with different producers to really develop and discover my sound.

Parallel feels really good and I'm getting really positive feedback. I'm excited.

 PHOTO CREDIT: @charlicohe

The song’s video was shot in Shoreditch and is quite minimal and stripped-back. How much say did you get in the concept and what was it like working on the shoot? 

So, Charli Cohen (the fashion designer) and I have been following each other on Twitter for the past couple of years. I'm very into fashion and have done some modelling in the past. After her LFW 2017 showcase, I just messaged her saying I wanted to collaborate.

I came up with a concept for the video as I could literally see it in my head. I pitched it to her and her partner, Ben Thompson, who’s an amazing videographer and director. They were on it so we got Ben's team, PXL Post, together and shot the video one weekend! 

The shoot was really good fun. I love Charli's designs and the team were all vibing so it was great! 

Of course, you have been in music a little while and gained support from the likes of Pete Tong. It seems Parallel is a softer and more evocative song than, say, Talk On (you featured alongside Nathan Barato). What was the decision behind this stylistic change?

I was a featured artist on Nathan's track. I’m not a Techno. artist, but I do love Dance music - so it was a pleasure to do!

Funny story actually: Nathan and I met in Ibiza a few years ago. My best mate and I went up to him and his friends in the club Space - cos we thought it was hilarious that their whole crew were head-to-toes in black.

We all became friends and then Nathan and I stayed in touch - as he was a producer/D.J. and I was looking for people to work with!

I sent a couple of demos to Nathan in Toronto and then had this little idea. I still remember standing in my kitchen and singing it into my iPhone. You know how they say 'shot on an iPhone'?: well, Talk On was ‘recorded on an iPhone’! 

I sent it off to Nathan who was D.J.ing with Jamie Jones at the time, and next thing I knew, the track had been cut! It was a bit mad.

I've always been in the Pop world. I grew up on Pop and it's in my blood - so it wasn't a transition; more a case of just doing it!

PHOTO CREDIT: @nastassjathompson

Is there going to be an E.P. to follow and will you mix genres/sounds on it, perhaps?

Definitely! I've got loads of music coming; stay tuned!

Come to my gig at Secret Garden Party festival - Saturday 22nd July at twelve (midday) - and you can hear it all.

Can you tell me a bit about the musicians and bands you grew up listening to? Who are the big artists that compelled you to go into music?

I just love music.

Honestly, it's the one thing that can completely change my mood. Music has always been a massive part of my life.

I grew up on Pop. My dad bought me Abba's Gold album at eight and I loved it. I started playing the sax. but couldn't read music at the time - so my teacher had to write out all the letters so I could play the album! 

I grew up on everything, to be honest. All the great singer/songwriters like Carole King, The Supremes; Gabrielle - but I also went to dance classes every weekend so listened to a lot of Hip-Hop and RnB. I’m very into artists such as Tove Lo and Sia at the moment - but I listen to different playlists on Spotify every day, so there’s a lotttt that I like.

PHOTO CREDIT: @rhona_murphy

You are a D.J. on Hoxton Radio. How influential is that work to the music you make and what is it like working on the station?

I was Head of Music at Burst Radio (Bristol Uni.) in my last year there. I love now having my show on Hoxton Radio - Mondays 12-2 P.M. (tune in: cheeky plug) cos it means that there's constantly a reason to look for new music and share that with my listeners!

I listen to different Spotify playlists every day and get sent quite a lot of music by P.R. companies for my show - so, all the sounds I'm hearing, obviously, have an effect on me as an artist.

I play a lot of remixes on my show and Dance music because my show is on a Monday and people need a little help feeling good on a Monday. Monday’s are tough so I call my show the Feel Good Show!

I’m a little obsessed with ODESZA and Zhu - and that new Camelphat and Elderbrook tune, Cola, is just, well: it’s perfect.

I love interviewing other artists and seeing what they’re up to! I interviewed Rudimental last week who are just awesome. You can just tell how much they love music and how it brings people together.

What does the rest of the year hold in terms of gigs and appearances? Where might one come and see you play?

Secret Garden Party 12 P.M., Saturday 22nd July!

I’m so excited as I’m playing the same stage as some of my favourite acts at the moment - including Mabel, Zak Abel and Bonzai!

I’m also playing Metropolis Rising at Bicester Village on Friday 28th July.

More coming - and I’ll be posting gig dates on my socials.

Are there any new artists you recommend we check out?

Astrid S! I’m obsessed.

I saw her live at Scala last month. She’s amazing. Her single, Breathe, was co-written with some of the guys working with Tove Lo - so no wonder I like her!

Also, check out Julie Bergan: she dances as well so her stage presence is ridiculous.

ALMA, Zak Abel...ahhhhh; there are too many!

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

Work really hard.

When I interviewed Grace, from Clean Bandit, I remember asking this exact question. She said “Just work really hard”; and I was like, “yeah, and have talent”; and she was like, “No, just work really fricking hard”.

Obviously, talent has a lot to do with it but hard work will always override a talented person who’s a little lazy. You have to really want it badly in this industry.

I would also say to be present everywhere and get out and meet people – cos, in my experience, people have generally worked with me after they’ve met me. You can find networking events wherever you are. Just start to build your community.

Also, get on social media. It’s not all about the stats: figure out who you’re targeting and find a way to connect and build relationships. Music is an industry based on passion and love so people just want to work with cool people - and people they think they’re going to vibe with.

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

Ah, thanks.

So, there’s this wicked little tune called France by OPAL - which I include in some of my chilled D.J. sets.

Enjoy!

_____

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FEATURE: Björk: Debut Gold and Post-Partum Progression

FEATURE:

 

Björk:

 

 

 Debut Gold and Post-Partum Progression

________

THERE are few artists who have made as big a contribution to...

The album cover for Björk's sophomore effort, Post

The album cover for Björk's sophomore effort, Post

modern music as Björk. In terms of innovation and reinvention; none match her sense of style, impact and wonder. This year (in July) it will be twenty-four years since Debut – strangely, not her debut album – was released. From the opening notes of Human Behaviour – the first track from the L.P. – you know something special is happening. The strange and bellicose percussion; the experimentation and odd sounds – all elevated by a unique and otherworldly vocal. When I first heard that album - I must have been ten at the time – it was like stepping onto another planet. Nobody like Björk had made its way to my ears: there has been nothing quite like her since. Sure, artists like Kate Bush may have inspired her vocal approach and style of songwriting – that is the only other artist I can think of. What amazes me about Debut is the sheer confidence that runs through it.

PHOTO CREDIT: Jean-Baptiste Mondino

PHOTO CREDIT: Jean-Baptiste Mondino

Produced with Nellee Hooper; it is an album that bristles with passion, storybook fantasy and intensity. Venus as a Boy is beguiling and flowing; Big Time Sensuality feverish and emphatic; There’s More to Life Than This intimate and atmospheric – the fact it was recorded at the Milk Bar toilets gave it a certain ‘gravitas’ and unusualness. There are fans/critics who think Björk made a better record but I am not so sure. Taking this position suggests everything that followed Debut was inferior but that is not the case. Post, the sophomore album, is more varied and confident than Debut but I will always hold Björk’s first album as her finest. I get sucked into the record and everything unfolding. Even then, at such a young age, the Icelandic legend was taking charge of the songwriting and ensuring as few hands as possible was in the mix. That is a lesson for songwriters in today’s market: look at what can be achieved when you assume control and create a singular listening experience. Maybe contemporary artists do not have the same vision and talent as Björk - but too many rely on other producers/writers to help them achieve their sound.

The cover to Björk's 1993 introduction, Debut

The cover to Björk's 1993 introduction, Debut

Debut is an album that, yes, has a few minor songs – One Day and The Anchor Song do not get mentioned often – but they are still fantastic tracks. The entire album makes a huge impact and shows what Björk is one of the most enduring and respected artists of the past twenty-five years. Following on from Debut was 1995’s Post. THIS is the album you’ll see on the critics’ best-of-the-best lists and always gets people talking. From its beautiful and striking cover to its brilliant videos – the promotional for It’s Oh So Quiet is especially memorable – you felt an artist growing and increasing her confidence. Not that she was lacking on Debut but, on Post, the songs were bigger, kaleidoscopic and diverse – everything from tender and child-like (Isobel) to domineering and machine-like (Army of Me). A few writers do make their way onto the album but, for the most part, it is Björk at her purest and most widescreen. There are a couple of weaker tracks but, like her debut, the sheer brilliance and quality that runs throughout compensates.

Another magnificent album that brought in new instruments, soundscapes and ideas. That is why Björk remains unique but compels so many young songwriters: those cinematic and evocative scores; the way she weaved her vocals and creates something physical and spiritual. Skewed, peculiar – yet always accessible and inviting – it meant Post gained huge critical acclaim and saw Björk elevated to the public bosom. It was another two years before Homogenic arrived. That album was a salute to her home country of Iceland – despite the fact it was recorded in Spain. Homogenic has glacial strings and lava-warm pulses: the innocence of childhood and the fears of adulthood. It is a spectacular album that does not repeat previous works.

The striking cover for Björk's 1997 album, Homogenic

The striking cover for Björk's 1997 album, Homogenic

Artists in her position could easily have replicated themselves and done something quite familiar. Homogenic retained Björk’s distinct vocals and pioneering compositions but walked into new territory. Perhaps icier and more simplistic than previous work – Björk wanted a single sound and something quite pure – it contains few sweet and Pop-like numbers. Anyone expecting bombast and big anthems would have been a little disappointed. An album dedicated to Iceland would, naturally, have some cheerier moments and optimism. That was not what Homogenic was about. Björk wanted to try something new and go back, sonically, where she started her life. It is another bold move and spectacular album that, in lesser hands, could have been a disaster. Critics were welcoming and impressed by the album. Rather than hark back to Debut and Post; they found much to admire in Homogenic. Some felt Björk would never equal and album as groundbreaking and astonishing as Homogenic. A daunting gauntlet and proclamation for an artist to hear: it did not phase Björk – she went on to create many more astonishing albums and, in many respects, did not need to top Homogenic. It is a singular creation that showed a very special side to her.

Medúlla, in 2004, was a huge success for the Icelandic star

Medúlla, in 2004, was a huge success for the Icelandic star

Later albums, Vespertine and Medúlla arrived in the early-mid-2000s and carried on that legacy of wonderment and brilliance. Those albums, more in common with Homogenic than her earlier material, gained huge plaudits from the critics. Vespertine, especially, was seen as one of the finest albums of the '00s and a mature work – from an artist able to project eccentricity and excitement without seeming undisciplined and unfocused. That balance of maturity and youth – sounding grown-up without appearing old – was a bold move from someone renowned for her captivating energy and experimentation. This phase of career - compared to the Debut-Post regency - signalled new endeavours and mood – a woman wanting to compel in silence; little need to overwhelm the senses with sound and histrionics. Not that her early albums were over-emotive and reckless – this was Björk more settled, at peace and, dare one say, better?!

Björk's 2001's, critically acclaimed album, Vespertine

Björk's 2001's, critically acclaimed album, Vespertine

That is a claim shared by many critics at the time. Vespertine shot to the top of many critical lists – some put it among the top-five albums of the decade (as it was released in 2001, these were retrospective lists). Medúlla (released in 2004) was less glacial and demure than its predecessor. It reignited some of the joy one experienced (last) on Post. Not that it was a complete return to her previous days – a way to tie some of her older sounds with new discoveries. Volta arrived in 2007 and, forged a balance between her Pop-sounding work of the '90s with her experimental music of the '00s. It was embraced by critics but some were unsure whether it was as coherent as striking as it could be - a bit messy in places and not what we would expect from someone so spectacular. Björk wanted the album to be a lot more 'up' and propulsive than her previous two albums - that need to create something fun. Almost a return to Debut and Post: Volta encapsulated that early energy and youthfulness. Perhaps those albums captured a time and were part of a 'phase' for Björk - some were not ready for a return to that sound. Regardless; tracks like Earth Intruders and The Dull Flame of Desire have a unique eccentricity that one could not help fall for.

Björk, during the promotional campaign for Volta

Björk, during the promotional campaign for Volta

If anything, her two most-recent albums – 2011’s Biophilia and 2015’s Vulnicura – pushed Björk’s music AGAIN. Biophilia composed the album as a concept – during the 2008-2011 Icelandic financial crisis. The album explores ties between nature, music and technology. It was the first ‘app. album’ and was released as a multimedia project – linking the album’s themes to musicology projects.

That was followed by educational workshops in four continents. Not only did Björk create a unique promotional campaign but was determined to educate and bring vital lessons to people. Biophilia, in parts a musical experience; in others, an educational lecture. The music contained astronomy, apocalypse and oddity. Björk created her own sound and (a record) part-spacey and detached; part-focused and human. Critics were not as hot on this album as previous but recognised Björk’s ever-continuing desire to change music and push sound to new limits. Few artists take the trouble to redesign and reinvent music. Many, who might have lost some affection for the Icelandic treasure on Biophilia, were back on board for Vulnicura. Many proclaimed it her boldest and best work in a decade: stylistically similar to Homogenic and expansive – daring and challenging as she was on her debut.

Biophilia saw Björk embrace new technologies to create her sound

Biophilia saw Björk embrace new technologies to create her sound

It has been two years since her last album but, one suspects, Björk will be back in action very soon! As you can tell from that rundown, and hear from the playlist below, she is someone constantly evolving and surprising the people. Twenty-four years from her debut release; there is a fondness and love for Björk I have not seen in other artists – that constant support and affection. In fact, it is more respect: a woman who speaks out against sexism and proves she is more than a match for any of her male peers. On that note; I have been lobbying, like many, for women to take the headline spots at our biggest festivals. It seems only natural, when Glastonbury returns in two years, Björk is considered as a headliner. Given the impact she has made on music – and the legions of musicians inspired by her – how could she not warrant a top slot?! She would put on an epic and mind-melting production that is for sure. I am surprised she was not approached this year: a Sunday night closer from Björk would have been spectacular. I wanted to concentrate on Björk’s music career – she is someone who engages in politics; is a talented author and a bit of a polymath. Whether you bond with her music or not: there is no doubting the influence and talent of Björk.

She remains of the most spectacular and intriguing talents in all of music. I am excited to see what the next few years hold and whether we will see more material. If/when that does happen; one has to ask what shape it will take? Given the way she has embraced technology – transforming her music through it – will her next album be an ultra-modern technological and digital exploration?! Perhaps she will subvert expectation and release something left-field (even more so than usual!) or return to her roots. We could see a Folk album or something entirely instrumental. Who knows with Björk – that is the great thing about her. I look at musicians one would consider ‘unique’ – in the truest and most unquestioning sense – and would put Björk alongside the likes of Kate Bush and Bob Dylan. She is THAT special – long may she continue to reign! Listening to her music is like steeping into another world. One is, at first, wary but embraced the quirkiness, evocativeness and beauty. When all is said and done it is a…

Björk's latest album, Vulnicura, arrived in 2015

Björk's latest album, Vulnicura, arrived in 2015

GREAT place to be.

INTERVIEW: Jess and the Bandits

INTERVIEW:

 

  

Jess and the Bandits

_______

FOLLOWING their acclaimed album, Here We Go Again, Jess and the Bandits…

proved they were a force to be reckoned with. The band found themselves much-demanded by BBC radio and T.V. – Jess became the first-ever Country star to be named an ambassador for a U.K. retail chain (Jess is from Texas). Jess, after a whirlwind romance, is engaged to Chris Peavey. I ask her and the band about that; what new song, Kings of Summer, is all about and how they have developed over the last year – and what sort of tour dates are afoot. In fact, their touring schedule is pretty full and impressive – make sure you catch them if you can!

I learn about the creative process and some of the albums/artists that make the guys hum; the reason behind re-releasing Here We Go Again; what Smoke and Mirrors, their latest album, contains and how the guys all got together in the beginning.

_______

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

So far, so good. Busy but great!

Kings of Summer is your new track. What can you tell us about it? How did the song come together?

Well, when creating a new album it’s important to not only write your own songs but to utilize some of the best writers in the world (in Nashville). We are very fortunate to work with the best who even pitch us songs they’ve written. Kings of Summer was one of those.

The minute we heard it we knew we had to make this the first new song people could hear from the new album. It’s fun, carefree and perfect for summer. In a world full of chaos; sometimes you need a song like this that (just) makes you smile!

How does your music general form? Do you write lyrics and music separately or at the same time?

It typically comes around the same time.

I write ideas and some basic lyrics so I know what I want to talk about - but it’s not until I sit in the writing-room with the other writers that it actually comes together.

You re-released of your album, Here We Go Again, as a Deluxe package. What was the decision behind releasing that back into the market?

We knew we had a while before we would be releasing album two - so this gave us an opportunity to give our fans some new music while continuing to promote the first album to new fans.

Smoke and Mirrors is your upcoming album. We will receive it in September. What kind of songs and themes will be on the record?

This album is full of strength.

From songs like the new single, I’m Not Going Home, to The Bullet and Sister - the reoccurring theme throughout this album is how strong we can be as individuals.

Whether that be in relationships, breakups; jobs or anything life tends to throw at us. There is a very soulful County-Gospel feel to this album - which we are so excited about.

Was it a lot easier to record than Here We Go Again or did it formulate quicker? What kind of changes and differences have you noticed between the two albums?

No.

I think every album has its own share of difficulties. They equally took just as long because I would never put out an album that wasn’t thoroughly thought through and formulated carefully.

The first album very much as a fun, Country-Rock feel. This new album, I feel, is deeper lyrically - still very fun but in a different way.

It also touches on Country-Rock but has much more of a Gospel influence this time.

Is there a particular song from the new album that sticks in the mind?

It’s hard to choose just one but Sister holds a special place in my heart.

Will you be touring to support the album? Where can we see you play?

Yes!

We are hitting the road in September and all of the dates are at our website: www.jessandthebandits.com

It is almost summer. Are you partaking in festivals? What are your plans for the summer months?

We sure are.

We are doing a few of the Country festivals and I have gone to a few myself just as a spectator - which is always nice!

This summer will consist of lots of trips between Houston and London - as well as promotion for the new album and upcoming tour.

It’s going to be busy!

Jess, you are recently engaged. Has that changed your creative dynamic and affected your music in any way?

I think, slightly.

Rather than talking about ‘What-if’ kind of love; I can actually speak from experience.

Sometimes, when writing, you have to use other people’s stories and it’s nice to use more of my own now in regards to the mushy-love-stuff.

How did you get musicians together for Smoke & Mirrors? Is it mostly American musicians or British ones in the fold?

We have a great mix on this album!

We recorded it in Nashville and London with Americans and Brits! We have our pick of some incredible talent on both sides of the pond!

Tell me how Jess and the Bandits all got together? Are you all friends from way back or did you meet one another gradually?

The band was formed after working together on a tour back in 2014.

Then, additional players have been added in - as we’ve all met around the music scene in the U.K. - especially the U.K. Country scene.

There is so much talent out there!

The guys filming for Oak Sessions back in May

The guys filming for Oak Sessions back in May

PHOTO CREDIT: Jess with Oak Sessions  

Are there any new artists you recommend we check out?

Oh my, there are tonnes!

There is a Country band called OSMR; Ashley McBryde is fantastic and a great Texas Country band called The Drugstore Gypsies (are really cool).

Jo Smith is worth a listen.

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

Jess: Stand By Your Man by Tammy Wynette

I remember listening to my grandfather playing old Country music on the radio - and this is one of the ones I remember hearing.

Anytime I hear this song - or any of the others on this album - it takes me back.

Ricci: Thriller by Michael Jackson

It was the very first record I had on C.D. I could remember listing to this as a young boy, falling asleep to it.

The songs just really resonated with me and one thing I am partial to is the production. Quincy Jones is one of the finest producers of our generation.

Dave: Michael Jackson’s Bad

It’s been with me most of my life: the best songs, musicians and artist.

Louis: The Cream of Eric Clapton

I must have listened to this a million times as a kid growing up. My mum has this record and as I started to play the guitar - this was the benchmark.

There are some amazing songs on it as well.

Steve: Night Owl by Joey Rafferty

He is a much-misunderstood and sadly-underrated singer-songwriter - and I’d even go as far to say he is my favorite singer-songwriter - which is quite a controversial thing to say because I realize there are so many good ones.

My dad also raised us listening to Rafferty.

<

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

Don’t give up… it’s such a tough industry but the only ones who actually make it are the ones that don’t stop!

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

How about the ones mentioned above…

Michael Jackson - Thriller

<

Michael Jackson - Bad

Joey Rafferty - Night Owl

Tammy Wynette - Stand By Your Man

Derek and the Dominoes - Layla

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INTERVIEW: Sharlene-Monique

INTERVIEW:

 

  

Sharlene-Monique

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NOT content with being a successful musician and songwriter…

Sharlene-Monique runs an inspirational blog, Uniquely You. Drawing from her church/Gospel background; Sharlene-Monique brings messages of self-improvement and acceptance into her songs – You is the perfect example of her uplifting brand of songwriting. Produced by her husband Chris Morris; it is a captivating number and one that looks to the future. I ask her about upcoming songs and whether there is more music approaching; how important her childhood visits to church were – and what role her faith plays in her present endeavours.

