INTERVIEW: Lauran Hibberd

INTERVIEW: 

 Lauran Hibberd

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LIFE for a talented young musician on the Isle of Wight…

has its benefits, that’s for sure. Not only are there epic festivals on the doorsteps: Lauran Hibberd has some great musicians and producers living close by. I speak to the artist about her current E.P., Favourite Shade of Blue, and whether a snippet of a new track, Parties and Babies, will find its way into the studio. Hibberd talks about artists like Laura Marling and Feist: those who have been instrumental and influential in her formative years (right up until the present-day).

I ask about tour dates and what gigs she has coming up; a few new artists who are in her mind and, whether her bedroom – where she writes all her songs – is the perfect place to create music that has personal intimacy, deep passion and incredible moments of candour.

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

Hello! I’m good, thank you.

I’ve finished a new tune; played live for BBC introducing and bought orange dungarees - so this week has been kind to me.

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

Of course.

My name is Lauran Hibberd (Lauran with an ‘A’ - not an ‘E’).  I’ve recently turned twenty and I’m a Pop/Folk-inspired singer/songwriter living on the Isle of Wight.

Favourite Shade of Blue is your latest E.P. Can you tell me about the inspiration behind the title and have you been surprised by the reaction it has got so far?

As this was my debut E.P.; I felt a real pressure to get the title right. It had to sum up a year of my work and represent me and my debut as an artist.

So, I went around the houses and came up with titles as long as your arm… but I could never settle on one. The leading single was always going to be Favourite Shade of Blue, and then, I started reading into the title and how it could translate into so many different things.

The song itself is all about how ‘blue’ can be portrayed as a colour as well as an emotion - and how there are so many shades and layers to both of those things. So, when I thought of it like that, it completely summed up the whole ethos of the E.P.

The reaction has been great! The E.P. has been a long time coming as it took me so long to get it right (I’m a bit of a perfectionist and everything in the industry takes time) - but, I’m extremely proud of it. It was also great to have a premiere by seenlondon.com - and support from BBC Introducing and Amazing Radio. I had no expectations when releasing it - so, any press/radio/feedback was a lovely surprise.

I had an incredible reaction on a recent Facebook live-stream, also. It’s a funny thing: because I spent so long working on this E.P. - and the minute it was complete - I was on to the next thing. I’m back in the studio already; working on something new coming in September.

What kind of moments and times inspired the E.P.? It sounds like some of the songs are quite emotional and hard-going? Was it quite tough writing the tracks on the E.P.?

I’m fairly young so I’m used to feeding off other people’s experiences when it comes to writing - but these tracks strictly relate to me and my home. I’m a very free writer and often don’t realise how I’m feeling until I write a set of lyrics - but I never find it tough; always enlightening.

The concept behind the E.P. was to demonstrate the happiness that comes with sadness, to signify the purity that comes with youth - but emphasise how it slowly disappears into the unavoidable… love, loss and all that falls in-between.

I see, from social media, there is a song, Parties and Babies, taking shape. Can you tell us anything about its inspiration?

Yes!

I am so excited about this track: it’s really fun, really honest and actually quite heart-warming - despite the melodramatic title.

My sound is definitely developing. I’m now listening to a wider range of artists and really experimenting songwriting-wise. This song is a really great insight of things to come.

You just played a BBC Introducing Solent Live Longue. What was that experience like? Are the musicians who played with you there the same we hear on the Favourite Shade of Blue E.P.?

Yes, it was great fun!

It was a Bestival special and I’m lucky enough to have a Main Stage slot there this year - so it was really getting us into the spirit of things. I’m so grateful for all of BBC Introducing’s support so far. I did an acoustic session for them last year; so it was great to go back full-band.

I love playing with the band (Oli Old on Guitar, Jess Eastwood on Bass and Joe Perry on Drums). They have been with me from near-enough the start. We’re all great friends as well; which makes gigging together good fun.

The musicians that played on the E.P. were different in this case, though. A huge thank you to Chris Newnham (Guitar), Rupert Brown (Drums) and producers Boe Weaver - here on the Isle of Wight.