I learn more about Sharelene-Monique’s tour dates and what her fondest musical memory is; what is was like working with her husband – with some advice for songwriting newcomers.

IMAGES: Relm Photography (except where noted)

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Hi, Sharlene-Monique. How are you? How has your week been?

Hey.

I’m having a great week so far.

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

I’m a singer-songwriter, dancer; speaker and blogger.

I’m really passionate about inspiring people and encouraging them using the mediums said above.

You is your new single. Can you tell me about its origin and what inspired it?

You was written in 2014 around the time when I really began to discover my greatness. I had spent so many years prior to that feeling inadequate, from my body image to my talents. 

You is my gift to anyone who has ever felt like they weren’t good enough.

Talk to me about the video. How did the concept come together and can you tell me about the people who appear on it?

The video was produced by MsMono Productions (http://www.msmono.com) and they were excellent. We wanted to find a unique way to tell the story of the song visually - and Karla Williams (the scriptwriter) done that so well along with Rebecca Coley (the director).

Without her knowing, she showed many elements of my childhood in the video. The video features some amazing actors, in particular, Jessica Hagan and Aquila Grant - who play the same character (Jesse) at different ages.

What was it like working with producer (your husband) Chris Morris on the song?

It’s been amazing to do a project together. He is very particular and he pushes me to ensure I give my best.

He has a wide range of musical influences from Hans Zimmer to Robert Glasper - so the production to this song is quite a masterpiece in my opinion.

In addition to music, you are an inspiration speaker and blogger. How do those ‘roles’ feed into music? Is there a connection between them, would you say?

Yes.

My blog is called Be Uniquely You and it’s an inspirational and fashion blog. I very often do talks around the themes of my blog which are purpose, self-confidences and self-esteem. I love it when I get the opportunity to speak.

 IMAGE CREDIT: @rebekahsarahofficia

Be Uniquely You is your blog. It promotes self-confidence and self-love. What was the reason for setting it up?

I primarily set it up for women to be inspired to embrace all of who they are.

But, I have had men message me who enjoy the blog - so it’s for anyone who wants to see diversity celebrated.

I believe you spent a lot of your childhood/youth in church. How important is that background to your music? How much of the spiritual and religious do you apply to your music?

Yes I did and that’s a good question.

My church background plays a huge part in who I am today and the music that comes out of me. My passion to inspire and help people comes from my faith and belief in God - and the fact that, even though the people who listen to my music may not share the same faith as me - we all can connect on a human level.

We all have down days and up days. I want my music to be something all people can relate to and hopefully be impacted by in a positive way.

Is there an E.P. or album coming later this year?

Yes.

My E.P. will be out later this around October.

Can we see you touring at any point? Where can we come see you play?

My next tour date is in Glasgow on 23rd July at the Drygate.

I’ll also be at St John's Church, Hoxton on 18th August for my headline event.

What kind of music did you grow up listening to? Were you surrounded by a lot of genres and different sounds?

No.

To be honest, I listened to a lot of Gospel music growing up - and little R&B. My dad played the piano and was always learning songs for church services and concerts. I love Gospel music.

You have been involved in music for a while now. Is there a particular moment/memory that stands in the mind?

I can’t think of one particular moment.

But, as long as I can remember, I loved the stage: it honestly feels like home.

Are there any new artists you recommend we check out?

I love Cynthia Erivo, Tawiah; Shan Smile, Bianca Rose; Mariam and Yebba.

All except Yebba are U.K. artists - who have amazing talents.

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

I find this question hard and I honestly can’t pick three...sorry.

But, one would be The Miseducation of Lauryn Hill by Lauryn Hill - because it’s a vocal and lyrical work or art.

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

Figure what it is you want to say.

There are so many artists out there right now so make your music relevant and be honest. I think that’s what people connect with: your truth.

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

I Was Created for This by Tweet

____

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Hello, World!

FEATURE: The 900th: The Power of the Female Voice

FEATURE:

 

The 900th:

 

Image result for tori amos 90s

IN THIS PHOTO: Tori Amos

 

The Power of the Female Voice

_____________

 IT is not often I get to bring out my musical umbrella and give…

Image may contain: 1 person, standing and indoor

IN THIS PHOTO: Héloïse Letissier (Christine and the Queens)

it a damned good shaking. Before I bivouac said precipitation protection away; I want to pay celebration to the finest female voices around – both past and present. I do enjoy doing features with no relevance and timelessness other than the fact I fancy doing it. I have been looking at articles and debates recently questioning whether there is sexism and imbalance in the music industry. I feel very few women are provided the same opportunity as men - when it comes to exposure and attention. That seems unfair, as the list below documents, there have been some fantastic female singers – many more greats emerging at the moment. To honour some of the greatest female vocalists (past and current); I have collated a collection of stunning artists and a song that defines their talent.

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 Image result for missy elliott

Missy Elliot

[youtube https://www.youtube.com/watch?v=cjIvu7e6Wq8&w=560&h=315]

 Image result for kate bush

Kate Bush

[youtube https://www.youtube.com/watch?v=6xckBwPdo1c&w=560&h=315]

Image result for nina simone

Nina Simone

[youtube https://www.youtube.com/watch?v=eYSbUOoq4Vg&w=560&h=315]

Image result for bjork

Björk

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

Image result for julia jacklin

Julia Jacklin

[youtube https://www.youtube.com/watch?v=H8-sRdRHU3o&w=560&h=315]

Image result for carole king

Carole King

[youtube https://www.youtube.com/watch?v=BDm1xD_Kwyc&w=560&h=315]

Image result for beyonce

Beyoncé

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

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Madonna

[youtube https://www.youtube.com/watch?v=a4tD8dy9Reg&w=560&h=315]

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Aretha Franklin

[youtube https://www.youtube.com/watch?v=6FOUqQt3Kg0&w=560&h=315]

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PHOTO CREDIT: Victor De Jesus

Billie Marten

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

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Rihanna

[youtube https://www.youtube.com/watch?v=sEhy-RXkNo0&w=560&h=315]

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Joni Mitchell

[youtube https://www.youtube.com/watch?v=nAK9Pj5-QXY&w=560&h=315]

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Laura Marling

[youtube https://www.youtube.com/watch?v=tb0yCaX_xKs&w=560&h=315]

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Lauryn Hill

[youtube https://www.youtube.com/watch?v=i3_dOWYHS7I&w=560&h=315]

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Amy Winehouse

[youtube https://www.youtube.com/watch?v=TJAfLE39ZZ8&w=560&h=315]

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Stevie Nicks

[youtube https://www.youtube.com/watch?v=mrZRURcb1cM&w=560&h=315]

Image may contain: 1 person, standing, on stage, concert and night

PHOTO CREDIT: Betsy Rose Besser

Maggie Rogers

[youtube https://www.youtube.com/watch?v=PNWsW6c6t8g&w=560&h=315]

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Jorja Smith

[youtube https://www.youtube.com/watch?v=i59Klb0S1Uw&w=560&h=315]

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Patti Smith

[youtube https://www.youtube.com/watch?v=FPwOfwhpiW8&w=560&h=315]

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Mary J. Blige

[youtube https://www.youtube.com/watch?v=8XNaPX6MKlU&w=560&h=315]

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Neneh Cherry

[youtube https://www.youtube.com/watch?v=OJ9VBMBS3qE&w=560&h=315]

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Anne Clark (St. Vincent)

[youtube https://www.youtube.com/watch?v=mVAxUMuhz98&w=560&h=315]

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Florence Welch (Florence + the Machine)

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

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Laura Mvula

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

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Karen Carpenter (The Carpenters)

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

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Kelis

[youtube https://www.youtube.com/watch?v=6AwXKJoKJz4&w=560&h=315]

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Tori Amos

[youtube https://www.youtube.com/watch?v=_PDlGUdDF8Y&w=560&h=315]

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Sade

[youtube https://www.youtube.com/watch?v=_WcWHZc8s2I&w=560&h=315]

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k.d. lang

[youtube https://www.youtube.com/watch?v=oXqPjx94YMg&w=560&h=315]

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PJ Harvey

[youtube https://www.youtube.com/watch?v=lbq4G1TjKYg&w=560&h=315]

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Dolly Parton

[youtube https://www.youtube.com/watch?v=b9re90HG2dw&w=560&h=315]

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Hannah Reid (London Grammar)

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

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Annie Lennox

[youtube https://www.youtube.com/watch?v=y25stK5ymlA&w=560&h=315]

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Cat Power

[youtube https://www.youtube.com/watch?v=QT9qM99l9Yk&w=560&h=315]

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Héloïse Letissier (Christine and the Queens)

[youtube https://www.youtube.com/watch?v=ZzFYmz2lfT4&w=560&h=315]

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Emmylou Harris

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

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Alicia Keys

[youtube https://www.youtube.com/watch?v=Urdlvw0SSEc&w=560&h=315]

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Dusty Springfield

[youtube https://www.youtube.com/watch?v=DjydOI4MEIw&w=560&h=315]

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Aaliyah

[youtube https://www.youtube.com/watch?v=3NLUthL6-BU&w=560&h=315]

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Debbie Harry (Blondie)

[youtube https://www.youtube.com/watch?v=1Tko1G6XRiQ&w=560&h=315]

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Billie Holiday

[youtube https://www.youtube.com/watch?v=uYUqbnk7tCY&w=560&h=315]

INTERVIEW: Hayley McKay

INTERVIEW:

 

 

Hayley McKay

__________

DARLINGTON musician Hayley McKay is a multi-talented...

singer-songwriter who has captivated and stunned many with her incredible vocals. In 2011, McKay won a national competition that funded a scholarship to study Vocals at The British and Irish Institute of Modern Music (B.I.M.M.) in Brighton. From there she graduated to an artist development course in London with Access to Music – former alumni includes Rita Ora, Jesse Glynne and Ed Sheeran. By 2016, she had already performed in Nashville, Glastonbury and venues across the U.K. Following that (last year), she performed at Ronnie Scott’s’ and The Bedford; Islington’s 02 Academy and The Half Moon, Putney – supporting Scouting for Girls – and has performed alongside Jamie Cullum, Bryan Ferry and Seal. In 2017, there are even bigger and brighter prospects ahead. I talk to McKay about her extraordinary past and plans for this year: she discusses new single, Unspoken, before talking about what compelled her decision to get into music.

.__________

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

Busy as ever! I'm going through ideas for my second single video, and over the last weekend, I was judging an international music competition.

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

I play with a full band and we have a new music genre with a real difference - it's called Pop/Electro/Country (or P.E.C. for short).

This must be the first time I have featured an artist from Darlington. What is the music scene like and how many opportunities are there for local musicians?

The Forum Music Centre in Darlington is my second home. It's a great live music venue with rehearsal rooms and a recording studio - which are always busy with some great local talent. There are also some great open mics in Darlington.

Image may contain: 1 person, standing, tree, plant, outdoor and nature

PHOTO CREDIT: Karen McBride

Last year was a busy one for you. Glastonbury must have been something for the memory chest. What was that experience like? 

It was amazing - I opened the Toad Hall stage playing a solo acoustic set.

It was so good that I'd love to back; but this time with the band. That would really be special.

You have supported Scouting for Girls and shared the stage with Seal and Bryan Ferry. What has been your favourite memory from last year?

Funnily enough, it's getting the band together. I've always wanted my own band and now I have one.

Unspoken is your debut single. What can you tell us about the influences and the inspiration behind the song?

It's a heartfelt ballad which I really hope captures the emotion behind walking away from something you're uncertain about.

[youtube https://www.youtube.com/watch?v=9wYliyZcSr8&w=560&h=315]

The track had Pop and Country edges. What music did you grow up listening to and who were the artists you idolised?

Oh, there are so many - there was always music playing in the house and in the car. From the North-East music scene there was Lindisfarne: but I love ABBA, Whitney Houston; Barbra Streisand and Celine (Dion) for the purity of their vocals and then Kate Bush, Joni Mitchell and Stevie Nicks for their storytelling.

There have been comparisons made - from a visual aspect certainly - between you and LeAnn Rimes. Is it quite daunting receiving that sort of accolade or flattering?

It's flattering, of course.

But I'd rather be compared with someone because of my music rather than the way I look.

You are making your first steps into music. What compelled you to get into music in the first place?

Music has always been a part of my life - apparently, I used to sing in my cot! There was always music in the house and in the car. Growing up, I went to stage school and performed in musical theatre. It really seems that music is in my D.N.A. and I've never imagined doing anything else.

[youtube https://www.youtube.com/watch?v=xdDCF1KX8NU&w=560&h=315]

What plans are afoot this year? Can we expect an E.P. or album perhaps?

Yes, you can.

I'm currently working on an album - which should be ready for release in the summer.

In that sense; will you be touring at all in 2017?

I'm currently doing radio promo tours if that counts. But there will a short U.K. tour playing at some of the festivals.

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

Whitney (Houston): The Greatest Hits. (Because) I used to sing a lot of Whitney's songs as a kid and wanted to figure out how to play them. They're all on this album.

ABBA - Live. Simply because they're (just) amazing.

Bruce Springsteen - Born in the U.S.A. Because it shows why he's The Boss.

Image may contain: 1 person, closeup

PHOTO CREDIT: Karen McBride

Are there any musicians, international or local, you recommend we check out?

Oh - that's impossible: there's just too many to choose from and I'm adding to the list every day.

What advice would you provide any upcoming artists?

Collaborate with other musicians and writers.

Surround yourself with radiators and not drainers and work as hard as you can - because talent alone is never enough.

Finally, and for being a good sport, you can select any song you like (not yours as I'll include that) and I'll play it here.

Run for Home by Lindisfarne. It's my all-time favourite song.

[youtube https://www.youtube.com/watch?v=6ZNjvo1_3PE&w=560&h=315]

_____________

Follow Hayley MacKay

Official:

http://hayleymckay.co.uk/

Facebook:

https://www.facebook.com/hayleymckaymusic/

Twitter:

https://twitter.com/mckay_hayley

SoundCloud:

https://soundcloud.com/hayley_mckay

YouTube:

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

FEATURE: Kurt Cobain at Fifty: The Playlist

FEATURE:

 

Image result for nirvana  

Kurt Cobain at Fifty: The Playlist

___________

I realise it is a little bit ghoulish and pointless...

Image result for kurt cobain

celebrating the birthday of a deceased musician; but we do it to remember what they gave us – and how much inspiration they provide; even after their passing. I know I will not do the late, great Cobain full justice but wanted to pay tribute to one of the true icons of modern music. Were it not for the Nirvana frontman, it is debatable how many of today’s greatest Rock bands would exist. So many current artists take inspiration from Cobain and his songwriting: there are multiple reasons to adore the Grunge king. Not only was he one of the most compelling songwriters and impassioned vocalists of his generation: his personality was largely at-odds with the stylised, media-friendly persona many of his peers adopted. For starters, Cobain never wanted to sing: just playing guitar at the back of the room and be ignored. He missed – when the band hit the big time – blending in with people and yearned to have the adoration of John Lennon – but the anonymity of Ringo Starr with it. A complex and contractionary character that still yields fascination and legend nearly twenty-two years after his death. Nirvana’s live performances were legendary. In 1991, when the band were asked to perform over a pre-recording backing track, Cobain refused: he sang Smells Like Teen Spirit in a lower register and made a shambles of the performance. At 1992’s Reading Festival – following reports Cobain was ill after the birth of his daughter, Frances Bean – he came on stage in a wheelchair; the band barely regressed but went and nailed the gig.

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If anything, Nirvana were forefathers: Cobain, the spokesperson who was years ahead of his time. He advocated equal rights for homosexuals and better rights for women. He abhorred sexism and fought to banish racism, homophobia and sexism in all areas of society. In today’s culture, these kind of attitudes are lesser-heard and rare (among celebrities): back in the 1990s, it was almost non-existent. In addition to that, Cobain introduced the world to music that seemed to speak for them. Yes, there was teen angst, defiance and depression: it was honest music that did not hold back and did not hide behind metaphors. Baring his soul through music; many fans resonated and connected with the troubled lead. Not going into his tragic suicide, but one wonders whether it was the toil and weight of life or the fears of commercialisation – Cobain worried his music was being marketed to the wrong people and losing its authenticity – that led to his untimely demise. You just need to see the band play the famous MTV Unplugged session to know that things were almost over. Aside from the lilies, candlelight and symbolism – many thinking Cobain was playing his own funeral, in a way – the band shunned the big hits and seemed to revert to their early days – playing obscure covers and doing what they wanted to do. By 1994, Cobain had had enough of being controlled and playing the role of a musical puppet. What he left behind was a mixture of incredible words and spellbinding music. His messages of inclusion and togetherness have connected with a new generation whilst his incredible personality and unforgettable performances have gone down in legends. Most importantly, perhaps, is the phenomenal music that defined the Grunge era and forced hopeful musicians to get in the garage and follow their icon. Cobain might have struggled with life and fame but his legacy and legend cannot be understated. In that spirit, I have included the definitive Kurt Cobain songs and performances to honour what would have been his fiftieth birthday.

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Blew – Bleach (1989)

[youtube https://www.youtube.com/watch?v=7J37mp0JJCE&w=560&h=315]

About a Girl – Bleach

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

Love Buzz – Bleach

[youtube https://www.youtube.com/watch?v=ZLthJDXbq6Y&w=560&h=315]

Molly’s Lips – Incesticide (Compilation Album)

[youtube https://www.youtube.com/watch?v=f76GsOBxUg0&w=560&h=315]

Aneurysm - Incesticide

[youtube https://www.youtube.com/watch?v=QD0D7IuriWQ&w=560&h=315]

Smells Like Teen Spirit – Nevermind (1991)

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

Come As You Are - Nevermind

[youtube https://www.youtube.com/watch?v=vabnZ9-ex7o&w=560&h=315]

In Bloom - Nevermind

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

Breed – Nevermind

[youtube https://www.youtube.com/watch?v=Ee6xkwVucIE&w=560&h=315]

Polly – Nevermind

[youtube https://www.youtube.com/watch?v=k2Fr90sOxbs&w=560&h=315]

Something in the Way – Nevermind

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

Heart-Shaped Box – In Utero (1993)

[youtube https://www.youtube.com/watch?v=n6P0SitRwy8&w=560&h=315]

Rape Me – In Utero

[youtube https://www.youtube.com/watch?v=TqseYiGA0us&w=560&h=315]

Dumb – In Utero

[youtube https://www.youtube.com/watch?v=Lj3bCXViNNM&w=560&h=315]

Very Ape – In Utero

[youtube https://www.youtube.com/watch?v=91yrS5PUJBY&w=560&h=315]

Pennyroyal Tea – In Utero

[youtube https://www.youtube.com/watch?v=gb71GyLkGYc&w=560&h=315]

All Apologies – In Utero

[youtube https://www.youtube.com/watch?v=0LFVQpDKHk4&w=560&h=315]

Rape Me - Live on Nulle Part Ailleurs, Paris (1994)

[youtube https://www.youtube.com/watch?v=wt0qhMEg-Xk&w=560&h=315]

Drain You - Live In Munich (1994)

[youtube https://www.youtube.com/watch?v=yY5ov_IYaAs&w=560&h=315]

My Best Friend's Girl - Live In Munich (1994)

[youtube https://www.youtube.com/watch?v=ikkhmkAH72U&w=560&h=315]

About a Girl – MTV Unplugged in New York (1994)

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

The Man Who Sold the World – MTV Unplugged in New York

[youtube https://www.youtube.com/watch?v=fregObNcHC8&w=560&h=315]

Lake of Fire – MTV Unplugged in New York

[youtube https://www.youtube.com/watch?v=uItAH1nA990&w=560&h=315]

Where Did You Sleep Last Night – MTV Unplugged in New York

[youtube https://www.youtube.com/watch?v=gOZKz_sPM6U&w=560&h=315]

You Know You’re Right – Nirvana (2002)

[youtube https://www.youtube.com/watch?v=dNtnWbGi71s&w=560&h=315]

Silver – Live at Reading (2009, Album; 1992, Performance)

[youtube https://www.youtube.com/watch?v=0DSIJD20V28&w=560&h=315]

Lithium – Live at Reading

[youtube https://www.youtube.com/watch?v=SJLe1UTqKvA&w=560&h=315]

Negative Creep – Live at Reading

[youtube https://www.youtube.com/watch?v=C-r9tuPrZK4&w=560&h=315]

Image result for kurt cobain

Happy birthday to Mr. Cobain, wherever you lay. I can imagine he is jamming with (Jimi) Hendrix, (John) Lennon and (John) Bonham or maybe just sitting around tutting at the world! It is sad to think Kurt Cobain is not with us but we can never forget the fantastic music and inspiring legacy he has left. That word ‘legacy’ is not hyperbole or undeserved. There are few musicians that deserve such high praise, but then again, there are few like Cobain. One of those songwriters that comes around once every lifetime: will we ever see his like again?! Of course not, but that is not to sympathise. Enjoy what he left and just imagine what could have happened were things to be different. Maybe he’d still be performing: perhaps he would have run for President to topple the tyrannical Trump. It is amusing to imagine but, whilst we all do that, sit back and enjoy the great man’s incredible music.

INTERVIEW: IMAN

INTERVIEW:

 

Image may contain: 1 person, indoor

 

IMAN

___________

THERE are not many new musicians who...

Image may contain: one or more people and closeup

have penned songs for major-label-signed artists – which have gone on to sell triple-platinum. There are fewer still who have managed to balance that and created their own music. IMAN is no ordinary songwriter. The highly sought-after artist discusses her latest single, Wishing, and her route into music. Tastemakers like MOBO and The 405 have lauded previous singles Naïve and Golden and provided high kudos. These songs have accrued over 50,000 streams on SoundCloud so I was keen to see how she is adjusting after such attention. I asked IMAN what it was like writing with Ed Sheeran and touring with Rudimental; how she battles self-doubt and overcomes fears. In addition, she discusses the singers that matter most to her and what it was like working with Brett Shaw (who mixed Wishing and has worked with Lady Gaga).

____________

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

Hey! I’m good, thank you. My week has been busy with studio sessions - and rehearsals for my tour that’s about to start.

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

I’m a London-based independent recording artist. I write my songs and sometimes even direct and co-edit my own music videos. I would say that my sound has Pop, Soul; Electronic and R&B influences. My music can be heard here: www.imanmusic.co.uk

Wishing is your latest single. Can you tell us about the inspiration behind it?

It’s about a guy I was crushing on.

He had a girlfriend so I stayed well away - and I’m glad I did!

Some things just aren’t meant for you I think.

https://open.spotify.com/track/3am5yWG6Z9aIStLCTUYKFf

It is a dance-floor smash that really leaps out the gates. It was mixed by Brett Shaw who has worked with, among other people, Lady Gaga. How important was his contribution to the overall sound of the song?

The records he’s worked on says it all. He’s developed an ear that allows him to mix a record to a very high standard. I’m so glad he heard my song and was up for it.

You have written and recorded with the likes of Ed Sheeran and toured with Rudimental. What was those guys like and what has been your fondest memory from your time in music (so far)?

Ed was cool - very kind and sweet (and so were Rudimental).

My fondest memory was when I writing a song with Ed and it was such an easy, go-with-the-flow session. We ended up writing two songs and he was good company.

One of my fave memories was performing my first festival with Rudimental. I made a pact that if I ever went to a festival it was going to be one I was performing at. Not sure why I was so strict with myself but, yeah, it ended up coming true and my first festival was with them performing. I walked off BUZZING and I remember still feeling so high from it all for a good few days after. The energy was insane.

You have stated how you received rejection in the early days and were battling with yourself. Is your music now a reaction that and a sense of defiance?

Yeah, I’ve written some songs when I have felt very low about the rejection I think we all can face in the industry; but I’d always put a positive spin on it. I’m naturally an optimistic person and I’m curious about life and what’s around the corner. People have told me my voice is emotive and I think my experiences come through when I sing. I tap into emotion and I think it’s fair to say that, yes, it comes from my experiences.

Image may contain: 1 person, closeup

In those bleak moments, did you ever think you’d be where you are now?

It’s funny how you can look back and I know I often question myself thinking how and what made me just keep pushing on.

I’ve always been driven and I think one of the things that drives me the most is a fear of not having my music shared with the world the way I feel it deserves to be.

As a creative, I create in order to ultimately share it. That’s what brings me joy: connecting with people and performing these little songs that have come out of me. They weren’t made to just sit on my Mac for my ears only. That alone gives me so much drive to just power through any type of rejection - and rejection can be a good thing. I still have so much more to give and I’m proud that I kept persevering (and am where I am). I still want more, though.

You have written songs for other artists – from U.K. Germany and Australia, among other nations – and their songs have gone triple-platinum and reached gold sales standards. What is it like writing for other artists and do you feel constricted writing for someone else? Is it an experience that strengthens and evolves your own writing/songs?

Honestly, they were songs that I had written for myself which I didn’t feel were right for me. Luckily, they found a home. The times when I have written for others can be a bit restrictive, and at the same time, I guess it does help strengthen writing for myself. I say this because every time you write - no matter who for - I am effectively exercising that creative ‘muscle’. Practice makes perfect and all that!

Having been championed by the likes of Annie Mac and MistaJam; how has this kind of love and support made you feel?

I was on a Wilkinson track where I was featured and it's always great to have quality tastemakers get behind something I was part of. When you’re in the studio recording with the song you never quite know where it will end up or how it could go - so when I started hearing it on the radio the feeling was incredible. I don’t think I will ever not be excited to hear my music be broadcast on any platform. It’s so rewarding and very humbling.

Image may contain: 2 people, indoor

Your voice is rich and sensuous but has an energy and power to it. Which singers were most important you growing up and inspired who you are now?

Thank you! I enjoyed listening to Tracy Chapman and Jill Scott a lot. Lauryn Hill also. I like a vocal to have character. A big range is not so important but character in a voice always hits the spot with me.

I have asked many female/black artists whether it is harder to find opportunities in music. Do you think there is an imbalance? Do we need to work harder to make music a more equal and opportunistic space for both women and black artists?

I absolutely think there is a discrepancy in the amount of ethnic U.K. artists in the mainstream charts.

I remember being called into a label one time and the guy sat me down and proceeded to tell me how unlikely it would be that radio would play me because I’m not white. Luckily, I didn’t buy into that bullsh*t but who knows how many artists sat in his office and walked out feeling like it was the truth? There is an abundance of incredibly talented, hardworking and focused artists that have paid their dues and deserve a platform. There is space for everyone and the more artists - with great music out there that is - being supported by various platforms the better it is for the industry on a whole I think.

You have dates in London coming up in the coming months. You play Pop Revue on 7th March; ROAR on 28th March and Collage Arts on 12th April. Which date are you most looking forward to and are you performing any more dates this year?

I’m looking forward to every single one! Some will be with my full-band; others will be acoustic sets. Acoustic sets, though, do tend to be my fave – less stress and they tend to be way more intimate. My band, though: it is a vibe I can’t deny.

Image may contain: 1 person, closeup

PHOTO CREDIT: Jakub Koziel

On that same topic; can we expect an IMAN E.P. or album in 2017?

Throughout 2017, I will be releasing a series of singles and online content.  I’m focused on growing as an artist and collaborating with others. So, stay close to me and watch this space!

Which have been the three albums that have inspired you most, would you say?

Eminem – The Slim Shady LP. Still fresh to death!

Jill Scott – Who Is Jill Scott? Word and Sounds Vol. 1.  Vocally and lyrically 100% on-point - still speaks to me in every way.

Sam Sparro  - Sam Sparro . Vibes, vibes, vibes!

Are there any new acts out there you recommend we check out?

Loving RAY BLK, Loyle Carner and NAO: strong U.K. vibes all round.

What advice would you give to new musicians coming through?

Stay focused, humble. only keep positive vibes around you and always be honest with yourself.

Also, don’t bother comparing yourself to others – It’s a waste of time. Do ‘you’; stay in your lane and use every day productively.

Finally, and for being a good sport, you can pick a song (not one of yours as I’ll do that) and I’ll play it here.

Lucian (ft. Jordan Corey) – Infrared

I’m not sure I’m ever going to stop listening to this one!

[youtube https://www.youtube.com/watch?v=wRX-94CDjXQ&w=560&h=315]

__________

Follow IMAN

Image may contain: 1 person, smoking

Official:

http://imanmusic.co.uk/

Facebook:

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

Twitter:

https://twitter.com/imanmusicuk

Instagram:

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

SoundCloud:

https://soundcloud.com/imanmusic

YouTube:

https://www.youtube.com/channel/UCBX4jCX_a2DSV_DQD8kbkvg

LIVE REVIEW: Lydia Baylis/Van T/Jasmine Rodgers/Michelle O Faith at The Finsbury, London

LIVE REVIEW:

 

Image may contain: 1 person, flower and outdoor 

 

Lydia Baylis/Van T/Jasmine Rodgers/Michelle O Faith at The Finsbury, London

____________

I had been itching to get back to The Finsbury…

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ever since putting up four acts there last year – including Saints Patience and SALT. With that in mind, it was great being back in the north London bar for another night of terrific music. Special thanks go to Chris Sharpe and Lost in the Manor for not only putting it all together but allowing me another chance to stage some fine musicians. That is not to say the last event went badly – it was a fantastic night – but one, especially a non-professional journalist, is not often afforded such patronage and faith. Speaking of faith – me and my slick wordplay – I shall come to a certain ‘Michelle’ soon. The scene was very much set: a warm and near-spring-like evening was enveloping a part of London normally engulfed in a variety of different scents – it is certainly one of the most ‘vivid’ and aromatic parts of the capital. I like the area – around Finsbury Park – as it offers a slice of ‘real’ London. Earlier in the day, and marked contrast to the environs of The Finsbury, I was standing outside Harrods in Knightsbridge. There, basking in the genial warmth of the afternoon, was a multi-genre saxophonist who switched through various styles to enthral the agog collective. Many were circling and still; captivated by the music and funky sounds. By the time last night’s gig started, I had seen every side of London and the contrasts it offers. The idea behind the night was to showcase female singers only: something I have been meaning to do for a long time now - I hope I am allowed a third night because the events of last night have left an indelible smile.

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The first act of the night was someone I have been eager to meet for a while: the charming and ever-lovely Lydia Baylis. In the course of reviewing and interview, I (unfortunately) do not get a chance to meet artists face-to-face so was great to meet Lydia and her band. It is hard not to be struck and awed by her: someone incredible genial, pleasant and warm; radiant and incredibly bright too.  I would love to meet her again in the future as I was bowled over a little bit by her (and have a little music crush now). Speaking with her, she explained how new material was in-the-works and it has been a while since new stuff has come out. When she hit the stage, there was no sense of nerves or any doubts. Launching into a wonderful and passionate set; from an aesthetic viewpoint, I saw little bits of London Grammar. With the keys and percussion (drum pads and electronic beats) it was almost like watching Hannah Reid and her bandmates. In a sense, Lydia showed she had the same sort of power and beauty as Reid – albeit a lot more warmth and ability to engage with a crowd. Her beaming smile and alluring voice got the crowd uplifted and seduced from the very start. She is one of my favourite artists because you get a real sense of someone who was meant to be in music. Throughout the set, Lydia and her band ran through some wonderful material that had The Finsbury’s patrons hooked and stunned. In terms of stage presence, she managed to turn the small pulpit into her own space. A couple of her faithful followers were in attendance and offered warm applause – as did the rest of the crowd – after every number. It was great to hear Lydia in the flesh and that incredible music up-close. In terms of sound, it is hard to compare her with anyone else: it is Electro.-Pop and Soul but delivered from a very personal place. Lydia is someone I am keen to work with more in the future as she left her mark on the crowd for sure – providing a wonderful set and showing why she is one of the most promising young artists around.

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PHOTO CREDIT: Callen Jefferson

Whilst many of us only had to tackle the London Underground – Lydia coming from the Victoria area, I believe – that was not the case with Van T. The South African-based artist (Chantal Van T) had only a short time in London – making it a huge honour she played The Finsbury. Having arrived in the country early yesterday morning; she only had a short space of time to perform with her band. That ‘band’, I am not sure, they have played a lot before. Despite the short rehearsal time; it was great to hear the trio play – the set contained vocals, bass and electric guitar. It was quite a stripped-back and lo-fi compositional showcase that very much focused on Chantal’s voice. That voice, like Lydia’s, is impossible to compare and contained so many emotions and sides. Being such a young singer, many would have forgiven the South African for replicating modern Pop stars and going for something quite easy and common. Van T’s set was a striking and mesmeric as one could imagine. Chantal’s voice switched between sweet and child-like to raw and empathetic: never missing a beat and sounding completely natural at every stage. Showcasing some newer material – there will be more in the future – you got a sense of an artist that should spend a lot more time in the U.K. The Cape Town resident – her fellow band members, for the night, hailed from Germany – and provided a cosmopolitan, multi-cultural show that went down extremely well with the audience. She is soon to depart for home and really impressed the audience with her natural stage presence and warmth. Speaking with her before (and after) the set, it was clear Chantal has huge affection for London and wants to perform more here. With Cape Town being less busy and appealing for musicians; I predict Van T will be back in town in the coming months. In any case, the beautiful and powerful showcase left very few in doubt: an artist with a big future and incredible voice.

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If Jasmine Rodgers’ trip to The Finsbury was shorter and less continent-hopping; her set was no less emphatic and memorable. Armed with her acoustic guitar and ukulele: she was the only ‘solo’ artist of the night. Again, this was the first time I met her but was completely awed – you get the impression of someone falling for every female musician they meet – by her humour, personality and grace. Coming from Brixton, where there are plenty of great live spaces, it was clear Jasmine has a great bond with the city and a magnificent stage presence to go with it. Blood Red Sun, Jasmine's current album, was one of my favourite from last year; moments from it played on the north London stage. Her set featured the incredible hit Icicles and some of her finest material. In the between-song pauses, she provided jokes – that gained a respectful amount of mirth and laughter – and sounded completely at-one with the audience. Again, there were people in the venue definitely there to see her. Catching up with Jasmine before the set; she explained how new material was coming and future gigs approaching. She is a musician I have enormous respect for and is definitely one of my ‘artists to watch’ this year. There are few that have such an ability to leave a crowd silent with little more than acoustic strings. Her evocative and emotionally-rich lyrics get inside the mind whilst her stunning voice and incredible musicianship leave you wanting more. That is very much the sensation on the night: a lot of people could have listened to her play for a long time after that. Owing to the set times and limitations, Jasmine certainly left her mark and, I hope, will get a lot of people racing to hear her songs. It is rare finding a musician that has humility and affection with no ego and pretence. Jasmine is one of the most ego-less artists I have met and wins your heart with her balance of exceptional songs and charisma. I, like many in attendance, naturally gravitated to her were gripped by her set. I hope to see Jasmine at other gigs and she is someone I am eager to review again very soon. I am excited to think what is to come for her and how far she can go.

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Ending the night was Michelle O Faith and her band. Unlike Lydia, Jasmine and Van T; this set contained heavier percussion and was the most direct and hard-hitting performance of the night. Michelle is someone who delivers big and bold songs intended to get heads nodding and bodies moving. I met her (and her mother: a lovely lady) at the gig and loved finding out more about her and what she has been up to. Birthday Blues is her current E.P. and she showcased material from that collection. The title track and Lemonade were songs that got big reactions and were matched with incredible performances by everyone on that stage. Michelle herself is someone who has a personal and professional persona. In person, she is this sweet and intelligent young woman who you could listen to for hours – interesting to hear and filled with kindness and passion. On stage, she adorns a blue wig and is one of the most physical performers I have seen. Completely involved with the music and the lyrics; Michelle made great use of the intimate stage and ensured the crowd got a memorable performance. Michelle, throughout her songs, employed a lot of movement and emotions and proved she is an extremely natural and incredible performer. She and the band had a terrific kinship and produced a tight and professional set that, again, was received with warm applause and impressive whistles (the crowd was particularly energetic and supportive after every song). I know Michelle will go on performing and play larger stages so it was great hearing her play The Finsbury. Her was a headline set few will forget and ensured the February Sunday evening was ended with a bang. In listening to her, I got little hints of singers like Adele and Beyoncé. In terms of persona, physicality and command; one can draw comparisons between her and Beyoncé – there is that similar blend of sexuality and vulnerability in her music that makes me think of the U.S. legend. Let’s hope there is more material from Michelle O Faith this year as she is a terrific artist with plenty more to say. I can see her playing festivals stages in years to come: seeing her in smaller spaces like The Finsbury was a real treat.

PHOTO CREDIT: Anne Campbell

Aside from a few noisy patrons – Chris having to have a quiet word with one or two – that were a bit chatty during the songs – and blues (ambulance) lights flashing past the window every few minutes (it is north London after all) – it was a fantastic and successful night from four different and amazing acts. Each artist stood out and created an incredible and evocative performance. Whilst each had different merits and styles; they came together extraordinarily well and gelled. I know the girls were meeting each other for the first time and seemed to strike a natural and warm bond. On stage, it was great seeing this quartet of female singers perform some fantastic songs. I know 2017 will be an eventful and busy one for each of the artists and I am excited to follow them all. Thanks again to Chris and Lost in the Manor (and to my ever-faithful gig companion, Adrian) and The Finsbury for a fantastic setting last night. It is a small space but one filled with atmosphere and potential. Every performer gave an incredible show of themselves and, in turn, received a lot of love from the audience. I am keen to do this again and always love coming to The Finsbury. Until such time, and whatever form that takes; a huge thanks to the artists that came and played last night. Truly, it was a gig that will…

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NOT be forgotten in a hurry.

 

TRACK REVIEW: MissDefiant (ft. DOPEBOYLDN) - ICYMI

TRACK REVIEW:

 

MissDefiant (ft. DOPEBOYLDN)

 

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ICYMI

 

 

9.4/10

 

 

 

ICYMI is available at:

https://soundcloud.com/missdefiant/icymi-feat-dopeboyldn

GENRES:

Pop; Electro.

ORIGIN:

London, U.K.

RELEASE DATE:

27th January, 2017

____________

BEFORE I started writing music reviews…

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PHOTO CREDIT: Robb Gardner

and generally being involved in journalism, I was never a huge fan of Pop duos – modern examples anyway. What I was lacking was the sort of exposure and open-world accessibility I have now. One of the big issues was having a rather narrow, mainstream-approved, chart-driven directive that provided very little nuance, excitement and appeal. I am not bagging on chart acts but do feel so many artists are playing music to make a quick buck and satisfy the most insipid and easily-pleased demographic around – a point I raised in my last review. Before I launch into a full American Psycho-esque rampage on the ‘tween’ demographic; it is worth focusing on something less controversial and appealing. Knowing the girls from MissDefiant – I communicate with Jordan and Emily regularly – I know they are tirelessly working to get their music spread around the country. They are not your average Pop/Synth. duo but before I introduce them, I wanted to talk about image and having a team behind you; I’ll look at Pop and Electro. sounds – and how needed they are as the days are growing longer – and songwriting that subverts expectations and predefined predilections – looking at London and the more vibrant part of its music and sort of smaller venues that are being favoured. Right; to that first point. There is a long-standing issue in modern music not just reserved to Pop. Too many young artists are being crafted and dictated to: usually by a group of record label men who have very distinct ideas on how they should sing/dress/speak. We are in an age where certain sections of music/society are reverting to prehistoric times. In fact, back in the ‘60s and ‘70s there was not quite the same level of dictatorial control and fabricated plastic as there is now. Not all Pop/chart acts are culpable. Invariably, when one makes their way to a record label; said label will manufacture them a certain way to appeal to their ethos and the sort of people they market to.

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PHOTO CREDIT: Amy Spanos Photography

Whether you see this practice as an inadmissible sin or not that is for you. I, myself, am very reluctant to throw my weight before artists who are puppeteered and made to dangle like marionettes. Fortunately, when it comes to MissDefiant; they have do not fall into this trap. Maybe marketing men and record labels are not that avuncular to fresh musicians but they should show more respect. The girls of MissDefiant have an experienced team and producers behind them but take full control of their lyrics, music and attire. They have struck the perfect balance between management/professional guidance and freedom to grow and work. Mike Tournier, as shall be revealed in the duo’s biography brings thirty years of experience and acclaim to the MissDefiant camp. He has worked with the likes of Fluke and Syntax so knows his way around Electro.-Pop. The man lends his expertise and production talents to a twosome but provides musical direction and does not impose his will on them. MissDefiant are not girls who have to dance to the beat of the record label drums. They are an example of a strong and defiant - as their name suggests - duo who have that professional patronage but are left to their own devices. As such, and something I wanted to highlight, they bring much more personality and reality to their music. Not that I am pepper-spraying every Pop act out there but how many, aside from the mainstream established and older legends, do you feel is being true and themselves? I know a couple of upcoming females like Dua Lipa and Liv Dawson are promising great music but one wonders, in the case of Lipa especially, whether her overt/sexual songs and fiery themes are less her own proclivity and more the will and testament of her label – the feeling these kinds of songs shift units and get stations (Radio 1 especially) drooling and eager.