Your official website is informative and you have many great images. You update social media and have a very professional approach to music. Do you think that is important – and should more musicians put this sort of effort and attention in?

I think it’s super-important, especially at a time where people don’t go anywhere without an iPhone. It’s the best way to reach people… and I love it.

I like to update social media regularly - just to keep people posted, and make them feel like a part of what I’m doing. I always think, a Facebook page for a musician is like a C.V. - but a prettier one that happens to have emojis on.

Can you tell me how you got that passion for music? Were you compelled by music as a child? What kind of artists were you listening to?

I started having guitar lessons at fourteen and singing and songwriting became a huge afterthought to that - and something I didn’t really know I could do until I partnered them. I was hooked as soon I’d finished my first song.

Up until that point, my listening was whatever was on the radio… it wasn’t until I started obsessing over music that I delved into artists like Bob Dylan, Joni Mitchell and, more recently, Laura Marling and Feist.

 I believe your songs come together in your bedroom. Have you always written there and do you think that quiet and privacy leads to great songs?

Every song I have ever written has been written in that bedroom.

I think it’s just where I am most at home - and comfortable enough to write freely. I keep all of my guitars on a stand by my bed; so it may also come down to laziness! I’ve just never felt the need to take it, or try it, anywhere else.

I’m definitely a 'lone-wolf' kind of writer so the quiet and privacy definitely lends itself to that. But everyone is different: that’s just the way I have grown to go about things.

The Isle of Wight is your home. What is the place like for music? Is there a varied and busy music scene there?

The Isle of Wight is a great place to grow up and definitely a great place to write songs.

There is a music scene and it is definitely varied and definitely growing and we’re also lucky enough to have numerous festivals on our door-step. I recently supported Clean Cut Kid at a brand-new venue, Strings, so things are definitely on the up; and a lot young musicians are pioneering that.

Stations like BBC Radio 6 Music and Radio X have played your music. Has it sunk in at all – how popular and widespread your music is becoming?

It’s incredible - and always unexpected.

It’s really reassuring more than anything and is always surreal but it’s the dream job! I released my first song in December 2015 so I’m really proud of how far everything has come - and what I have built up along the way.

So...I’m just really hoping it all continues on an upward path.

I hear shades of Laura Marling in your songwriting and performances. Is she someone you admire?

Definitely. I’m a huge fan.

She really got me into the world of ‘Folk’. I’ve had her album, Alas, I Cannot Swim stuck in the C.D. player in my car for about a year now - so that’s had many a-listen!

I also went to Citadel in London to watch her recently and she did not disappoint.

Can we see you on tour anytime soon? Where might we be able to catch you?

I’m hoping to tour early next year, actually; I have a few things in the pipeline so I’m hoping it all comes together.

In terms of this year, though, you can catch me at Victorious, Bestival and Ventnor Fringe. I will also be in Nambucca (London) next month and will be playing at a few universities - including Winchester in September.

So...lots of things are on the way!

IN THIS PHOTO: Billie Marten/PHOTO CREDIT: Liz Seabrook

Are there any new artists you recommend we check out?

I’m a big fan of Maggie Rogers. Her debut E.P. is incredible and definitely brings some new elements to Folk.

I’m also a fan of Billie Marten, Lucy Rose etc..

I’ve been listening to a lot of Feist and Courtney Barnett, too.

Lastly, there is an incredible guy on the Isle of Wight called Swan Levitt. It’s super-moving and I’m playing a show with him soon!

lUAR11.jpg

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

(These are the albums that kind of turned my head - and made me want to listen to the artists that inspired these artists - and the artists that inspired those artists etc. On a different day, we’d probably be looking at a different three albums. These may not be my favourite now - but they are definitely where I started…)

Laura Marling – Alas, I Cannot Swim

This was the first C.D. I bought that wasn’t a ‘Now!..’ or ‘Pop Party’! I stumbled across the track, Ghosts, and became obsessed (and I still am). It’s stuck my car C.D. player; so I know it better than some of my own songs!