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I am not a prude not someone who actively campaigns against sexism and over-sexualisation in music but I am seeing too many young artists, not exploited, but resorting to the lowest-common-denominator for inspiration. I love Dua Lipa’s voice but feel her subject matter and videos leave little to the imagination. Not only does she seem to have a, sadly, limited shelf life – so many like her around and have come before – but her sonic and emotional spectrum is not broad enough to appeal to a wide enough demographic. I am sure the Londoner has her say and feelings but you just have that niggling suspicions every video, song and line is meticulously penned and transcribed from The Big Book of Pop Clichés. I am being harsh because I have respect for her but I know her upcoming eponymous album will get the same reaction: mostly three-star reviews (Pop magazines and ‘her market’ likely to show a higher bias) and commentators applauding her spirit and passion but bemoaning the lack of originality and soul. Apologies for wandering away from the tourist trail and exploring a vivid back-alley but it is something that grinds my gears. Aghast at the manufactured, depression trudge of high heels, sybaritic songbooks and careers – as soon as they started – requiring palliative care; it is refreshing discovering Pop artists who have maturity, youthfulness and wisdom. MissDefiant’s two have modelling experience between them and a real eye for colour, fashion and flavour. One word that perfectly sums MissDefiant up is cocktail. In fact, pick-‘n-‘mix might be more suitable. You see photos are entranced by a rainbow of summer flavours and topical-candy sweetness. There are bold pinks and pastel greens flirting with faux-island pines and red-striped lollypops; edgier, street-set shoots and dreamy backdrops. Both girls are beautiful and striking but the emphasis is never put on their looks and sex appeal. What they do, from the image side of things is perfectly distill their essence through the lens: bright and imaginative songs that convey a sense of intelligence and importance.

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PHOTO CREDIT: Robb Gardner

The girls never fetishise Pop music or send blood to the wrong part of the body. What you get from them is a bright and neon set of images and the impression of two young women who are mature and smart but want to have fun and not make things too heavy-going. This reflects in their lyrics which are among the most thought-provoking I have heard from a Pop act in a while. Again, not stereotyping their contemporaries but it is hard finding a lot of depth and variation in the ranks. Occasionally, one will hear forays away from love but that is a rarity. MissDefiant have looked at relationships and the sensations one feels but it is not their staple. What you get are girls who look further out in the world and address important themes. Previous songs have looked at not being defined and taken advantage of. MissDefiant have cast their thought in the club culture and looked (aghast) at drink-spiking and the seediness one witnesses. These are not sides of music/society one often hears. I am being more and more drawn to artists that have something new and important to say; talking about things we all need to know more about and stepping away from easy avenues. This serious and wise approach to lyrics, tied with their images and fun nature, makes the girls an exciting and wonderful proposition. They are always keen to engage with their fans and do not distance themselves. You get regular news about gigs and bright, variegated photo-shoots; videos and tidbits from the girls that keep everyone in the loop and informed. I have often mentioned the importance of keeping your social media updated and full – people will not hang around if they are bare and sullen. MissDefiant have a glossy and attractive homepage and insinuate themselves in social media: their supporters are treated to a close relationship and connection with the girls. Before I come to my next point, I will introduce MissDefiant to you:

“Since launching in April of 2015 MissDefiant have created an online storm around their catchy music, fun content and engaging social media posts. Jordan and Emily's background in music, dance, acting and modelling means that they deliver effortless performances and current, edgy music. Mike Tournier brings almost 30 years of experience in the music industry to the MissDefiant team having been instrumental in former bands Fluke and Syntax. Over the past year they have created a catalogue of tracks, many of which have been released as singles, along with two full albums ready to release this year. MissDefiant will be releasing their debut album in the studio this year along with a b-side of acoustics and remixes. Coming May 2017 along with an album launch party headline show at The Borderline in London on 6th May. The girls popularity on social media has led to them collaborating online with MAC Cosmetics and many other clothing and cosmetic brands. Last year they performed at KOKO in Camden supporting LMFAO's Redfoo & The Party Rock Crew. They recently headlined at The Hoxton Square Bar and Kitchen for their ICYMI single launch party and have performed at many other prestigious venues across London”.

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I’ll come to the prospect of London music this summer and the cool venues about. What I wanted to look at was the changing days and the season we are approaching. I have noticed the days are getting longer and it is sunnier than a few weeks ago. People are responding to the changing climate and becoming more optimistic about things. The world around us – in terms of politics and our governments – is becoming more ridiculous and unstable as time progresses but the population are starting to revel in the sunnier mood and meteorological clemency. It seems like this is the time of year to get out the spring clothes and head to the city. I yearn to spend as much time in London as I can: underneath the shade of Hyde Park trees and basking in the rush, smells and conversational snippets of Westminster; the exuberant pace of Piccadilly and the quirkiness and cool of Camden. Everything is heightened and better defined when the weather is warmer and more agreeable. For that reason, accompanying me – and many other people around – will be an appropriate soundtrack. The MissDefiant girls have that already-honed summer-ready wardrobe. I have been checking their Facebook page and see new shoots where they are daubed in beach-seeking garb and projecting a mood of serotonin and warming rays. I feel we are entering a more positive part of 2017 that will see warm days and longer nights make big changes. Music is reacting to this and I’m seeing a lot of Pop and Electro. artists provide big, anthemic tracks. If the girls’ latest track, ICYMI – its initials make me think of the The Spice Girls’ Spice Up Your Life and the chorus refrain of “Hai Si Ja/Hold tight!” – is not as electric and rousing as some of their earlier material, they bring plenty of energy and spirit to the music.

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With that, one hears profundity and originality: assets that are not often heard in modern Pop music. What I love about MissDefiant is the fact they energise and motivate the listener without coming across shallow or lacking necessary depth. Every track has a complexity and richness running right through it – aided by their decades-experienced producer and excellent songwriting. You get feel and heart with the girls but enormous physicality and candescent spirit. They are one of the most vivacious and striking duos in the modern U.K. scene and primed for something quite big. I have a lot of respect for acts who want to take the mood down and focus on something more ‘dignified’ and soft – emotional and filled with introspection. The trouble is, that is suited for a very particular time and space. Right now, there is a need to fill music with inventive, engaging music that compels you to get up and move. When the sun gets hotter and the country morphs into summer, it will be festival-season and a great chance to lose your senses and have fun. I am not sure whether the girls have any festival dates but can see them sliding neatly into the festival rotation. There are many (inferior) like-minded acts who get big attention so why should they miss out? Perhaps they are looking at more intimate dates but have already built up a loyal and passionate following.

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PHOTO CREDIT: @willcrosthwait

I often go on about London and its virtues but have missed it the last two reviews. I am now back in the capital and ready to reinvestigate London and its merits. I have mentioned the summer vibes and warmer temperatures: London seems like the perfect place to ensconce one’s self in and enjoy all it has to offer. We will see more people flock and things really open up. MissDefiant launched ICYM at The Hoxton Square Bar and Kitchen recently. That ultra-trendy hang-out is one of the most desirable bars of the N1 postcode and has seen many acts perform there. I know Jordan Cather and Emily Rose Adams will be playing The Borderline on 6th May (three days before my birthday: just in case…) and have a chance to shine in that courtyard-appointed, intimate venue. It is one of the most upcoming and impressive small venues in the centre of London and a great chance for MissDefiant to shine. They have already played KOKO, but when you really look at, just how many wonderful venues are there in London? I know the likes of Fabric have suffered near-closure and council-mandated affidavit but that is a rare case. Sure, there are likely to be healthy and safety issues and the occasional tragedy at music venues. Being such busy and unpatrolled spaces will see the odd rogue element slip through and bring the reputation of the area down. It extends right through society but shall not (negatively) reflect London’s music scene.

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PHOTO CREDIT: Brend Trend Photography

There is such a world of fantastic venues that provide new musicians an essential platform. Were we to lose these spaces, it threatens to derail the modern music industry as we know it. That may seem all doom-and-gloom but was not meant to be. Happily, London, and many other areas, continue to thrive and grow. Even in East London, there are so many spots and places a hungry musician can perform. The girls are releasing their debut album in a couple of months – I shall come to that later – and coincided with, one hopes, a consistent spell of warm weather and universal high spirits. Maybe MissDefiant already have an album release mini-tour planned and ideas but I would be excited to see where they head. I often say this about anyone I am reviewing: there is a demand across the country and further afield. Again, the girls might have played around the nation but they are busy cementing their name in London. That could well be a career-long goal considering the number of people and other performers around. I can envisage them taking their music up the U.K. and enjoying some wonderful dates. Nobody would begrudge them ambition and their music fully warrants it. Let’s hope the duo think big and push themselves as far as they can. I know they will keep recording music throughout this year and hardly take a pause. London is a wonderful city for any artists and perfect place to be inspired. There are a lot of other musicians around so it can be challenging pushing ahead of the competition. Despite the struggle and suffocation many experience; there is a community spirit and collaborative kinship that makes London far less repressive and frightening than you’d imagine. Therefore, MissDefiant should charge themselves up and prepare a fresh assault on the capital: get their fantastic music out to the people and revel in the warmth and spirit of the city.

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ICYMI is the latest single from MissDefiant and shows new meaning and bravery from the girls. In the past, they have embraced ‘less commercial’ themes with their lyrics and explored societal issues and that which strays away from romance and relationships. It is not often you see any act doing something original and writing about subjects that inspire you to think rather than talk about the self. Of course, the girls have written about love and relations but do not make it their staple. Innocent and Robot are two of their early songs and showed promise when they arrived. What I feel, that differs between then and now, is the confidence the girls show in themselves. There were some early moments when there was a bit of vocal processing and not quite the same strident acclaim and passion you hear now. Maybe nerves or a feeling of settling in: I love Robot but feel the sound/song could have fit into the modern-day charts. As they progressed and arrived at songs like 133T and Ear Candy, you can hear that leap of faith and ability in their music. Starting to reach out to other artists – both songs had remixes by Humbridger – there was more originality and the sound of a duo not concentrating on radio play and charts – pushing the boundaries and standing aside from their peers. Now, MissDefiant have a commercial edge but sound much more engaging, essential and raw than most similar acts out there. This is defining and highlighted in ICYMI. It is going to be a good future for the duo. They have that songwriting ability and conscientious mindset. Their tracks are never going to be trivial or cliché: I am excited to see what they come up with next and how far they can take their music. I would not be surprised were there an E.P. very soon or plans for something similar. The fact they collaborate with DOPEBOYLDN on their latest track shows they are willing to reach out to other artists and step into other genres.

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Coming to the song and question; it doesn’t take long before the track springs to life. One of the key things about the song is how short it is. The whole thing is done with in eighty seconds. Many would look at the running time and assume the song is going to be a throwaway or forgettable thing. You have artists willing to stretch songs and not think about economy or the interest of the listener. Here, there is no time for pleasant introductions and pauses. There is a chuckle, albeit a little chilled, as they announce themselves – stepping to the microphone as a Hip-Hop/Grime swirl gets the song underway. The beats are firm and fast but never too dangerous or overwhelming. The same can be said of the electronics which tee up the vocals without washing over the song with force. The girls let it be known – to the hero or chancer – they are “never going to kiss this”. Those who have been in troubled relationships have often had to settle for someone they didn’t want or forced into things they didn’t want to do. That is what I mentioned about MissDefiant earlier on: they can write about love but always ensure it is provided an inspiration and strong stance. ICYMI delivers its messages with potency and energy. You do not have time to settle into the track; the beats stay firm as the vocals stand up-top and proud. Again, and something the girls do perfectly, is blend maturity and intelligence with youthful slang and terminology. They never push away a demographic not pander to them. Because of that, you get snippets and quotations that could emanate from the tongues of teenage girls – making ICYMI appealing to them as it listeners like me. The boy is going to regret being who he is and doing things the way he is. Maybe a little too controlling or coercing; you sense a situation that needs to find resolution. Perhaps too much aggression has been shown with the guy calling all the shots. Whatever the origins behind the words, you sense MissDefiant are not only speaking for themselves but a whole generation and sector.

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PHOTO CREDIT: Michaela Efford Photography

They have been in the situation where they’ve struggled and found themselves with losers – I am guessing but apologies if not! In any case, they are echoing a message that needs to be delivered: get out of a relationship that is causing strains and pain. ICYMI means “in case you missed this” and is a mantra repeated to great effect. The girls tease the guy and let it be known what he is missing. Maybe there is a sense of cat-and-mouse where they are luring him in and spitting him out but one feels that attitude is deserved. Sure, the girls are giving short shrift to the guy but never sticking the boot in and being needlessly cruel. They have gone through a harsh relationship and experienced a lot of regret so only right they are striking out. I guess the song is a general representation (of the) kind of man that crawls the club dancefloors and sleazily chats women up – showing no respect or regard for them at all. MissDefiant, as their name suggests, are never in the mood to tolerate that kind of thing. Instead, they deliver a short and sharp anthem that has plenty of catchiness, swing and confidence. The beats and electronics add to the foreground but never get in the way. Perhaps emphasising the beats would have given the lyrics more gravitas and bite – upped the game and really made them shine and roar. That is a minor quibble for a song that has a huge amount of pluses. Before I get to that; one cannot overlook DOPEBOYLDN and his contribution. Just as the girls have said all they have; the microphone is handed to DOPEBOYLDN. His part lasts about twenty seconds but is fast and flowing. There is that huge command and ability from the singer: you are treated to a new side of the story and a different kind of performer. The girls shone with their mixture of Pop and Eletcro. but DOPEBOYLDN brings some Hip-Hop/Rap spark to it and lays down his lyrics. There is mention of Cinderella and bringing a new twist to the game.

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Being an advocate and spokesperson who raises awareness of these kind of issues (bad boys and shallow, regretful relationships) you get the sense of a man who is speaking out against it and, as he says, “not reaching for a misfit”. In a sense, he is playing a character in the song and playing the ‘guy’ role to MissDefiant’s ‘girl’. It is a counterpoint and reactionary vocal that definitely leaves it mark. It would have been nice to hear more from him and extend the song out a little more. What MissDefiant do is present a song that is brief but definitely stays in the mind. It is a powerful and fast-hitting track that says what it needs to say and definitely never outstays its welcome. It is great hearing DOPEBOYLDN and has introduced me to someone I want to hear a lot more from. He is someone always eager to use his talent to address subjects most do not. In essence, ICYMI is the antithesis against those songs that celebrate club culture and a cheap kind of satisfaction. It follows a course from the girls that is sure to continue in the future. In such a short space of time, they cover a lot of ground and, as is befitting of the story, leave the audience hungry for more. I wonder whether the song will find its way onto their album. Wherever it lands, ICYMI is another stunning song from the duo and proof they can affect in the space of eighty seconds or over a longer song – not many artists are able to do that.

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I have spent a lot of time talking about the girls and how they fit into the music scene; what they have to offer and why they stand apart. I shall come back to that, briefly, in a minute but shall forecast the next few months for them. They have already played a lot of cool venues around London but have The Borderline to look forward to in May. Last year, in how-bad-could-it-possibly-get scenarios was like being stuck in a Fiat Cinquecento with Donald Trump, Katie Hopkins and Piers Morgan and breaking down on the side of the road only to be informed there is no phone signal and the opportunities for suicide are incredibly limited – and discovering Azealia Banks has just broken down beside you and is a particular crabby mood. It a gigantic bull-munch of a year that could have swayed priests from a vow of celibacy to just rip off their robes and move into Amsterdam’s Red Light District. Aside from my hysteria hyperbole; it is clear 2016 left some rather indent impressions on the international psyche. One would imagine this year is a vast improvement but, naturally, one cannot have that sort of assurance. I know MissDefiant are capable of banishing political blues and giving us all something rich, warming and hugely exciting. They have their album coming up which will be a pivotal moment in their career. Until now, the duo have released singles and promoted them accordingly. Now, they put together an L.P. and their first fully-fledged representation of MissDefiant. I am not sure what the age-mix will be on the album. Whether they are putting together their previous singles with new or doing all-new compositions; maybe a couple of cover versions in there? What it is called, and what will be contained therein, is going to be a big deal. With each new song, the girls seem to resonate with new audiences and build their army. After the album is released, they will be looking to get songs played on radio and reach new audiences. I know there are plenty of good London radio stations that will spin their album and international options open to them.

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The biggest challenge facing the girls will be what happens after the album. It seems like everything they have worked for has led to this moment. I know they will release an accompanying collection of B-side acoustic tracks and remixes. Not only does that show they have confidence in the material but are eager to see their songs reworked and reinvented: seeing what other D.J.s/producers come up with. The debut album is a very nervous and exciting prospect. It will go really well for the girls but once the dust has settled and the buzz starts to die down; where do they head and what course do they take? With that remixes/acoustic numbers B-side album, there is plenty of MissDefiant music to wet the appetites. ICYMI sees DOPEBOYLDN (a lot of upper-case confidence!) fuse together in an electric and buzzing track. They have always presented that fusion of upbeat-energised and something quite tropical and traditionally Pop. Brimming, rousing melodies and big choruses have worked alongside confident vocals and detailed instrumentation. Their latest single, plus its remixes, is a bit more street-wise and crosses into genres like Rap and Urban. The girls are never likely to sit still and take their Electro.-Pop energy and desires into new realms. Many stepping into this territory might sound nervous and unsure: the duo are completely assured and natural throughout. The girls’ empowering lyrics, something I shall spend more time looking at soon, investigates lust, love and betrayal but is never too vitriolic, dour and angered. There is a mature vein accommodating red-bloodied direction and one of the most memorable songs they have ever crafted. DJ Escence and producer Humbringer have brought their talents and visions to remixes and ensured the song not only appeals to fans of Pop and Urban but reaches the club crowds – a song that translates well in closed-off, sweaty dancefloors and beach tavernas and tropical climbs alike. What shimmers and resonates within ICYMI is its personalised, motifs and nuances. DOPEBOYLDN is a subversive gay rapper who challenges masculine constructs and decries the hetero-normative paradigm of Hip-Hop and Rap – often its players boastfully emasculate and produce sexist, homophobic ideals.

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PHOTO CREDIT: @robgardnerphotography

He brings his stirring and commanding talent to the track but always keeps things uplifting and hopeful. East Sussex native Adams and Plymouth-raised Cather have that sisterly bond and have descended from different backgrounds – Adams, a soprano who moves to London at sixteen; Cather, a model who has acted in operas and musical theatre; a dancer who has performed with Charli XCX and Years & Years. ICYMI is as strong and powerful a statement as they have ever put out which does not surprise me. There is a lot of confidence in the duo right now. They have survived that all-important first couple of years when it is a struggle maintaining popularity. The girls have over eighteen-thousand followers on Twitter and twenty-two-thousand on Instagram. Those numbers are not the result of sensationalist posts and celebrity status: meaningless and shallow definitions that have very little bearing on the real world. The duo have gained such a following because of their incredibly consistent music and loveable personalities. They are always eager to connect with their fans, onstage or on social media, whilst maintaining a professional façade and exceptional creative variety. As their latest single shows, they are not afraid to collaborator with strong artists and take their music into new realms. I could have forgiven any hesitation with regards cross-pollination: many artists get settled in a genre and do not want to risk alienating their audience. MissDefiant are synonymous with socially-aware lyrics and stunning performances: in that sense, they are not limited to genres and have that freedom to move around and collaborate. I would love to see more of that happening in the future as they pair very well with DOPEBOYLDN.

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I’ll end this thing by coming back to the earlier points of London/spring and the contrasts within the Pop market; a little bit about over-sexualisation and creative coercion and how MissDefiant are leading a purer and more inspiring charge. Let’s go back to London and the coming months shall we? I see the capital being thrust into the limelight as the festivals start to kick off. I can already sense a change in the air. When I was on way to north London yesterday I was struck by the unusually cheery mood of the locals. The sun was barely out but the warm temperature and smell of spring was enough to rouse the stoniest into some sort of smile. It is always a struggle getting through winter and really having the energy to get excited and optimistic. MissDefiant are just the tonic one needs to get the spring kick-started and the celebrations underway. We are hearing announcements for festivals this year which always gets me thinking about Cather and Adams. I can well picture them commanding one of the largest stages in the country and playing out to thousands of fans. Right now, they have a lot of gigs around London but they tend to be smaller locations. Whether they prefer a more intimate space or yearn for an outdoors, large-capacity setting I am not sure. What I do know is the girls seem very much at home in London; they have a great fanbase and are starting to get the attention of the tastemakers and local radio. Not too long, one would hope, before they get national radio play and conquer international waters. The reason MissDefiant are so cherished is because they have that envious balance of professional support and artistic freedom. They are not, as I speculated about many modern Pop stars, under the thumb of stylists, labels and sweaty businessmen: the best way to get the music out to the masses is through sexualisation, empty and direct music that appeals to the base senses – requires little attention span and imagination. I am not against women/men using their looks and bodies to promote their music – some of the greatest music videos ever have employed sex and suggestion as a weapon – but there is too much of it in music.