Feist – The Reminder

I absolutely love this album. I became really aware of the power of production etc. with this record: it was a real eye-opener. I’m definitely more into her recent albums, now, but, as a turning-point and as a songwriter.

I took a lot from this album

Bon Iver – For Emma, Forever Ago

This was my ‘music college’ album. Everyone was obsessed with Bon Iver; so I went home and listened to For Emma, Forever Ago and, thirty seconds into the first track, completely understood why. It’s beyond engaging and, as a sixteen-year old listener, was a bit mind-blowing.

This album definitely pioneers my mid-to-late-teens.

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

This is a tough one.

It’s hard to give advice to an artist because everyone has their own way of doing things - and their own vision. I would just say: make good music, write good songs; play good gigs, meet good people and let everything else run its course.

Just work hard - and be nice to people.

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).

Great. Thanks for chatting!

I’m off to see Feist on Thursday so let’s give her new tune, Pleasure, a spin.

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FEATURE: The Summer Playlist: In the Sun...and After Dark

FEATURE:

 

The Summer Playlist: 

IMAGE CREDIT: Unsplash  

In the Sun...and After Dark

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OVER the next couple of days…

IMAGE CREDIT: Unsplash

I am keen to explore a number of things through features. For one, I want to talk about my future ambitions and new projects; whether love, the staple of modern (and historic) songwriting is as inspiring, original and popular as once was; whether it is possible for musicians to survive on gigs alone – and the reality for artists in the modern climate. I will also talk about mental health in music and whether more needs to be done. Now, and less serious perhaps, a chance to immerse yourself in a sun-drenched selection of songs. These are tracks, some new and old, that, I hope, beckons the summer and get the warm vibes flowing. It has been a rather unpredictable day and I am wondering whether we will see the sort of temperatures encountered only a week ago. If we don’t, and who knows living in Britain, here is a selection of songs that are guaranteed to warm the body – and get it moving at the same time. In fact; these songs are about when the sun goes down and when the heat still lingers – and all the lights go down…

INTERVIEW: Hannah Featherstone

INTERVIEW: 

 Hannah Featherstone

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BASED in Paris and, as a former resident of Brighton…

PHOTO CREDIT: Alfredo Salazar

Hannah Featherstone has experienced diverse cultures, romance and eccentricity. Her music career, whilst less eventful, has been impacted by her time in France and the U.K. I was excited to learn more about Solo and working with Noémie Daval on its video. She talks about the song’s inspiration and whether we will see her perform in Britain this year.

I ask about Paris and how it suits her style; the artists she grew up listening to and some of the albums that have been important to her – and compelled/guided her own sound.

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

I’m very well, thanks.

My week has been great so far. I’ve been in the countryside in the centre of France; by a river and under the sun - touring with a British orchestra. It’s been fun to challenge myself to sing Classical pieces and I’ve really enjoyed working on orchestral arrangements my new songs.

A fine balance between relaxation and hard work!

PHOTO CREDIT: Alfredo Salazar Photography

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

 I’m Hannah Featherstone: a Pop-Jazz singer-songwriter; born in England and raised in France. I started my journey with music when I was really young - singing with gospel choirs and playing classical piano.

I later discovered Jazz singing. I’ve always enjoyed mixing styles and playing around with my voice and strange chords.

At university, I started composing my own material. Some of my housemates and family overheard what I was doing and encouraged me to get music out there.

That’s how it all started!

Solo is the new single. What is the song about and can you remember the moment it was written?

I wrote Solo five years ago in my apartment, in Paris, in a period of romantic confusion - that moment when you’re wondering whether to wait around or move on.

Instead of beating myself up about it, I just set my emotions to music and decided to enjoy a time of restless, yet peaceful, solitude.   

Its video is online – looks like it was interesting to shoot. How was it shot because it looks like it employs some unusual visuals/techniques?

It was a bit of an experiment for all of us.

We borrowed a good camera, good lights and figured that, with a simple idea and clear direction, we could do a cool video. I teamed up with Estienne Rylle (who I also collaborated with for the music arrangement) and Noémie Daval for the ‘glitch art’ - which is creating digital errors by corrupting data.

Estienne directed the shoot and did the editing, incorporating Noémie’s glitch work into the pictures.

PHOTO CREDIT: Alfredo Salazar

Noémie Daval provides the look and effects on the video. How did you come to meet her and will you be working together again?

We met in an artist evening at a church in Paris, became friends and started working together on various projects. I took part in her project on synaesthesia called Ce Que Mes Yeux Ont Entendu (what my eyes have heard). She asked me to write a few vocal pieces that she turned into works of visual art.

We definitely plan to work on more projects together. Some are already in the pipeline…

I believe Solo is the current song from your upcoming album. What can you tell me about the album?

It’s a twelve-track album coming out later this year called Word Bound - centred on my piano and voice. I wanted to keep it quite bare in its style so the Electro sounds complement the voice - and the drums by David Allevard give the songs a nice strong groove.

The album centres around the question of what lies beyond words and beyond the representations we have of the world and people around us.

PHOTO CREDIT: Alfredo Salazar

You teamed up with Estienne Rylle for the album. What was it like working with him and what does he bring to the music?

I actually met Estienne at the point where there had been a few setbacks in getting the album recorded - when I was on the verge of giving up on the album after a few failed attempts at getting it recorded.

He was able to convince me to stick at it and see it through.. I don’t regret it one bit. He was able to get me through the final stages and really grasped the sound I was looking for. He’s a talented young artist and it’s been a privilege to work with him.

Paris is where you are based. What is the city like for music and how inspiring are its people?

Paris is a buzzing city and it’s great to be part of a culture that encourages art and creativity.

I’ve been living there for six years and I’ve enjoyed getting together with friends; stumbling upon bars that play live music and going to great concert venues.

PHOTO CREDIT: Guergana Damianova 

There’s so much going on: it’s easy to feel lost though. Paris does remind you of how small you really are!

It seems like you are at home in Paris. Any temptation to come back to England (where you were born)?

To be honest; I have been thinking about it.

I’ve always felt torn between the two countries. For the time being, Paris is where I want to be - but I definitely will be moving at some stage…to England, or elsewhere! Who knows…?!

What has been the best gig you have played in France?

Playing at the L’Olympia has been one of the highlights.

Not only because it’s the most iconic venue in Paris but, also, because I played there alongside friends as the opening act for Gregory Turpin.

But I’ve actually also found the living-room concerts I’ve done just as memorable. They’ve all been unique and it’s a real treat to be in such direct contact with the audience.

How important is the French language; the styles and cultures and different genres played in the city to your music and creativity?

As I was raised speaking both languages at once: I have a tendency to mix and match expressions from both languages. Although it could be seen as a hindrance to writing lyrics; I think it probably means I can play around with expressions and ideas a little more - by tapping into the other language.

As for the genre; I wouldn’t say that the French style has impacted me all that much. Chanson Française is mostly based on strong texts. I’d actually say living in Brighton for a few years had a greater impact on that front.

Can you tell me about the type of music you grew up listening to? Was music a big influence when you were young?

I come from a musical family - so music has always been a big influence.

I would listen to Bach, Phil Collins; Whitney Houston, Arvo Part; Bobbi McFerrin. As the rest of my family was so talented, I was often tempted just to let them get on with the musical stuff. So I did try to get away from it all. But it kept catching up with me.

I eventually decided to give it a real go myself.

What does the rest of the year hold in terms of plans and further music?

I’ll be releasing a few other tracks and videos before I get the album out in November (sometime).

I look forward to composing again as I haven’t been able to get down to that for a while.

Are there any tour dates coming up? Any opportunity to see you in the U.K.?

I’ve got a set of festivals and living-room concerts coming up in Holland, Germany and Brussels throughout August - and I’ll be doing some more in France in the autumn.

I’m also planning a few gigs in the U.K. in the near-future - I’ll keep you posted online…

IN THIS PHOTO: Charlotte & Magon

Can you reveal whether there are any new artists you recommend we check out?