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I am saddened about the contrasting diatribes where we hear women (and men, rightly) stating how there is an inequality in music: fewer chances for female professionals and that age-old male instinct to reduce women to their sexuality and beauty – rather than focus on what they are saying and how they think. On the other side, there are a lot of young artists (men too) who are not helping this issue of objectification. We are not going to progress music and society is we celebrate sexuality so pointlessly and promulgate something lurid and cheap – when we are fighting for better rights (for women) and a more rounded and educated scene. This debate is best reserved for another time but it all comes back round to MissDefiant who not only oppose the chart-based artists who are being controlled by marketing forces but rebel against attitudes in their music. The duo have fantastic production values and professional support but that influence only extends to production and songwriting. They are not told what to say and certainly not forced to use their bodies and sexuality to sell music. In fact, the girls have used their music to address issues like this in music and inspire people to be wary of the more sworded and depressing side of things. I’ll leave it there only to say MissDefiant, in so many ways, are the antithesis of the modern Pop scene. Much more fulfilling, talented and deep than a lot of their peers; on that basis alone, they warrant prolonged success and attention. ICYMI is another insight into their album and, in my mind, their most interesting and bold tracks yet. They do not often join with other artists so this marks a new stage – or perhaps a lovely one-off – where they are willing to bring collaborators in to help spread an important message. That message is never couched in a stern and humourless cocoon. You get a reliable mix of soda-fizz Pop spirit and pulsating, raw-boned beats together with DOPEBOYLDN’s authoritative street sounds and poetic, intelligent interjection. On paper, the artists seem rather ill-suited and different but come together completely naturally. It is that kind of quality and confidence that will go into MissDefiant’s May-released album. A treasure of a duo who are in incredible form right now. With the sun peaking its head and the world starting to smile a lot more; it is just about the right time for…

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PHOTO CREDIT: Anna Urik

MISSDEFIANT to embark on a noble charge.

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Follow MissDefiant

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PHOTO CREDIT: Michaela Efford Photography

Official:

https://www.missdefiant.com/

Facebook:

https://www.facebook.com/MissDefiant/

Twitter:

https://twitter.com/MissDefiant

Instagram:

https://www.instagram.com/MissDefiantOfficial/

YouTube:

https://www.youtube.com/MissDefiant

SoundCloud:

https://soundcloud.com/missdefiant

TRACK REVIEW: James Holt - Whispers

TRACK REVIEW:

 

James Holt

 

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Whispers

 

 

9.6/10

 

 

 

Whispers is available at:

https://soundcloud.com/jamesholtmusic/whispers

GENRE:

Singer-Songwriter; Alternative-Rock

ORIGIN:

Manchester, U.K.

RELEASE DATE:

2016

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THIS is the second time I am writing this review…

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owing to a monumental I.T. issue today. Suffice to say, this draft might not be as impressive and urbane but that is no disservice to my featured artist. I shall come to him soon but before I get there I want to look at gender in music and the sort of sounds being favoured in 2017; the bands and acts from Manchester that will be making big waves in the coming months. In addition to that, I will be looking at the importance of patronage and getting those big reviews; how education and exceptional musicianship can lead to a prosperous career and the trends and movements that are ensuring this year in music is an exciting one. Before all of that, I want to look at gender and why I am bringing it up. I have stated, in previous reviews, how the girls have been making the biggest impressions over the past year. It might be an ambiguous and overly-simplistic term but one I feel is correct. If you consider the best and album from last year – from Beyoncé, Solange and others – you can hear more invention, endeavour and power than their male peers. Again, I might be all-sweeping but I left 2016 optimistic this year would be a brighter and happy one – simply because the female genres were exploring new territory and providing a consistency I had not heard in many years. With new releases from Jesca Hoop and Laura Marling out or on the horizon; I am pretty convicted my theory will flesh-out and be proven very soon. That is not saying the boys have anything to worry about. We can go on for ages about how few women are afforded the same opportunities as men; how their employment chances and pay will be less – the way they are objectified and reduced to their physical assets in a lot of cases. That is a thorny issue I have explored before so shall not labour it here.

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What I wanted to bring up was how incredible last year was for music. That was the case, in no smart part, because of the singer-songwriters emerging. I was a bit cold with the bands of 2016 but have faith this year will rectify that imbalance. I have mentioned the likes of Laura Marling but if you take a sniff of the ripest and more pleasant-scented songwriters showing their stuff – there is so much depth, range and quality. I have banged-on about – the same way a dictator would take to the stand and scream a message of propaganda to the deluded masses – how Billie Marten is someone to keep your eyes on. Again, like my sexism point, I will keep it brief: she is likely to take big strides very soon and fully ascend and assimilate into the mainstream. She is among a crop of hungry young singer-songwriters doing something different and exceptional. One of the issues I have with some male artists – as opposed their female peers – is the level of interest and personality you find in their music. As I type this, rather opportunely, Marling’s latest song, Wild Fire, has just come on the radio. It demonstrates what I mean about female-made music. The lyrics shimmer with evocativeness, scenery and story; the vocal swoons, strikes and speculates whilst the guitars weave fascinating tapestry and capture the heart. I am not down on male singer-songwriter but have found too many are focused on the heart and loins: a limited songbook and few willing to push the envelope and take appropriate risks. That is all well and good if you do not want to remain in the industry but, I am guessing here, many will want a viable and sturdy career. If you are a Folk/Pop act, you do not have to follow the herds and write something insanely marketable and digestible. I feel too many artists are not taking chances and suffering as a result. James Blake, for example, is someone who can talk about relationships and love but do so with new perspective and ideas. His Electronic compositions and intoxicating, velvet-smooth voice are sensational. Turning this seeming funeral wake into a birthday celebration: it is appropriate I shine the light on James Holt. He is a young man who should not be scared at this point in the review. The reason I have mentioned the above points is because he does not fit in. In fact, he is one of those songwriters given the guys a good name and highlighting what a wealth of exceptional music there is.

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PHOTO CREDIT: Projoe Photography

I shall highlight the reasons how he has got where he is – and why he is so good – in a later section, but for now, time to meet the man himself:

“James Holt is a singer/songwriter from Manchester and, with his unique alternative rock sound, is receiving attention and praise from music industry giants and the listening public alike. 

James’ song 'Whatever Happened to John?' was chosen by Brian Eno. Brian Eno, a world-renowned producer, said of the track: "Brisk, funny, exciting. Great drumming. This track feels fresh and exciting to listen to". James is particularly pleased because he recorded and produced the song himself. Brian Eno chose the song via the NOISE Festival 2014.

Music has been his life from a very early age. He is a classically trained pianist (since 6), guitarist (since 9) and cellist (since 12), and also has grade 8 theory. He achieved four grade 8s and then went onto graduate from the University of Salford with a First Class BA Honours Degree in Music, majoring in composition and arrangement. He is now studying for a MA in Music Composition at Salford University. He was also awarded the Derek Scott Composition Award at his graduation ceremony.

James has a love of composing and arranging and a desire to write lyrical songs in many styles. He records, writes and produces all his own music and is inspired by The Beatles, Bob Dylan, Tame Impala, Radiohead, Miles Davies and Bill Evans.

He has recently had radio plays on BBC Manchester 'Introducing' (also going in for a live session) and BBC Lancashire 'Introducing', Mike Sweeney BBC Manchester, BBC Radio 6, FAB Radio International, Allfm, student radio, local radio and has also been featured on 'Fresh On the Net'. He has been featured twice on 'Never Enough Notes' and has been spotlighted in the Unsigned Guide and the Manchester Evening News.

James performs regularly at venues and festivals in towns and cities across the UK including Manchester, Liverpool, Leicestershire and Bolton, and he is keen to expand and experiment further musically and is back in the studio writing and recording”.

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I will return to the singer-songwriter/gender debate in the conclusion but wanted to look at one of the most underrated cities for music in the world, Manchester. Many would say the northern city has got a lot of praise and attention over the years. After all, consider The Stone Roses, The Smiths and Oasis. Put Joy Division near there and The Chemical Brothers. The trouble is, that was all in the past. Sure, during the rise of Oasis and The Smiths, many were focusing on Manchester and how strong its music was. There has not really been a huge movement coming out of Manchester – not in the same way, there was in the 1980s and ‘90s. A lot of focus is on London which is causing many musicians to move there – fearful they will be overlooked otherwise. I love Manchester, despite the fact I am yet to visit. I have always been intrigued by the tautologically-named Northern Quarter – it is Manchester: just how much more northern can you get?! – and what it represents. It is quite a trendy and cosmopolitan area but, to me, seems like a natural home for future glory. It seems perfectly set-up to accommodate musicians and what they need. Cheaper rents and plenty of great little spaces; a willing and welcoming community and perfect streets/sights to inspire the mind. It is not surprising the city has influenced a lot of wonderful musicians the past couple of years. We all know Blossoms were the big band out of Manchester (Stockport actually) mooted for big things. I found their debut album a little too formulaic and unexciting. Too many carefully-planned and overly-precise songs without the necessary looseness and energy you would hope for. They are cut from the same cloth as The 1975 – another band I hate – and were a little overly-tipped in my view. I have found a crop of local bands fully capable of going one step further and creating year-defining music. PINS are the all-girl rockers who created a blinding album in their self-produced album, Girls Like Us.

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The band has a huge live reputation and are signed to the Bella Union label. Having supported Sleater-Kinney and Drenge last year – and a tour of the U.S. – this year they have already brought out one an incredible single: the Iggy Pop-featuring Anglophobe. That part-Spoken Word, part-Rock song is as original and instant as they come. Pop’s gravelled, commanding voice narrates strange scenes and keen wit; the band backing him up with a hooky chorus and plenty of fuzz-and-stomp. I know they are releasing more music this year and definitely one of those bands who will be mainstream fixtures very soon. In that same vein, Cabbage are one of those bands deserving of the hyperbole and speculation. The boys are busy conquering stages and stamping their mark on the scene. When they are not writing about vengeful, wouldn’t-want-to-meet-them-in-a-dark-alley dinner ladies; they are tackling Garage-Rock with a panoply of riot, attitude and exceptionally bracing songs. They have almost perfected the art of modern classics: building off the legends of Punk but adding something very much their own inside music that gets inside everyone’s head. The Mossley boys were long-listed by the BBC – and their annual poll of the artists to watch – and are very much in love with where they are. You will not see the boys swapping the wit and wisdom of Manchester for the hustle and expense of London anytime soon. Away from bands and you can guarantee solo artists will be doing their part. LAY. (pronounced ‘Ladyfullstop’) is a charming and beguiling artist capable of tempting the birds from the trees. She was born in the Midlands but spent formative years around Manchester. Member of M.C. outfit Cul de Sac: she has caught the ear of Kendrick Lamar and amazed him with her mixture of babble and fluid, forward-thinking Soul, Jazz and Hip-Hop. Here is the very definition of what I was saying about girls: that talent and ambition have led to some truly world-class music.

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Aside from those acts I have just named, there will be many more making their mark. Horsebeach and Honeyblood are two great bands to watch as our Spring King. If you peek under the boulder of Mancunian music, you will discover so much treasure and potential. It is a bursting city that is alive and alert: the music here is among the world’s best and deserves great focus. I have been looking at London music for a long time now and not had much chance to investigate what is happening in Manchester right now. I will explore this in more depth in a feature but am pumped listening to some terrific Manchester music. Gorilla, The Ritz and The Ruby Longue are three reputable venues in the city bands can cut their teeth and get a good footing. I know there are some terrific pubs and smaller locations around Manchester but it is those legendary, much-fabled locations the best artists in the city yearn to play. I know James Holt has performed around the city and covered a lot of territory in the north. He has wowed many in Manchester but casting his net quite wide. I am not surprised to hear someone of Holt’s calibre come from Manchester as we know the sheer quality coming through. Before I look at Holt’s education and musicianship; I am intrigued by his reviews and fans. I will go into more depth but wanted to talk about a certain Brian Eno. He seems to be a name I am dropping into a few reviews lately. The epic producer/musician has his finger on the pulse and keeping busy discovering new artists he feels are worthy of applause. Holt is one such chap he has given his gold standard to. Invigorated, relaxed and seduced by the wit, excitement and percussion chops of Holt’s song, Whatever Happened to John?, Eno was deeply impressed by such a singular talent. The fact Brian Eno has put that sort of praise at Holt’s feet should not be taken lightly.

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If any musician receives recommendations from a stalwart of the music scene that is almost like praise from a king – you have the confidence to go as far as you need. I am sure Holt will not get too big-headed but will be buoyed by such words Holt has caught the imagination of local radio and press with BBC Introducing Manchester and the finest radio stations in the city keen to praise the young master. Of course, Holt is backed by his band so congratulations should go to Kieran Joyce and Aden Peerts – who lay vocals/bass and drums respectively. Listening to Holt’s music puts me in mind of the Punk greats of the 1970s and 1980s and the excitement in the air then. Bands like The Jam and Buzzcocks could provide down-to-earth, witty songs but still conveys serious messages and speak from the heart. Having digested and idolised album such as All Mod Cons; I can see Holt and the band producing their own, Manchester-based classic. I will come to my last point soon but wanted to mention a radio station I name-drop with all the subtlety of Satan emptying his bowels after a heavy night at the curry house – expunge that disturbing, dystopian image if you dare! BBC Radio 6 Music is a subject/thing I could write an essay on. It seems like the station is an esoteric delight: picked up by the minority but those who really appreciate great music and the finest sounds around. Holt has been championed by the station’s Tom Robinson and with just cause. I get to review artists that have been played across ‘6 Music and that is no easy accomplishment. To reach the doors of radio Parnassus, you need to have a skillset and set of songs that bypass the rather cauliflower-eared, chart-obsessed brains of local radio. BBC Radio 6 Music is the last bastion of proper, all-killer-no-filler music for the discerning elite. The fact the likes of Tom Robinson have singled Holt out for success is a testament to the talent the Manchester musician has. If you gain such accolade this young and soon it shapes and defines the future. You might well say that is all well and good but how do I get to that stage?! Whispers is a song that takes from Holt’s past and the characteristics that define his music: the heart and humour with incredible musicianship and intelligent, inspiring lyrics. I know the boy has a great online following and a certain Sean Keaveny – another ‘Radio 6 Music D.J. – is one of his supporters. All these great humans have fallen for someone who has music swimming in his blood. It is James Holt’s desire and passion for music that got him into the business and leads to such terrific music. As I said, I will look at Holt’s new music and prospects for 2017 but will go to his past and see where has come from.

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Right, peeps, almost there, but before I do, I wanted to look at musical education and consecration as a way to enhance creativity and commitment. James Holt is a classically-trained pianist and bonded with the guitar at nine, the cello by twelve – he has a Grade 8 theory. Aside from that, he has a B.A. Honours in Music (from the University of Salford where he obtained a First) and is studying an M.A. in Music Composition – again, from the same university. I feel a musical education – whether a music school or university – has its advantages and pitfalls. On the downsides, a lot of educational facilities instruct students a certain way. Many music schools mould students to sound like chart acts: make them as commercial and dispensable as possible. You also find many of the students, because of this, have a limited palette and do not often expand their sound. On the plus side, and is the case with Holt, you are surrounded by fellow musicians and provided guidance from qualified musicians and learned professors. Not only do you get a front-row seat to a first-class education but have lessons and lectures structured and well-planned. Maybe some would say this makes (musicians who study here) too technical and studied – lacking the feel, instinct and personality you would want from a musician. There are valid points on both sides of the scales. An history of music will tell you there is validity to gaining a musical education. For someone as passionate and multi-instrumental as Holt; it seems only right he would immerse himself in study and follow that path. I feel it has directly structured and influenced his music: was he to negate studies and take a different path it is debatable his songs would be as strong and compelling? The wit and humour you get in the music is more his own personality – music lecturers are never that cool and fun – but the exceptional musicianship and compositional excellence stems from that university-level education.

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Holt’s previous work has been lauded by many due to its strength, maturity and professionalism. Whatever Happened to John? has a genuine rush and excitement to it. Harmonica blasts remind me of The Beatles, in a strange way, whilst the entire piece has a spark and drive that propels it forward. The chorus looks at control and has a sort of smile-inducing, grisly humour to it. You are always hooked by the passion in Holt’s voice and the speed in which the song goes past. Captured by the dance and allure of the track: the instrumentation is never predictable and puts so many different ideas together. A pattering drum solo is an unusual inclusion and is a real treat. Among the harmonic blast and guitar strings, you are toe-tapping to the percussion and allow yourself to be enveloped in the vivid storyline and aural fireworks that are let off. Whatever Happened to John? is a song that spiked the ear of Brian Eno who recognised James Holt as an exciting and witty songwriter. You can hear what he means here: a moment that sounds unlike any other and definitely puts the listener in a better frame of mind. In Sanguine on the Rock’s title track, Holt looks at a subject who has lost his wings and lost his way. Not knowing where he belongs; one gets the sense of a disconnected and lost figure who is seeking answers and a sense of direction. Holt’s lyrics have that poetic and personal touch that elevates them above the predictable pulpit many scribe from. In this track, one hears so many original ideas and that musical flair – another barnstorming track but alive and fresh; it has complexity and depth that means one will keep coming back and discovering new things. If one explores the entire E.P., you’ll find the same kind of treasures and quality throughout – the title track is the standout and gets the listener thinking and inspired. All of this past material proves how consistent and special Holt is. It is hard comparing him with another artist because you concentrate on what he is saying and what the lyrics compel.

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Coming to Whispers – with that back knowledge and Holt music in my ears – I was preparing myself and ready for what was coming. If you were looking for a rushing-off-the-line song that delivers knockout energy and a real body-moving swagger you may be disappointed. Holt shows evolve and surprise in a song that begins with an enormous amount of grace and beauty. There is a shimmering bit of percussion and keys. In fact, it is hard to describe the instruments being employed in the opening moments. One hears a balance of ballet and Classical score and something that could have been created by The Cinematic Orchestra or Brian Eno. There are little bits of Pink Floyd and other artists but, to be honest, it is James Holt’s musicianship and talented combining together like nothing else. In previous songs, he has shown how adept and natural he is as a musician through Alternative-Rock/Folk sounds. Here, the palette is broadened as he explores new territory. It is a song you submit yourself to and swim inside. So vivid and tranquil are the notes, one drifts and moves inside its colourful, velvet-soft suggestions. Before you fully embrace the score and speculate what is coming next; Holt’s voice comes in and is sweet and high-pitched as the birds in the trees. At the start, one hears of tears rolling down the face and a sense of loss. Maybe there is romantic misadventure and untangle but the lyrics implore interpretation and have obliqueness to them. I was captivated by the sheer sound and emotion of the vocal which is very different to Holt’s previous work. In the past, Holt portrayed a lower vocal that could have sat alongside Folk legends such as Bob Dylan. Here, one hears influences of John Lennon and Tame Impala. There is that fusion of northern burr and earthiness with something ethereal and transcendent. Holt lets his voice guide the song and explore in the atmosphere. If there is a sense of weightlessness to the music and vocals; it is the lyrics that bring you back down to Earth.

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It is an unexpected move and song that has found many saying the same thing: what an evolution and change it is from Holt. That is true, yet the mark of any great artist is someone who can make these sort of leaps but remain focused and identifiable. Whispers has that incredible beginning but never extends that introduction so far. Even in the initial lyrics, you are lured to the composition that keeps registering little hits here and there. There are high notes and majestic little flecks; some aching and yearning undercurrents and a rich and sumptuous bouquet. The vocal soon becomes firmer and more matter-of-fact as the hero asks about love and affection: whether the whispers were just for him and what it all meant. Maybe I am looking in the wrong place for truth but I leapt to the side of love and a man that is struggling with feelings and affection. One hears the hero say he is unable to maintain (the girl) and gets the mind working hard. Perhaps a bond has broken and lies been told or there has been a sense of tease. Whatever the true origins behind the words, it is impossible not to be buckled and affected by the changing mood of the song and all the development one hears. From that floaty, Progressive-Rock start, the song changes to something straighter and more direct. It is that composition that, perhaps, registers the biggest hit. Holt is an exceptional musician but showcases a range of skills few others possess. You get a mix of genres and style that leap across decades and will speak to listeners of all ages. It is a fabulously evocative sound that leaves you a little lost for words. Luckily for me – otherwise this interview would be a bit sparse – you are torn in all sorts of directions and have plenty of interpenetrations. Maybe I am a little foolhardy thinking the hero has had his heart broken and is wrestling with an established passion.