I’d recommend you check Charlotte & Magon: a duo based in Paris that I met a few months back.

Great music and beautiful people!

PHOTO CREDIT: Alfredo Salazar

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

Camille – Le Fil

For its insanity and originality.

Fiona Apple – When the Pawn…              

For its raw power.

And any album from Lauryn Hill

For her soul and swag.

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

Surround yourself with people you trust and don’t be swayed by what people want you to be!

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).

Laura Mvula – Green Garden

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FEATURE: Declan McKenna: From Brazil…to the World

FEATURE:

 

Declan McKenna:

 From Brazil…to the World

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IT might seem strange to focus so heavily on a new songwriter…

and someone so young – putting their debut album out to the world. I will come and talk about the awesomely-titled, What Do You Think About the Car? later on – as it represents a fantastic achievement from a bright and multi-talented young songwriter. There are a lot of solo musicians who write their own material and play their instruments. It is not as common as one would hope and, on Declan McKenna’s debut outing, he pours his personality all over the music. I have heard few young newcomers with such an individual and take-care-of-everything approach to their music. Maybe my 2016-favourite Billie Marten – on her debut, Writing of Blues and Yellows – had that integrity and talented – a couple of co-writes and some help with instrumentation and performance. McKenna is a teen who reminds me a bit of the young Bob Dylan – albeit, a modern and ‘sassier’ version. He reflects on modern life and issues few songwriters touch upon. I will come to that, as I say, but, right now, a bit about where Declan McKenna came from. Born on Christmas Eve, 1998; the Hertfordshire-raised musician started his G.C.S.E. exams in 2015 – makes me feel bloody ancient (I took mine in 1999)! Studying A-levels in English Literature, Philosophy and Ethics (and Sociology): it seems there is an intrinsic and deliberate connection between his academic pursuits and lyrical viewpoints. One can see how those areas of education have gone into a debut album – one that brims with relevant insight, accusation and intelligence. In fact; McKenna had to put the A-levels on hold once his music career started to take off. McKenna signed with Q Prime shortly after a triumphant appearance at Glastonbury in 2015. McKenna put his signature to a Columbia Records contract – after more than forty record labels battled it out to win the heart of the teen. That first single, Brazil, criticised FIFA – the governing body of football – and how they awarded the World Cup to Brazil in 2014 – overlooking the rampant poverty and violence inherent in the country.

PHOTO CREDIT: Emma Swann

Few artists, of his age and background, feel compelled to engage in political discussion and include in in their music. The fact McKenna hails from a working-class background, in a way, makes him more aware of the struggles of the people of Brazil – not that there is any link between his upbringing and theirs (I guess there is a natural empathy and outrage in the young man). Brazil, in addition to being a captivating song, highlighted a poverty and injustice that needed to be unearthed. Through 2015, with the success continuing to build, McKenna played a range of festivals through Ireland and the U.K. Most of these were quite modest – Big Boston Gig festival in Lincolnshire, for instance – but a chance for the songwriter to hone his skills and get his music to new faces. Self-released second single, Paracetamol, looked at transgender teenagers and how they are misrepresented in the media – the idea being that paracetamol is seen as a cure; the fact these teens might be able to be ‘cured’ of an ‘ill’. It is no surprise the song garnered praise and acclaim from the likes of NME. Many, even at that point, were calling Declan McKenna the ‘voice of his generation’. He refutes this claim (with a humorous and profane utterance) but, given the things he is writing about, he is responding to issues that need addressing. In a music scene swimming in mushy love songs, negativity and commercial ambitions. McKenna, as I glean from interviews he has conducted, is as down-to-earth and charming as they come. He rocks a good pair of dungarees – he explained to the BBC they are versatile and have plenty of handy pockets – and finds it condescending people think he should not be addressing such hefty topics at his age.