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It is another incredible song from James Holt and one you have to keep listening to over and over again. Such is the strength and beauty of Whispers, you cannot just listen to it once and take it all in. There are so many different things going on one has to keep returning to get to the bottom of various phases. The musicianship and composition is amazingly accomplished and evocative. I have mentioned Brian Eno and can imagine the maestro would be very proud listening to Whispers. It has sounds he would be familiar with and definitely approve of. Also, you sense a musician at the peak of his form but someone who has a lot more to say. Whispers has very few lyrics but the ones included get you wondering and questioning their nature and true meaning. I have listened to the song a few times and still changing my mind about things. On the one hand, there is that possibility of love and a broken relationship and on the other, something more positive and affirmative is being portrayed. Holt’s voice switches from angelic and pure to slight-gravelled and homely. That evolution and mutation is never rushed: it all sort of unfolds naturally in the song and sits alongside the composition which is incredible. That music is among the most extraordinary I have heard in a long time. I have often felt modern singer-songwriters are too limited with regards their compositions and never that interesting. James Holt is someone who recognises this and ensures all his songs are filled with energy, nuance and immense fascination. Whatever your interpretation of Whispers; it will affect you and stay in the mind for a very long time. An incredible and beautiful track from one of the country’s best young songwriters.

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Sanguine on the Rocks is Holt’s latest E.P. and one that, seems to be fine his dichotomy and attitude. ‘Sanguine’ means positive or hopeful when a situation would suggest a bleaker outcome. The idea of someone moored on the rocks but looking out at the horizon speaks volumes about the Manchester songwriter. Not that James Holt has battled too many obstacles and setbacks. As writers go, you do not just get the run-of-the-mill love songs and stereotyped sentiments. Whatever Happened to John? – that Brian Eno-approved gem – came with a lashing of gravy-think wit and sumptuous percussion; an incredible, indelible vocal and snatches of ‘70s Punk and modern Alternative-Rock. Whispers has very little in common with Whatever Happened to John? which is a good thing. Both songs have that distinct James Holt talent at the core but look at different subjects and have separate sounds. In order to gain approval and success in the industry, you need to be wide-ranging and ambitious with your songwriting. If you were, a James Bay-like Pop artist who seems more obsessed with his stupidly oversized hat than the quality of his music – you are not going to fare too well and bore your way out of music. What I wanted to do, before the final sprints to the finishing line, was to predict where Holt might head this year. What I find about Manchester musicians – something I will tip my hat to later – is now proud they are of home. Sure, you get London artists pleased to be here but few Manchester musicians leave the city to seek fame and fortune further south. It seems like the city is perfectly equipped to accommodate the smorgasbord of genres, bands and artists pushing music forward. In the same way I’d happily like myself buried in Covent Garden’s piazza – if there is a human statue there that attracts gawking tourists then imagine the ‘selfies’ my ill-placed funeral mound would get – I wouldn’t mind having my ashes sprinkled across Manchester’s Northern Quarter – preferably in the face of the first hipster my relatives came across and his ridiculously pruned facial hair and absurd attire.

Image may contain: 1 person, on stage, playing a musical instrument, concert, guitar and night

As I explained in the first paragraph: a calamitous I.T.-related trial-by-fire has rendered my mood irrevocably sour and cynical. I hope Holt will overlook a spiteful disposition because I have fallen for the music, his backstory and the acclaim he is gathering like raindrops from the desert floor. I know he wants to push his music further across the U.K. and that will be key this year. He and his band have a loyal and solid following up north but realise the potential of playing further south. As much as I vacillate about Manchester; it is London where my soul and heart will always stray. Not just because of the amazing buzz of the place but the music scene that has always been here – one that grows more magisterial and fascinating by the year. James Holt is used to playing some great venues and would feel comfortable, one hopes, in some of London’s best venues. The Barfly and The Dublin Castle might be reserved for slightly bigger acts but someone Holt could well play soon – they seem ready-made for his style of music and ability to captivate an audience. Also, 100 Club seems like a good venue for the young artist. In truth, there are a lot of great spots Holt could play in the capital. Many would want to see him down south. Brighton, too, has that great scene and would welcome him with open arms. I am not sure how he is planning his musical map this year: whether he is touring locally or back in the studio; having a rest or seeing how things go.

Image may contain: one or more people, people playing musical instruments and guitar

I am not sure whether Holt is planning a new E.P. or album yet 2017 seems like the perfect year for him to create. Not only does he comes off the back of a busy and eventful 2016 but can react to the world events unfolding and the inspiration they provide. Aside from the bottom-feeding exploits of Donald ‘fake news’ Trump and his crotch-grabbing, wall-building, travel-banning jizz-fests – the rest of the world has grown amused by the bully-boy embarrassment of the school’s resident toilet blocker. He is polluting the world with his sewage ideology and, one feels, his presidency and tyrannical festination will be over before it got chance to break the mattress in. Politics, social dissension and discontent are not the cheeriest subjects but perfect fodder for musicians to put their own, more positive spin on. I am not sure how James Holt’s future music will pan out but I would expect a mixture of personal revelation, witty wordplay and cutting commentary. What is certain is the artist we have right in front of us. He is a songwriter who grew up with the likes of The Beatles and Miles Davis but has affection for modern acts like Radiohead and Tame Impala. I can see a bright future for James Holt as his determination and talent cannot be faulted. Those nods from the likes of BBC and Brian Eno are spectacular and should give him the impetus to keep probing and exploring the depths of his ability. I feel one of the biggest changes this year will be international recognition. When you have a special list of plaudits in your back pocket, it is only a matter of time before you get foreign ears tuned. I can see, with some persuasive pushing and savvy social media inflections, Holt’s music can reach U.S. audiences. I know a lot of similar-minded L.A. artists who have found huge success and, in a culture swap and exchange programme, have been very well-received here. Maybe money will halt the Mancunian’s transcontinental ambitions but it is something that will happen sooner or later. For the moment, the young musician is enjoying his time in music and getting stronger and more celebrated with every new song.

Image may contain: 2 people, people standing

PHOTO CREDIT: Tom Jones

I’ll round this up with a brief repeat of one of my earlier points: the strength of Manchester and the artists coming out of there. In terms of the mainstream, it is not just the legends and classic bands you should focus on. More recent acts such as Everything Everything prove what an experimental vibe the city has. Not only (does the band) produce some of the most intelligent and spirited music I have heard but seem to incorporate all the threads, strands and background noises that make Manchester the city it is. On that front, newcomers Dutch Uncles are doing sterling work have produced a stunning album in Big Balloon. The band craft music that does not stick to a single theme/genre: from upbeat, catchy-as-heck songs through to traditional Indie vibes; you have a group always pushing themselves and wanting to be better. I know there are other mainstream Manchester artists around but it is the new crop that really catches my ear. Larkins are old college friends – studying history, linguistics and music – who seem to bring their university subjects into songs full of Funk-infuse, Pop and Vampire Weekend-like stunners – through to glistening ballads and tender offerings. The band have a way with language and craft some of the most indelible and memorable lyrics you’ll hear. They dip into music’s past and infuse a variation of sounds and bands into their own work whilst keeping things very much in the present. The guys have spectacular hair – which is almost as eye-catching as their sets and deserves its own dressing room – and incredible liver performances will see them ascend to the mainstream. There are many more Manchester acts worth your time but that will have to wait for another day I am afraid. Get onboard James Holt’s bandwagon and let it take you where it may. He is a singer-songwriter who is capable of going a very long way and inspiring many other musicians. Whispers is a track that suggests…

Image may contain: one or more people and people on stage

PLENTY more music is to come.

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____________

Follow James Holt

Image may contain: 1 person, on stage, playing a musical instrument, guitar and indoor PHOTO CREDIT: Diego Lopez (at Oxjam Manchester)

Official:

http://www.jamesholtmusic.com/

Facebook:

https://www.facebook.com/jamesholtmusic

Twitter:

https://twitter.com/jamesholtmusic

YouTube:

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

SoundCloud:

https://soundcloud.com/jamesholtmusic

FEATURE: The February Playlist: Vol. 3: Spring Around the Corner?

FEATURE:

 

The February Playlist

 

 

Vol. 3: Spring Around the Corner?

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EVERY time I think I have music figured out...

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IN THIS PHOTO: Little Simz

it keeps throwing up surprises and left-turns. I am always excited when a new song comes out of nowhere with no fanfare or build-up. It is always fascinating discovering a nugget of audio gold that you were not expecting. I guess we are used to those artists who love to hype themselves and create a media circus. Against that tide are musicians who are making music and trying to make people happy. I guess music is a contrasting and polemic profession that is never short of wonder and shock. This edition of The February Playlist has a nice balance of new mainstream tracks and those lesser-heard songs worth time and attention. Have a listen and enjoy another full and frantic selection of new songs.

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Laura Marling - Next Time

[youtube https://www.youtube.com/watch?v=MapSUlQ4RYE&w=560&h=315]

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Thundercat – Friend Zone

[youtube https://www.youtube.com/watch?v=RrQMIlJbgs8&w=560&h=315]

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Maggie Rogers – Color Song

[youtube https://www.youtube.com/watch?v=Ebt86W0EJnM&w=560&h=315]

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Bob Dylan – My One and Only Love

[youtube https://www.youtube.com/watch?v=ERMys7u3_vg&w=560&h=315]

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Romeo Santos - Héroe Favorito

[youtube https://www.youtube.com/watch?v=Ktq4zATPFsI&w=560&h=315]

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The Weeknd – Reminder

[youtube https://www.youtube.com/watch?v=JZjAg6fK-BQ&w=560&h=315]

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Rae Sremmurd – Swang

[youtube https://www.youtube.com/watch?v=dmJefsOErr0&w=560&h=315]

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The Lemon Twigs - I Wanna Prove to You

[youtube https://www.youtube.com/watch?v=pJGzm2fF2Uo&w=560&h=315]

Image result for little simz

Little Simz - Picture Perfect

[youtube https://www.youtube.com/watch?v=rIVGtd5kjsI&w=560&h=315]

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Beyoncé - Love Drought

[youtube https://www.youtube.com/watch?v=CUyQSKe75L4&w=560&h=315]

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Dylan Scott – Sleeping Beauty

[youtube https://www.youtube.com/watch?v=P17xZNiZj-k&w=560&h=315]

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John Legend and Cynthia Erivo (ft. yMusic) - God Only Knows

[youtube https://www.youtube.com/watch?v=7R7kPZF8wRA&w=560&h=315]

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Michael Bublé - I Believe in You

[youtube https://www.youtube.com/watch?v=94MHIeeGwys&w=560&h=315]

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Tokio Hotel - Something New

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

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Ary – Childhood Dreams

https://open.spotify.com/track/4y6sUWPw0XzCb8RodaNSPY

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Estrons – I’m Not Your Girl

[soundcloud url="https://api.soundcloud.com/tracks/287517402" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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Hanni El Khatib - Savage Times

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

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Off Bloom – Falcon Eye

[youtube https://www.youtube.com/watch?v=016lgoQb21I&w=560&h=315]

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sir Was – Revoke

[youtube https://www.youtube.com/watch?v=Lli1TclJ9JQ&w=560&h=315]

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Galantis – Rich Boy

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

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Mt. Wolf – The Electric

[youtube https://www.youtube.com/watch?v=2bpSMoS1dbs&w=560&h=315]

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PWR BTTM – Big Beautiful Day

[youtube https://www.youtube.com/watch?v=cDn4ZCo0NOU&w=560&h=315]

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Little Cub – Too Much Love

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

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Sam Gellaitry – Jungle Waters

[youtube https://www.youtube.com/watch?v=Hwwl_5stL1M&w=560&h=315]

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ANYA – Wasted Love

https://open.spotify.com/track/38DfN7F8VVKxtBqjxRIUA8

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Elina Ryd – Sprickor

https://open.spotify.com/track/7H9VM28NmhYFdcCMwWp76t

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Pumarosa – Dragonfly

[youtube https://www.youtube.com/watch?v=vEwXzS5t1bY&w=560&h=315]

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Karen Elson – Distant Shore

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

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Julietta – Beach Break

https://open.spotify.com/track/1oWvtXGEO3lBHzwGSZfO54

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Muna – So Special

[youtube https://www.youtube.com/watch?v=CgbxDu_mDs8&w=560&h=315]

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Kings of Leon – Reverend

[youtube https://www.youtube.com/watch?v=ldaMJG_sb18&w=560&h=315]

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Take That – Giants

https://open.spotify.com/track/1XuqhShERyGkjhYXJ94TxX

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Maximo Park – Risk to Exist

[youtube https://www.youtube.com/watch?v=mStNOUpGcw4&w=560&h=315]

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Incubus – Nimble Bastard

https://open.spotify.com/track/1p5aKetFO3dctfQpeEVyMj

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Hawkon – Gold Girls

https://open.spotify.com/track/6cUXFVcWi6hIrgmQViv6nS

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Kaah – JUNGL

https://open.spotify.com/track/5THZsDGzTqf8AkMCEdTZwa

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Penny Police – No Horizon

[youtube https://www.youtube.com/watch?v=C6lPShT0ShU&w=560&h=315]

 

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Passion Pit – Inner Dialogue

[youtube https://www.youtube.com/watch?v=I3IVp4a8G9Y&w=560&h=315]

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The Shins – Mildenhall

[youtube https://www.youtube.com/watch?v=Cq8wC7LFyQs&w=560&h=315]

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Meat Wave – Run You Out

[youtube https://www.youtube.com/watch?v=BnIbn7-_i5k&w=560&h=315]

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MisterWives – Machine

https://open.spotify.com/track/3gT24QYMA65I38nj4k1rAw

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Summer Moon – Happenin’

[youtube https://www.youtube.com/watch?v=Zi8zXeresLw&w=560&h=315]

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Olivia O’Brien – Empty

https://open.spotify.com/track/0CxPqfcZDXp1QoTnhAE1xC

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Amy Macdonald – Automatic

https://open.spotify.com/track/5zYOma0swDBqOAn9V8Z8fr

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Johnossi – Hey Kiddo

https://open.spotify.com/track/1RRPLF57bRHUDsovs44VP4

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Royal Thunder – April Showers

https://open.spotify.com/track/4oxBe9XIcfNEfXyQLFT1jc

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Satellite Stories – Young Detectives

https://open.spotify.com/track/07gZ8kyRCT2DDbESRRAyWJ

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Los Campesinos! – The Fall of Home

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

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Animal Collective – Kinda Bonkers

[youtube https://www.youtube.com/watch?v=ikl16iLeHIY&w=560&h=315]

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Dutch Uncles – Streetlight

[youtube https://www.youtube.com/watch?v=NyEPk6d4YV8&w=560&h=315]

Image result for ryan adams

Ryan Adams – Breakdown

https://open.spotify.com/track/3arRfILwXQWmCYFBvLZ7rq

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Devlin – Corned Beef City

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

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Otis Taylor – Banjo Bam Bam

https://open.spotify.com/track/7acv1UPsWc5H2scMC8Nofs

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Shaggy (ft. OMI) – Seasons

[youtube https://www.youtube.com/watch?v=lKG1udtxzDI&w=560&h=315]

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Sondre Lerche - Violent Game

https://open.spotify.com/track/7hs935cEqtGr9kMnKL3fp0

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The Orwells – M.A.D.

[youtube https://www.youtube.com/watch?v=zhXe8RHLz5E&w=560&h=315]

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Vant – Parking Lot

https://open.spotify.com/track/4KdtBLGQAHIVEvr9UqBlYs

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Danny Worsnop – Anyone but Me

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

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Frontier Ruckus – 27 Dollars

[youtube https://www.youtube.com/watch?v=p7bQJyzOGxE&w=560&h=315]

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Eisley – Louder than a Lion

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

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Son Volt – Back Against the Wall

[youtube https://www.youtube.com/watch?v=y1aHfWdVDRA&w=560&h=315]

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Lorna Shore – Fvneral Moon

[youtube https://www.youtube.com/watch?v=pOGlm646WAY&w=560&h=315]

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Gurr - #1985

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

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Ásgeir – Unbound

[youtube https://www.youtube.com/watch?v=6oCrL8vIN_o&w=560&h=315]

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Lea Porcelain – Bones

[youtube https://www.youtube.com/watch?v=21rICVxMpRo&w=560&h=315]

Image result for blondie

Blondie – Fun

[youtube https://www.youtube.com/watch?v=iEngbdIMZ6o&w=560&h=315]

Image result for communist daughter

Communist Daughter – Keep Moving

[youtube https://www.youtube.com/watch?v=FY3pTlrOebI&w=560&h=315]

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Mozart’s Sister – Angel

[youtube https://www.youtube.com/watch?v=Xu10054JwI8&w=560&h=315]

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Jens Lekman – Postcard #17

[youtube https://www.youtube.com/watch?v=MSFFQKqkw8U&w=560&h=315]

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Acceptance – Haunted

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

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The Courtneys – Silver Velvet

[youtube https://www.youtube.com/watch?v=Z8eDKxWBFwU&w=560&h=315]

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Parallels – Technicolor

[youtube https://www.youtube.com/watch?v=y6Z6lN0y0mU&w=560&h=315]

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Clap Your Hands Say Yeah – Fireproof

[youtube https://www.youtube.com/watch?v=QQv2yIeVtdE&w=560&h=315]

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Balto – Lost on the Young

[bandcamp width=350 height=470 album=799954463 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=693929862]

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David Bowie – When I Met You

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

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Crystal Fairy – Chiseler

[youtube https://www.youtube.com/watch?v=UzPP0P3l2ic&w=560&h=315]

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Dirty Projectors – Up In Hudson

[youtube https://www.youtube.com/watch?v=YpCruYl7kz4&w=560&h=315]

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King Gizzard & the Lizard Wizard – Nuclear Fusion

[youtube https://www.youtube.com/watch?v=4MFVhqcRpN4&w=560&h=315]

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Froth – Passing Thing

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

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Old 97’s – All Who Wander

[youtube https://www.youtube.com/watch?v=Pv-f7R1cyhY&w=560&h=315]

Image result for the feelies

The Feelies – Been Replaced

[youtube https://www.youtube.com/watch?v=tz2CNdup5Zw&w=560&h=315]

Image result for dams of the west

Dams of the West – The Inerrancy of You and Me

[youtube https://www.youtube.com/watch?v=mORwYN_g8AQ&w=560&h=315]

Image result for rhiannon giddens

Rhiannon Giddens – At the Purchaser’s Option

[youtube https://www.youtube.com/watch?v=6vy9xTS0QxM&w=560&h=315]

Image result for the luyas

The Luyas – All of Everything

[youtube https://www.youtube.com/watch?v=uaeTY50cmXU&w=560&h=315]

Image result for pissed jeans

Pissed Jeans – The Bar Is Low

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

Image result for nikki lane

Nikki Lane – Highway Queen

[youtube https://www.youtube.com/watch?v=zcvQL8_ZP20&w=560&h=315]

Image result for all time low

All Time Low – Dirty Laundry

[youtube https://www.youtube.com/watch?v=hTwmxiLSD0w&w=560&h=315]

Image result for anna pancaldi

Anna Pancaldi - Brother

[youtube https://www.youtube.com/watch?v=OhI5UCZUwr4&w=560&h=315]

Image may contain: 3 people, people standing

Discplines – On My Mind

https://open.spotify.com/track/5Xc74Dn1ZKH6H8XaVGOHXG

Image result for flo rida

Flo Rida (ft. Sage The Gemini) - Game Time

[youtube https://www.youtube.com/watch?v=TgW2uRpwipU&w=560&h=315]

Image result for ed sheeran

Ed Sheeran - How Would You Feel (Paean)

[youtube https://www.youtube.com/watch?v=lZ_33urhzLM&w=560&h=315]

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James Blunt – Time of Our Lives

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Flume - Quirk

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Kygo and Selena Gomez - It Ain't Me

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Maroon 5 (ft. Future) - Cold 

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Emelie Hollow – Like I Love You

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Linkin Park (ft. Kiiara) - Heavy  

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Pitbull (ft. Stephen Marley) - Options

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James TW – Ex

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Nelly Furtado – Flatline

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Rhys – Last Dance

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The Valentine’s Day hoo-ha has ended and the shops are practically stocking up for Easter! It is hard keeping a track of the changing celebrations and commemorations: one day you are in winter and finishing Christmas; now it seems we are hurtling to spring. Keeping things settled and grounded is new music which continues to bring sunshine and beautiful visions. This week has seen fewer mainstream tracks released – more from the underground and new acts – but the coming weeks promises more from the big-hitters of music.

TRACK REVIEW: Joshua Luke Smith - Heart of Man

TRACK REVIEW:

 

Joshua Luke Smith 

 

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Heart of Man

 

 

9.6/10

 

 

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Heart of Man is available at:

https://www.youtube.com/watch?v=__Y04qd7PPs

GENRES:

Hip-Hop

ORIGIN:

Bath, U.K.

RELEASE DATE:

5th January, 2017

______________

IT is good to be back with an artist who…

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last year, provided some of the most inspirational and selfless music I have heard. Well, I say ‘music’; it is easier to call Joshua Luke Smith’s work poetry and philosophy. That might seem highbrow or hyperbolic but it is no exaggeration. I have been following him, on and off, for the past year and excited by his progress. I shall come to his music soon: before I do, I want to look at inspirational songs and that which slow us down (in a good way); looking at charities including Preemptive Love Collection – who Smith is working with – and artists extending beyond music itself – including charity work and raising awareness. In all of this, I will talk a bit about genres and sounds I am backing to be in style this year. Before all of that, it is rare I get to investigate a musician who reacts to world events and combats it with messages of love and hope. As you will see from Smith’s biography; he is a man who has witnessed a lot of turmoil in 2016 – the sort we have all shared and regret – and is ready to soothe the heart and offer leadership. After last year’s political strife and dislocation; there a temptation to resort to tribalism and hurt our neighbours. Britain has removed herself from the E.U. whilst the U.S. is keen to alienate from every other nation in the world – its (sane) citizens horrified at Donald Trump’s plans, Tweets and vitriol. Every diatribe, dictatorial mandate and attempts at racism – his attempts at a travel ban that would exclude those from seven, largely Muslim nations. We have all emerged from 2016’s backend exhausted, scared and weakened. If the Brexit vote was unexpected, to say the least: the election of Trump shocked the free world to its very core. Not forgetting the attacks in Aleppo and continued terrorism; the bloodshed and racially-motivated violence in the U.S.; the celebrity and musical deaths – it is a wonder the world is still standing at all.

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PHOTO CREDIT: @dominic_doring

I guess there are those who say we should be pragmatic and dispose of any idealism and naivety: the planet will never link in a mass chorus of I’d Like to Teach the World to Sing (In Perfect Harmony). Nobody expects utopia and a nirvana but, at the same time, we want a modicum of civility, brotherhood and discipline. I have not even mentioned the way the U.K. is dissolving politically – Labour, a spent force with Theresa May’s seemingly leading the U.K. into disaster. Set all this aside and it is clear we all need to calm and find something positive. Many would ask whether that is truly possible. We have all been led by the genitals and given a swift kick to the face. The good thing about it all is 2016 is over: surely this year, by comparison, must be a better one?! Whilst a lot of musicians – realising the hardship and fragmentation of 2016 – have buried their heads in the sand and, essentially, continued as normal; there are those that tackle a dreadful year with something spirited and universal. I have long-said the world would be a better place were we to throw control and leadership over to musicians: a group of humans who only want good and are determined to make the world a better place. That theory is best reserved for another time but Joshua Luke Smith would definitely be in my Prime Ministerial cabinet. The, as I’m coining him, Secretary for Peace and Togetherness (a very Summer of Love-esque cabinet by the sounds of it!) is here to slow down the blood flow and get the pulses at a G.P.-approved sixty (to one-hundred) B.P.M. That heart rate/calming motive is something that fascinates me. We get few songs arrive that are intended to take away the stress and eradicate bad memories. I think all of us need that psychological boost through music: dissipating any anxiety and having something soft and meaningful filling the ears. It is no surprise Joshua Luke Smith has taken such an approach to music. Before I continue – remiss of me – I will introduce Smith to you:

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PHOTO CREDIT: @_tobymitchell

“The 25-year-old wordsmith and philosophy graduate has always managed to combine his love of words and music to inspire people to break free from their own limitations. After the success of his video 'Carry me' (premiered by Complex), Joshua dropped a track alongside a powerful video for National Suicide Awareness Day with Samaritans and in October released another visual poem for Anti-Slavery Day in support of charities A21 and Love146. Joshua was also involved in a collaborative track for World Aids Day (in partnership with HIV and sexual health charity, Terrence Higgins Trustwith) with singer Laura Riganti early December. 

With everything that has happened in 2016, Joshua wants to use his voice and his art to 'cut through the chaos' and speak 'hope and freedom'. His new song 'Heart Of Man' deals with a timely subject - he explains "This last year has been mad, unsettling and distressing at times. We feel divided, isolated and at war with our neighbour. This song is both a lament and moment of reflection. A call to lay down the stones, gripped in our palms, readied to throw at the first person who speaks against us, our tribe or belief. We shape the world around us by shaping the world inside of us, everything flows from the heart. My hope is this song helps to slow us down, to help us step into this year fully here, present, with hearts full and ready to love.”

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PHOTO CREDIT: @_tobymitchell

His charity work, which I shall elude to more soon, has opened him up to a lot of different causes and sufferers: people who go through hard times and struggle alone. Many musicians, and people in general, are never party to such people and avenues. Their music revolved around their own experiences and personal life; there is a comparatively limited empathy and selfishness. I am not suggested all musicians focus on their own pain: there are very few who create work intended for everyone; away from concerns of love and heartache. I always get excited discovering songs that have a different skin and conscientious mindset. Not only is that a refreshing change of pace but inspiring for everyone – not just musicians. What Heart of Man does, in addition to establishing Smith as one of the most interesting talents to emerge in a long time, is subvert expectation and wholeheartedly give to the audience. A lot of artists let the listener into a song but few pen a track designed to enhance the mood. Not only is it (the track) a deep and evocative example of Smith’s talent but something that makes you think and reflect. Sure, it was a bad 2016 for a number of different reasons: it will be, as Smith implores, a better year; one with fewer conflicts and more togetherness. The meat and bones of Heart of Man is a reaction to the, perhaps biblical, savagery – in terms of opinions and verbal dissension – we have seen on social media and society. We have, because of political differences and ideological divisions, balkanised and retreated to our own caves – disagreeing with anyone who has a different opinion and all too eager when reaching for weapons. Our people have witnessed a world unrecognisable descent into Neolithic, Stone Age democracy: where the worst instincts and deep-set prejudices of man have seen hateful political changes and huge division. It is hard putting things into words or making sense of it all – as you can tell from my poor syntax and semi-garbled sentiments. Outside the chorusing diatribes and universal protests: there is a call for change; a chance to quell the spirit and provide democratic governance. Smith is an artist always engaging with his fellow man and reflect the needs of the people. It is good hearing love songs and ‘sellable’ songs but, now more than ever, our musicians need to say something meaningful that reflects the world around them. That is why Joshua Luke Smith is such a vital artist we should all support: one of those humans who cannot sit by and passively watch everything unfold.

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PHOTO CREDIT: @_tobymitchell

I wanted to mention the Preemptive Love Coalition because of Smith’s affiliation of the charity. In the past, Smith has raised awareness of suicide – Carry Me coincided with National Suicide Awareness Day; that song raised support for The Samaritans – and Anti-Slavery Day. Preemptive Love Coalition’s mantra is clear: “We fear loss. We fear shame. We fear ideologies and religions. We fear vulnerability”. For that reason, as the charity is “a global movement of peacemakers changing the way we engage the world’s most polarizing confronting fear with acts of love”. All proceeds from the track will be donated to the charity to help combat division and conflicts around the world. It is an organisation that goes to great lengths to raise awareness of struggles and atrocities by providing crucial support and messages of love. The charity help to empower small business owners and provide education for at-risk children. They provide emergency relief for families victimised by I.S. and are peacemakers in conflict-zones. Working across Africa and Asia, Preemptive Love Coalition are a worthy and impressive body who endlessly strive to help those in need. The world is at a vulnerable and ramshackle state right now. It needs repairing and help more than any time in living memory. You can check out the charity’s web page to get a better sense of what they are about. Heart of Man is a song that could well be the anthem for P.L.C. Smith has tapped into their ethos and created a song that sonically represents what they’re about and the problems we face. Preemptive Love Coalition aim to provide calm and nurture to those ravaged; in-need and afflicted. Heart of Man is a song, as I will go into, that urges people to look at the charity and what they do but cast our minds to the wider world. Many of us are bombarded with news images of various horrors in the world. Nightly, we are subjected to bloody images and heart-breaking reports. We should never ignore these things but not assume all is hopeless and lost. If we band together and galvanise; we can confront the darker, hateful side of the world with an overwhelming spirit of love and support. It may all sound a bit wishy-washy and fairy-tale but we are seeing positive changes made. Not only is the organisation seeing the fruits of their labour (ripen) but they are compelling artists like Smith to take action and help promulgate their mission statement.

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This gets me on to a two-prong point: musicians that work with charities and those with a different C.V. in their back catalogue. I’ll come to the second point soon, as one would imagine, but am fascinated by Smith’s trajectory and ideologies. As (Smith) someone who has battled depression, it was no surprise he delivered such a stirring anthem in Carry Me. Smith has used his voice to patronise charities involved with anti-slavery, Aids and mental health: his latest venture is a perfect example of a young man who feels he needs to use his talents in order to de-stigmatise certain corners of society. I have promoted and interviewed musicians who take a charity-conscious attitude to things and willing to break the traditional constructs and expectations. Music and charity are not dichotomous and it would do good for others to realise that. I am not saying every musician needs to support charity bodies and become more conscientious but it would be good to see a movement occur. So few are dispensing with the love-only style of music and detailing deeper subjects and hard-hitting visions. Joshua Luke Smith is a perfect artist who balances traditionalism and kind-hearted pioneer – somebody who feels everything and expresses himself through some of the most vivid and human songs you will hear. I have not really touched on Joshua Luke Smith as a human and singer – outside the remit of charity and his past work. What you have here is a talent who mixes philosophy and literature; an intellectual mind and effectual heart. There are shades of Hip-Hop and Rap in his music. His songs have a Spoken Word element to them: as I said, his music is almost sermon-like in its delivery and power. I have seen photos and social media updates where Smith has performed at cafés and small venues: captivating intimate crowds with little more than a microphone and arsenal of songs. Against the tide of bands and artists armed with instruments, crew and huge sets; here is someone who strips it all back and provides music bristling with poetic beauty and raw human emotion. His performances are powerful and energised; they get right in to the core of your being and provoke reaction and attention. No baubles, needless noise and glitz: an artist, pure and simple, capable of making a big different in the music world.

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Heart of Man is the latest cut from Smith but he has had an incredible past with an array of material. Carry Me, a song I mentioned earlier, referenced mental health struggle and was one of the most powerful and potent songs he has created. Most of Smith’s songs do carry that weight and authority with them: you are hardly likely to hear him descending into love-ballad territory or doing something formulaic. Carry Me, from the Your Beauty E.P., is backed by stunning tracks The Thief and After All. The entire E.P. is consistent and flowing with incredible rhymes; wonderful vocal performances and some of the most emotive and stunning music you’ll hear. Heart of Man is not a huge departure in terms of quality – it was always there and strong. What I am noticing is Smith embracing charity more and immersing himself in a more socially-aware style of music. Not that all his forthcoming songs will support causes and recognise world problems. The young artist is reacting to the world around him and realises it is important talking about things like political and world issues and showing common unity. Smith’s debut E.P., Between the Saddle and the Ground, was a huge success and reached the top-ten spots of the U.K. and international iTunes charts. March 2014 was All Shall Be Well ‘s release date: the first album from the Bath-based Hip-Hop artist. That was released on the Orphan No More label – which Smith, who runs it, says the tagline is simple: ‘Everybody Has a Message’ – and has been topped by some incredible music and huge ambition. I know Joshua Luke Smith will continue to make great music and seems to grow in stature and confidence with every song. I am excited to see what this year holds and how it translates – whether we can see new music or tours from the young artist.

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PHOTO CREDIT: @karaannmariesmith

Opening with a gentle and tender piano line; Heart of Man has a very delicate and lullaby-like beginning. You are sucked into something very comforting and still but never feel switched-off or disengaged. The piano has a power and meaning to it but does not get too heated and large. It is a coda that continues on and starts to build images and emotional possibilities. This opening refrain seems to define the song. Heart of Man looks back on 2016’s events and calls for people to stand together and stop with tribalism attitudes. Accordingly, the introduction beckons the listener in and allows them chance to imagine their own scenes and possibilities. You hear a slight utterance from Smith before the young man comes in harder. His words are tense and powerful but that background composition never accelerates or gets too loud. What you get is the soft piano and poetic, impassioned vocal. Smith, in the first verse, wonders why we are all here and what is going on. Our hero is looking sad at a photo of a kid lying on the seashore. He should have been building sandcastles but has been washed away. Whether referring to the immigration crisis – where thousands would try to cross the seas to a new land only to be captured by the cruelty of the water – or a metaphor for ignorance and problems we overlook – it is a powerful thought you cannot help but picture what is being sung. I say the word ‘sun’; Smith is much more a poet and ensures his words are almost spoken. In a way, Heart of a Man is a cross between a political speech and sermon: without the pomposity and unemotive delivery of the former or the piousness of the latter. That chorus comes back in – the hero trying to understand what we’re here for – and sees “sons and daughters” washed up like waves; those who should be playing with bucket and spade and laid in the sand to be put in bags. It is a harrowing feeling but delivered with just the right blend of emotions and compositional notes. Were strings to wash in or the piano to become too noticeable it might distill the words or give the song a predictable route.

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As it is, Heart of Man is all about that central vocal and the lyrics. You get backing (female) vocals in the chorus and other tones but the focus is very much on Smith. His projection and delivery is always fascinating to me. It is very much in the Hip-Hop arena but there isn’t the aggression and attitude you get with many performers. Instead, Smith is more emotional, relatable and human. You are never put off by braggadocio and arrogance nor left cold but a sense of emotional detachment. Every line of Heart of Man seems utterly essential and urgent. The hero ran to his mum’s house after seeing an image on the front page: another horrifying image from around the world that causes the reader to balk and recoil. It was, in 2016, almost a daily occurrence: seeing the bloodshed and injustice; people standing back and watching it unfold. Whilst we have all lived through the year and saw some awful things; that is the state of the world and will continue this year. Smith is the pacifist and peacemaker that wants things to change and seems part of the silent majority. Those who perpetrate cruelty and evil are shouting loud and overwhelming those who want things to change. Instead of getting angry and fighting fire with fire; we must find a more constructive and humane way of ensuring things like this are not repeated. “You cannot change the system if you remain a victim” seems to really underline what the song is about. There seems to be a double-meaning at play. On one hand, those who are always trodden-down and betrayed will never have the power and voice to make things better and change that system. Perhaps those who are victimised and oppressed are the ones who can make positive changes but will never get to have their say. On the other, and more likely hand, one feels those who complain and feel they are hard-done-by will always be part of the problem and not the solution. We cannot go around and want sympathy and moan when there are bigger things happening – people who are worse off and need help.

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PHOTO CREDIT: @_tobymitchell

The only way to make constructive changes is through the betterment of our souls – cleansing the negativity and perpetrating a much more productive and helpful attitude. That is what I got from the song but maybe Smith had other plans. As things continue, the intensity and emotion of the song never relent. You get the feeling you are immersed right in the thick of the front pages: vividly seeing all the dislocation and torment unfold and standing there aghast. I guess that is part of the problem with last year: we all complained about the way things went but had the wrong approach. Whether you (like me) disagree with the Brexit result or feel flabbergasted by the continued terrorist attacks; we all have to bandy together and start approaching things differently. It is no good grousing and playing the victim as that will get us nowhere. We yearn to touch the sun, as Smith attests, but “afraid of the solar system”. We all want perfection and to make things right but are, perhaps, fearful of getting involved and actually ignore what is happening in the wider world. Those in a more privileged position want their own lives to be as spotless as they can but are reluctant to reach out to their fellow man – whether they are on their own street or in some foreign land. Again, that is the vibe I got but can hear what Smith is saying: stop reaching for flint and sharp sticks as a natural evolutionary reaction and approach hatred and division with more compassion and affection. The nature of selfishness is examined as we are all aware. Most of us are too wrapped in their own existence to see there are things outside that need to be addressed. The politicians are soundbites and tropes who are parroting decades-old party lines and meaningless bromides – thinking they have a tangible solution and can balm the world’s wounds. Instead, they are aimless, asinine and devoid of any answers. It is rare to see a songwriter who turns the spotlight on themselves and realises we are all part of the problem. Many love songs point blame at the other party or are too self-flagellating and mopey to really engage and inspire. Instead, Smith has created a song that does not blame people or needlessly accuse. He has penned a wise cautionary tale that realises things are bad and they need to change. Every one of us is in the same boat and need to stop repeating the mistakes of the past. By the final notes, you want the song to continue and reluctant to let it go. Smith claims we are all migrants and the same as those we see on the news. None of us is any different to the people we see in body bags and struck by civil war and terrorism. When we pull these barriers away, we are all looking at our brothers and sisters. When you drill it down to familiar levels; it makes the words much more stirring and sobering.

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PHOTO CREDIT: @_tobymitchell

Smith’s voice becomes more cracked and affected as the song reaches night-time. The chorus becomes more relevant and emotional each time it is performer. Sure, we all shed a tear when we saw those images on the front covers. How many of us actually felt compelled to do something about it or let it stick in the mind. Most of us forgot about it or took a hateful, vitriolic approach to such scenes. It is never productive and human striking against those who strike; getting mad at the system when we all have the potential to make things better. In a way, it is the government here that are responsible for that world debt and deficit. They are contented to parrot hollow words and ruminate without effect whilst things continue to unravel and descend into madness. In a lot of ways, Heart of Man forces people to realise why they are in the world and what their place is. If we are here to serve ourselves and our own desires then how much of a heart do we have – are we ever truly connected and aware of the planet we live in? It is rare discovering a song so detailed, deep and prophetic. I love how Smith’s central performance shows its true emotions and does not hide behind production values and instruments. He hovers and groans in the background to add weight and spectral qualities – sounding a bit like James Blake and the song, Radio Silence. It is eerier at times and oddly still the next; the song will resonate differently depending on who hears it but everyone will take something away with them. In a very real way, we will all become more aware and strong because of the song. Hopefully, Heart of Man will force people to retune their attitudes and stop falling into the same traps. I hope the song forms part of an E.P. or signals more music as Joshua Luke Smith is at his peak and among the finest songwriters in the country. We need more artists like him now so let’s hope we can expect others tracks very soon.

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PHOTO CREDIT: @_tobymitchell

Joshua Luke Smith has already made a big impact and one suspects he will continue to do great work and rise in the industry. Following a series of charity-supporting singles; one wonders whether we will see an E.P. or album this year. There are certain styles of music I feel will come back in this year. Last year, there was a celebration of fantastic R&B, Hip-Hop and Rap being produced – some of the most urgent and physical albums we have seen for years. In that spirit, British Hip-Hop and Trip-Hop is likely to be in many (musicians’) minds. Smith plays across various genres but has that rooted Trip/Hip-Hop/Rap sound; straying into Soul too. Unlike some of 2016’s best music – that relied on glossy production and compositional force – I feel there is going to be more attention paid to lyrics and bare emotion. Smith looks at troubles and the world around us and implores calm and love. You are transfixed by his earnestness and passion and intrigued by the beats and aural cocktail he produces. I would love to see Joshua Luke Smith perform more across the U.K. and get his music out there. I am unsure how his diary is looking this year but one suspects there are dates afoot. As I stated; he is someone who can hold court at bars and cafés; he has what it takes to enthral larger spaces and arenas. I do not know how he is planning his year but I expect there to be new music and tours. I’m excited to see where he heads and what is coming next as Joshua Luke Smith is a very special and rare artist. I admire those that take the time to think about more than themselves, sales figures and following the herd. I will return to my earlier points soon but wanted to proffer and promote the nub of Smith’s artistry and personality.

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Smith is a man who has faced his demons and struggles and, instead of negatively casting his fears inwards, he exerts an outward attitude of inspiration and acceptance. He has struggled with mental health issues but does write music tortured and self-flagellating. Many of us go through that pain and feel stigmatised and alone. Smith, alongside The Samaritans, has penned music that tears down walls and opens its arms to sufferers of depression, anxiety and other psychological issues. In that same spirit, he is all too willing to back charities that do important work and represent those who are often overlooked and under-the-radar. By bringing the ‘minority’ into the spotlight, it gives confidence to those affected – and fellow musicians – and provides strength. Aside from the charity connections, the wit and intelligence of Smith is not to be overlooked. He has studied philosophy and brings a very wise and sharp pen to music. His lyrics do not deal with tropes and inane lines: each song is dripping with thought-provoking words and brilliantly inventive lines. Around him, the compositions range from dark and sinewy to sensual and sleek. You get so many different ideas and possibilities projected in music that, at times, is quite skeletal and uncluttered. That economical and bold approach to music is not anaemic or misguided – you get plenty of power and possibility in every track. I am keen to lend my support to those artists that go beyond what is expected and deliver something extraordinary to the world. Joshua Luke Smith is one such example of what music should be about. Let’s hope the coming months see him getting out to the people and showing just what he is about. Heart of Man is another extraordinary song that will stay in the mind for a very long time.