The fact the E.U. referendum result irked him some – and he, only eighteen now, was too young to cast his vote – compels anger and the need to expose the worst traits of our people; how we are becoming a divided nation – and one that wants to split from the outside world. The cracks in Britain mean we are becoming fragmented: this is something the young McKenna is acutely aware of – and feels a lot of sorrow and annoyance at. McKenna got his record deal at Glastonbury and, seemingly a contract delivered with mud splattered on and people excitedly urging him to sign, there was no fanfare and build-up. The teen signed it, had a big celebration and set to the task of creating his debut album. Let’s back it up a bit because, between here and then, a few things have happened. By late-August of last year; Declan McKenna unveiled Isombard to the world. Rather than bring out another boring song about love and life: this was a song about police brutality in the U.S. and how right-wing stations like FOX sought to justify it. Last year, following success and new material, McKenna secured gigs at Live at Leeds, The Great Escape Festival and Standon Calling. Debuting in North America on 11th March (2016) at Jannus Live in St. Petersburg, Florida; a set at SXSW and European dates took the British hopeful to the international audiences. That potentially poisoned chalice of BBC Music’s ‘Sound of 2017’ nod could have backfired for Declan McKenna. I have seen names on that list, including the winner of that list, who have not (thus far) reached their potential – not as lofty and successful as BBC predicted. McKenna is thankful of any nominations and features but, one suspects, does not want pressure and expectation on his shoulder. For much of last year, he was piecing together his album and working with James Ford – who has helped craft modern masterpieces by Arctic Monkeys and Florence and the Machine. I will finish with a look at the album itself but, for the remainder of this year, McKenna will play Reading and Leeds; other big festivals (he has played Glastonbury again) and plotting his next moves.

PHOTO CREDIT: Andy Hughes / NME

Speaking with NME, promoting What Do You Think About the Car?, McKenna was quizzed about his busking past (“I genuinely hated it”) and the experience of playing the streets of Harrow  (“But I thought if I did it long enough, loads of people would be listening to my music”). If his trademark live move of releasing balloons into the crowd would not work nowadays – he is playing thousand-seater venues – there are few other things that will change. He now has a platform on which he can write about L.G.B.T.Q. issues and the hyperbole that has been thrown his way. McKenna says, and addresses on Humongous, how those labels (being the voice of his generation) are ludicrous and nausea-inducing. People his age are engaged: he is simply articulating their viewpoints. There is a conception the middle and older-aged are the wisest: as election results have shown; should that be an assumption in need of reassessment?! It seems the young are the ones who want the best for the country and the most open-minded – much more tolerant and unified than other demographics. McKenna does not want to accuse his elders and ‘betters’ – merely talk about things important to him. The young master is looking ahead and urging us to watch this space. There is no telling what future albums might discuss: right now, he is rebranding and overhauling the traditional sound of the protest song. Were the music to have a Dylan-esque skin – slightly morbid hues and Folk strings – it might mean McKenna fades into the background – and dismissed as a moody and unoriginal protest artist. Shrewdly, he pens colour and flavour-laden bombs of fizz, fuzz and energy. He is compelled by David Bowie – a hero and someone he aspires to be – but turns his nose at any who suggests he is at Bowie’s level right now. Similarly, one should not ignore the trajectory of Declan McKenna’s career – showing the same originality and innovation Bowie did in his early days.

PHOTO CREDIT: @owenhardiker

If McKenna’s Hunky Dory and Low might be a few years off; he could, as he claims, maybe hit Earthling levels of quality right now – Bowie’s 1997 album that was not considered his best work. This is modesty from a hungry artist whose love of Bowie and ABBA can be detected in his kids’ choruses, vivacious electronics and huge Pop choruses. Many teenagers, growing up in today’s world, would need a lot of time to process what is happening around them. That is true of McKenna who, between the ages of fifteen and seventeen, was dealing with political divisions and facing rising fame. He spoke to Attitude about labelling his sexuality – how he is experimenting and does not want to define himself in binary terms – and refuting the sensationalism the media is providing him. So bright is the spotlight of expectation on McKenna; he is taking a mature and pragmatic approach to it. Rather than rebel and attack the media and the tags they impose on him: he is letting the music speak and taking care of business. We put too much pressure on young musicians and, when they start picking up fans, elevate them to absurd levels. Turning to the subject at hand – and the debut album from Declan McKenna – critics have been vibing and drooling over his car (an answer to that album question). The Guardian assessed the record, thus:

“…They are protest songs, but sound anything but worthy or world-weary. Instead, they are sun-soaked aural fizz bombs which channel indie rock through his love of David Bowie and Abba. His effervescent anthems are packed with detail, from electro squiggles to children’s voices, and he saves one of his best choruses for The Kids Don’t Wanna Come Home, in which he packs the anger, fear, alienation and glimmering flames of hope of Generation Z into a euphoric, uplifting pop construction…What a cracking debut”.