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I started this piece by looking at the state of the world and the desire for safety and support; a universal spirit that is seeing populous love and affection spread like wildfire; a collective decision to overwhelm oppression and bullying by coming together in solidarity. There are a lot of disaffected and confused people on the planet – I can include myself in that list. We have lived in the world long enough to know things will not always go according to plan but 2016 was beyond any logical comprehension. People’s mindset and motivation is a case of obfuscation. In reply to the rather alarming results of the year, there is a lot of hate and anger percolating like a poison. Some of this is a reaction to Brexit/Trump but, in general terms, there is a lot of warfare, discrimination and emotional poverty dropping ink and acid into the ocean of human kindness. We should never assume this state of affairs is inextinguishable or irreversible climate change; not a terminal illness and indefatigable monster. Sure, we will never eradicate poverty, hatred and war but we can react to it in a positive way. Constructivism seems an illogical response to political dissension and unconscionable violence but that is the way we must react. Until such time ‘stability’ is a reality we, as human beings, must electioneer on grounds of love, peace and support. As Joshua Luke Smith stated, when describing the inspiration behind Heart of Man, there has been a lot of petulance and tribal behaviour among the people last year. 2016’s democratic process has been inscrutable as Sphinxs: the majority of two of the world’s most-powerful nations deciding they are better off embracing the worst possible option. Democracy is, unfortunately, there to represent the majority vote and should not be challenged. I, myself, am unhappy about the way things have gone but can do nothing to override it.

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Let us go headlong through 2017 with a different attitude. In a weird and roundabout way, something good has come out of the satanic bloated bowel movement that was 2016: a chance to prove we are stronger and better people than those who perpetrate acts of evil and moral corruption. Heart of Man is an antithetical anthem against the inferiority of numbers discontent and grouching. Rather than cavil and throw one’s toys from the pram: consider moving through life with a sense of acceptance and renewed purpose – sending positive vibes and helping those in need is a much more worthy and productive force. I have a lot of respect for artists that have a constructive attitude to world problems and involve themselves more. It is easy enough standing by passively and playing formulaic, marketable songs. Anyone willing to create something inspiring and socially conscious deserves a sturdy and solid pulpit on which to deliver their messages. Joshua Luke Smith is a crusader of humanity and awareness who insinuates himself in charitable avenues and keenly raises awareness through his music. He is a guiding light to those reluctant or remiss: people who are comfortable in their roles and unbending in their routines. Not only is Smith’s attitude commendable – the fact profits from Heart of Man goes to Preemptive Love Coalition – his music is equally potent and impressive. I have been a fan of his for ages and admire that voice: full of gravity, gravitas and gravel; dark-hued with transoms of light and redemption. His vocals are less singing and more poetic performances. I have not really touched upon Hip/Trip-Hop-cum-Soul stylings and Bath – where Smith hails from – as an explanation and introduction to the young man – maybe that will have to come in another review! Follow Smith and get your ears around Heart of Man – try and pay for it or donate if you can – and follow the plight of a poet-philosopher-rapper-musician who is unlike anyone else – in so many different ways. There are few like Smith so I expect him to a take a while to come to full prominence. Those truly special are always discovered after the more asinine and pedestrian commercial acts. Once Smith’s legacy, talent and voice is suitably excavated, ingested and considered, he will be a big name for sure. Until such time, throw some support for an artist who is trying to make the world a much calmer and…

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PHOTO CREDIT: @blaowphotography

MORE enlightened place.

[youtube https://www.youtube.com/watch?v=__Y04qd7PPs&w=560&h=315]

______________

Follow Joshua Luke Smith

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Official:

http://www.joshualukesmith.com/

Facebook:

https://www.facebook.com/joshualukesmithmusic/

Twitter:

https://twitter.com/JoshuaLukeSmith

Instagram:

https://www.instagram.com/joshualukesmith/

SoundCloud:

https://soundcloud.com/joshualukesmithmusic

 

INTERVIEW: Lots Holloway

INTERVIEW:

 

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PHOTO CREDIT: William J. Pope

 

Lots Holloway

__________

THAT all-crucial debut single must be one of the…

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most nerve-racking and mind-altering proposition for any artist. I have seen few go into music with an enormous amount of confidence. There are those nerves; almost like the first day at middle school: the awkward introductions and getting a lay of the land whilst you stand solemn and nervous in the lunch queue. There are musicians that approach that hurdle with an enormous amount of resolve and fortitude. World’s on Fire is the opening salvo from the mercurial, striking and one-of-a-kind, Lots Holloway. Her song reacts to the atrocities and insanity of 2016 – the bloodshed in Syria and Orlando’s Pulse nightclub; Brexit and Trump together with all the violence and division we saw – and is as powerful and affecting as one would imagine. I wanted to ask her about the song and why she was compelled to write it. In addition, she talks about the experience of recording at Bryan Ferry’s studio; the albums and artists that inspired her growing up and the main differences between Cornwall (where she was born) and London (where she lives now).

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

Hey Music Musings’; my week has been pretty sweet, thank you.

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

I am Lots Holloway. I am a singer, songwriter and instrumentalist - I write music because it’s the only way I feel I can properly communicate and translate my thoughts and feelings. I describe my music as Alt.-Pop: Popular music with aAlternatives twists.

World’s on Fire seems like a song that reacts to the world around us and appropriate for the times. What inspired the song’s creation and can you tell us a bit about it?

The song was written last summer (2016).

I was overwhelmed by the world surrounding us and I felt I needed to talk about it. There was a daisy-chain of events that fed me the inspiration for the song but it was the impact of them happening altogether that was the real catalyst.

Attacks in Brussels, Istanbul; Nice, Orlando; Syria, the U.S. presidential battle, Brexit; the refugee crisis - it was almost as if the world had had a momentary lapse of conduct leading to devastating and confusing realities.

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I guess the song reacts to all of the 2016 atrocities. Looking back at last year: does it all seem like a strange blur or is still raw and real to you?

I was hoping that 2016 would be the nightmare and that 2017 would be the waking-up but it doesn’t seem that way at all. As much as the events seem like a blur; the effects of these events are not, and for all the people who were directly affected, they will never be a blur.

We are living in delicate and unpredictable times, so yes, there is rawness and realness.

Do you think musicians have a duty to react to world events and concentrate on more important themes like this (rather than love and romance)?

There will always be room for love and romance: the world needs light and it needs hope, and although I don’t think artists have a responsibility to reflect the times, I cannot understand why, as an artist, you wouldn’t want to or be compelled to. Music is empowering: it is a universal language that speaks to people and I feel that it is times like these when people need to be spoken to the most. Our current world situation is not a problem for one person, or one group of people; or one country… it is a global, human problem - if the world is on fire, we will all burn.

World’s on Fire has a great Pop sensibility but is deep and lyrically intelligent. Which artists inspire you most and who were the musicians you grew up listening to?

Growing up I listened to my parents' music: ‘60s and ‘70s stuff mostly. David Bowie, Fleetwood Mac; Pink Floyd, Talking Heads; The Beatles, Queen and The Kinks. I am inspired by artists who are creative without fear. I am also addicted to melody and harmony so that would’ve come from my love for ABBA and The Beach Boys.

[youtube https://www.youtube.com/watch?v=nke8B3NNmCY&w=560&h=315]

The video is very striking and moving. Whose concept was it and what was it like shooting it?

The video and its concept was a collaborative effort. I worked with a wicked girl called Kat Kemsley and her team. We were on the same page from the very beginning: we wanted the video to have a chaotic atmosphere that would hopefully leave a strong, sombre taste in the mouth. The shooting was fun. It was very cold, as you can see by my breath in the shots, but it was worth it for sure.

The song was recorded in Bryan Ferry’s personal studio. You used some instruments and equipment Brian Eno owns. How did you come to connect with Ferry and what was the recording experience like for you?

The producer I decided to work with was Mike Hedges (Manic Street Preachers, The Cure and U2). He had a personal connection with the team at Ferry’s place so I was very fortunate that they liked my music enough to let me record there. I believe one of the one other artists to record there was Prince. The experience was incomparable to any other studio time I’ve had: to be inside someone’s personal studio is not like recording in a commercial studio; it’s almost like you step into someone else’s mind, someone else’s psyche - and you can’t help but be influenced by that. As for Brian Eno, I have always been a huge fan of his work so to use and play with his instruments was surreal.

Can we expect a Lots Holloway E.P. or album this year?

Oh, for sure. I am heading back into the studio in March so it’s all going to be with you this year.

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You were born in Cornwall but moved to London in 2011. Moving to the capital seems like a natural migration for artists. What attracted you to the city and what is it like for a young musician in London?

London is the hub of art. London is the only place in the U.K. you can be whoever you want and not be judged. The true music scene only really exists in London. For me, it wasn’t a choice: I had to find it. Being a young musician in London is hard, so hard - so hard but so exciting. Being a young musician in London and facing the daily disappointments of the music industry is like your initiation: it will either break you or make you. I loved it.

In addition to guitar, you play piano, bass and drums. What is it about various instruments that attract you and are you learning any more at the moment?

I am obsessed with sound. I couldn’t get enough of learning how to play instruments. I taught myself mostly but I would sit for hours and hours until I’d mastered a chord or a beat or a riff. Each instrument has its own personality and its own limits - I think songwriting is why I chose to play a lot of instruments; the kind of song you’ll compose using a piano is totally different to a song you might compose using a guitar or a bass riff. I am currently annoying my neighbours by learning to play the harmonica, so that’s cool.

Last year was pretty eventful. In terms of politics and society; do you think 2017 will be brighter and what are the lessons we have learned from 2016?

2016 taught me that division is fatal. If we want our world to change we have to be united. People need to be reminded that their lives and opinions are valued. I hope that 2017 will surprise us all and bring about some brighter things, though.

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

Pink Floyd - The Wall. This was the first album I ever listened to as an album: from start to finish as a complete work of art. It solidified my passion for music.

David Bowie - The Rise and Fall of Ziggy Stardust. I love Bowie’s talent for lyricism; it’s unmatched - but that’s the same on every album. What I like the most about this album is the story and the dramatic, theatrical storytelling through the vast choice of sounds; the melodies and the use of vocals as instruments. This album made me feel like I could be the artist I wanted to be.

Kate Bush - The Whole Story. I know, I know: it’s a compilation album… but I don’t care.

This was the first vinyl I ever bought: purchased in a secondhand shop for £3 and still might be my favourite record I own. Kate is wonderful; she understands music in such a different way - I could listen to this record all day.

Are there any musicians, international or local, you recommend we check out?

None that you wouldn’t already know but the album I can’t stop listening to is Chaleur Humaine by Christine and the Queens.

What advice would you provide any upcoming artists?

Don’t rush anything. Take your time to make sure you are happy with everything you’re doing because if you are good enough; no time will stop you from being who you want to be - enjoy each moment.

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

This song has been in my head all week so let’s pay homage; because I’d also “like to see America” (and the “girls in California”)...Supertramp -

Supertramp - Breakfast in America.

https://open.spotify.com/track/4hEk1CHls2JEDbKIKy8JxV

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Follow Lots Holloway

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Official:

http://lotsholloway.co.uk/

Facebook:

https://www.facebook.com/lotshollowayofficial/

Twitter:

https://twitter.com/lotsholloway

Instagram:

https://www.instagram.com/lotsholloway/

YouTube:

https://www.youtube.com/channel/UCXXDqnWn87PLNQ8Er3ABcwA 

INTERVIEW: Oliver Asadi

INTERVIEW:

 

 

Oliver Asadi

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FOR every distinct and bold musical creative out there…

one finds an overflowing vessel of mundane and yawn-worthy artists ready to tip the balance into the ocean. I always look to feature acts possessed of an interesting story and fascinating personality: songs that hit all the senses and mark them out as something rather special. When it comes to standing out from the crowd; few do it quite the same was Oliver Asadi. He is a multi-talented creative who is a graphic designer, music producer/editor extraordinary: an art director and multi-talented writer standing as one of the brightest Hip-Hop talents in the U.K. I speak to him about his multi-disciplinarian facets and how they impact on his music; his latest video, Till I Die and whether we can expect more music from him soon. In addition, Asadi talks about upcoming musicians and broaden their skillset – so few look beyond songwriting – and the city of Leeds – where he is based – as a centre for musical inspiration. On top of all that, I ask Asadi about his background and the artists he recommends to us all.

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Hi, Oliver. How are you?

I’m good man. Just vibing out at the moment, listening to my beats. You?

How has your week been?

It’s been like mad weird and hectic; humans are crazy. My life is on some rollercoaster vibes right now. I’ve found out that drawing is actually mad therapeutic for me. So I’m back into that. As always, I’m producing new stuff every day.

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

My name is Oliver Asadi and I am one of the best creatives in the world. I am probably one of the most ambitious and passionate people you will ever meet. I write, sing; rap and produce songs. I design art. I direct and edit all my own music videos and films. I am currently working on a new film, a concept for a video game; a fashion collection and multiple music projects such as King of the Wild and Loveless Jungle.

I am intrigued by the nickname ‘King Lion’. Where did that come from?

I’m actually half-Persian and my full surname translates that ('King Lion') in Persian. So, like, my whole family is actually lions.

Leeds is your hometown. It is one of the most fascinating areas for music in the U.K. Is it quite grating a lot of the national media focus heavily on London and do not realise the great music coming out of the city?

Yeah, it’s kind of weird. I feel like sometimes just the fact that you are based in London will make people think you’re more legitimate. Like, if I move to London does that suddenly make me a better artist?

No, I won’t be: I’ll be the same dude. I don’t want to sound like I’m sh*tting on London because I actually really f**k with it.

It’s more the bloggers and journalist types of people I have a problem with. Like, they need to pay more attention to what’s happening outside of London - especially in Hip-Hop. Like, honestly, I feel if you’re aware of me and other creatives but don’t show love. It shows you don’t care about the creativity and passion; you’re just a d*ck rider that writes about whatever is big and popping in the scene at the moment. You don’t care about the art: you care about looking cool and trendy.

I’m tired of seeing all these music artists that are sucking writer’s d*cks just to get some exposure. It really needs to stop. I’ll show you genuine respect if I’m f*cking with you - I won’t do it as a necessity. We the ones making music. Words are dated.

What, would you say, is it about Leeds that breeds such incredible music?

I think this is one the benefits of being in such an undervalued city. A lot of us can have creative freedom. We can make whatever we want. Like, we don’t always want to make stuff for radio or super-commercial use. We are D.I.Y. as f*ck because we don’t have the same tools and resources other cities have. Like, people don’t even know that Leeds was the city that pretty much brought Goth culture to life. We are innovators.

You are a graphic designer and art director (among many other things). Have you always been into art and creativity or is it something more recent?

I was actually way into the whole artistic creative side of things way before music. I’ve been doing creative stuff my whole life; like when I super-young in infant school I used to watch Art Attack all the time and copy what they did on there - and then I got into Pokémon and Dragon Ball Z, and started designing Anime characters and drawing Manga. Then, when I got into middle school, I used to write plays and make magazine concepts. In high school, I used to run a backyard wrestling promotion which I designed all the characters, graphics; the videos and websites for. Then, when I got into college, (it) is more when I started getting into the music side of things.

Do you feel being able to direct and edit your own videos gives you more control over your own work?

Definitely. I actually find it really hard to give someone else control of one my music videos because I feel my artistic visions are hard to define. I try to make each of my music videos reflect the tone of the song, my personality and thoughts.

Saying all that, though: I do really want to work with other art directors: they just have a unique vision. I really like Neil Krug, Alejandro Jodorowsky and Araki Nobuyoshi’s work. I feel they all display raw emotion in imaginative ways.

Do you feel more musicians should become multi-disciplined and learn these skills?

Absolutely, no doubt. I feel a lot of music artists, who are just rappers and singers, think that’s all they have to do; like they can just coast along doing that. Like, bro., where is the drive and passion? I’m learning every day. People are too scared to look stupid; to try and do anything different. Failure is the best lesson. Matter-of-fact, most things that are labelled ‘weird’ are some of the most normal stuff to me - it’s just the general audience that is way behind. It’s the normal cliché stuff that is weird to me; like why are you even doing it? What’s the point; where's the artistic integrity?

You have produced some great work the past year. Masked Shaman is something that sticks in my mind. Can you tell me about the inspiration behind that and which of your past works are you proudest of?

Appreciate it bro.! Yeah, Masked Shaman was, like, the first project I put out. But feel even that was rushed because of university. I had to release a music project to coincide with one of my university projects so I had to put something out all of a sudden. I recorded and picked songs that gave the vibe and mindset I had at the time. It’s funny, it’s super-trippy and atmospheric so people associate it with drugs but I’m actually mad-straight-edge. I just like those types of sounds.

I’m super-proud of my films NIYAZ and Peach Juice as well as few latest songs. NIYAZ was showcased at the Leeds Silent Film Festival and I just submitted Peach Juice for a few. I really feel like I was able to achieve what I had to set out to do with them.

[youtube https://www.youtube.com/watch?v=_QwO25w1PIM&w=560&h=315]

Till I Die is your latest video. What was the inspiration behind the song and was the video fun to shoot?

In general, it was basically me saying I’m going to be doing this weird artsy stuff ‘til I die and there’s nothing you can do to stop me.

I have all the power because I know how to make the beats, songs; lyrics, art and videos. My mind is the source of the creativity so you can strip me of every materialistic thing and I can still make sh*t.

Man, shooting the Till I Die video was so weird. The original concept was to have a super-high-budget music video shooting on R.E.D. cameras and all that stuff. But that plan fell through, so I went the complete opposite route. I did it with no money and went completely lo-fi. I wanted its look to match the mood of the song which was like a tribal-chaotic-jungle type of vibe. My friend Nun Clark modelled as this tribal Pocahontas type of girl I had envisioned in my mind; which also nearly didn’t happen because she missed her bus (haha). What was mad weird for me was that I borrowed a V.H.S. player to record the footage of and it had a copy of Pocahontas in it. It was mad-freaky.

My dude Kid Genesis was a camera operator for a lot of it so it looked mad suspect that another dude was recording another guy jumping about in a pretty public place with his top off (hahaha). It was definitely fun. Post-production was probably the hardest part of it.

Can we expect some new music from you in 2017?

For sure! I actually have a lot of music I want to release: I just need to find someone to mix it for modern Hip-Hop consumption. I have these songs called Fire, Primal Expression; Moonlight, Problems - and more that are like so good bro. Me and my friends just jump about to them all in the studio and in my room - they hard.

Those are like singles, though. I actually have more album-like tracks with some cool features on them from some of my friends and other pretty big artists in the Hip-Hop world. I hope I can release them at some point.

What are your plans for this year?

Do super-cool stuff and be happy.

[soundcloud url="https://api.soundcloud.com/tracks/282845971" 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 people in London would love to see you perform live. Are plans on coming down here?

For sure. I try to get down to London as much as I can as it is kind of like where the culture of Hip-Hop in the U.K. is. I want to perform there more, so London promoters book me! I’m one of best live Hip-Hop solo acts right now! I bring the chaotic energy and vibes.

I hear shades of M.I.A.’s early-career inventiveness and Kanye West’s swagger in your work. Are they important artists to you?

Yeah, they are like my idols, for real. I want people to feel good about themselves; people need to realise that when I’m saying “I do this” and “I do that” in songs, I’m actually talking about ‘we’ as in the person listening.

I feel so much music is, like, made to lower your self-worth. I really have the belief that anything is possible: things only become impossible when you limit your self-thinking hat.

I wouldn’t be doing what I do if I listened to other people saying I can’t do something. People need to learn don’t ever doubt me for a f*cking second because I will always do what I want to do.

If you had to narrow down to three albums that have shaped you most which would they be and why?

I know straight off the top my head the two of them are Kanye’s My Beautiful Dark Twisted Fantasy and Kid Cudi’s Man on the Moon II: The Legend of Mr. Rager. They like saved my life; like those are the first albums where I felt I had a relatable conscience; like I can feel like Runaway one minute and my mood switches to Hell of a Life a minute later. The third would probably be N.E.R.D.’s Fly or Die because that’s how I feel: it’s literally fly-or-die for me. Like, I’d rather die than have my creative freedom taken away from me. I guess you could say they all like introduced to me the artistic side of Hip-Hop rather than the super-commercial side of it.

Are there any new artists you’d recommend we check out?

Check out my friends - SaNTINO, Jeron Braxton; Chaos Jigsaw, Hambling; Eva Eik, Dreamsoft; Raymonds Child, Will O’Gara and Kid Genesis!

They are pretty much all creatives like me so expect next level stuff.

Have you advice for new songwriters coming through right now?

Don’t over-complicate.

Simple words draw more emotion and strike harder.

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

This is one of my favourite songs of all time. The vibes and production inspired a lot of my material.

[youtube https://www.youtube.com/watch?v=gJubtcBZ6po&w=560&h=315]

Photography by Moon Child

Art Direction & Styling by Oliver Asadi

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Follow Oliver Asadi

Official:

http://www.oliverasadi.com/

Facebook:

https://www.facebook.com/oliverasadi/

Twitter:

https://twitter.com/oliverasadi

Instagram:

https://www.instagram.com/oliverasadi/

SoundCloud:

https://soundcloud.com/oliverasadi

YouTube:

https://www.youtube.com/channel/UCUqaDLe0WBYpd018gaog7yA