PHOTO CREDIT: Emma Swann

NME were hardly filled with hate and doubts:

“On debut album ‘What Do You Think About The Car?’, there’s swagger to McKenna’s delivery but no cockiness. Instead, he narrates his innermost feelings on everything from politics (‘Isombard’) to the media’s treatment of transgender suicide (‘Paracetamol’) with subtlety and skill. Standout ‘Make Me Your Queen’ is a rare moment of intimacy as he laments the ache of unrequited love, again with a delicacy and wisdom beyond his years”.

The eleven-track album was primarily penned in McKenna’s bedroom. This is a space he feels most relaxed in (and private). I am excited to see where Declan McKenna heads from here but, on the evidence of his debut album, it seems like a long and prosperous future awaits. The songs we already know about – Brazil, Isombard; Paracetamol, The Kids Don’t Want to Come Home and Humungous – are established and exceptional. Intriguing cuts like Make Me Your Queen and I Am Everyone Else are fascinating glimpses into McKenna’s personality and psyche. The entire album is focused, unique and uncompromising. He does not write for the charts, positions and niches: his debut L.P. is from the mind and soul; a young man exploring and growing into the world. This is his musical exploration and growth. Six of the eleven tracks have already been released as singles – one suspects that will probably be it already. There are big tour dates and the chance to get out to even more people. Many musicians might be daunted by such heady expectations from the media. Declan McKenna has no desire to let ego or false ideals define who he is. He’s a curious and lovable soul who is as interesting and complex off-record than he is throughout What Do You Think About the Car? Make sure you hear the album as it is one of the best of the year (so far) and, I think, signals a rare and near-peerless talent in British music. Not that is concerned with such things but Declan McKenna’s debut album more than means the Hertfordshire-born musician more than…

PHOTO CREDIT: Emma Swann

LIVES up to the hype.

FEATURE: Numb: Depression in the Music Industry

FEATURE: 

PHOTO CREDIT: Frazer Harrison/Getty Images 

Numb: Depression in the Music Industry

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THE tragic suicide of Linkin Park frontman…

Chester Bennington has, not only shocked the music industry and fans throughout the world, but put into sharp contrast an issue that is silent and indiscriminate: anxiety and depression in music. I know it is not a new phenomenon but, considering if it is the second huge suicide in a few months – Soundgarden’s Chris Cornell earlier this year – it makes me wonder why musicians, who have admiration and success, get to the stage where they would take their own lives. It seems like a last resort that many are confused by. I have been gauging the comments from fans and followers of Bennington. All have been stating how impactful his music was and remains to this day – some encountered Linkin Park as their first gig and it was a formative and life-changing experience. Others, with as much passion, quoted lyrics from the band that touched them. It seems, from a musician who seemed to understand the pain and torment that can break a person, to get to the stage when he saw no way out – and take his own life. Many of the commentators come to the same conclusion: how did it get to that point?! It is a simple and blunt point but not meant to judge or condemn. Instead, there is confusion and sadness. It seemed, from the outside, Bennington was okay, adjusted and fine. In fact, he was active on social media shortly before he died. There was no big 'cry for help' or any signs that the Linkin Park singer would commit suicide. That is the thing with depression: many who become that helpless and severe will kept it secret and not tell others. It would not have been a snap decision or something that was spur of the moment: it would have been as a result of past events, depression and a gradual build-up. Not to pour into the background of Bennington – he was abused when he was younger; could have contributed to his demons – but nobody will truly know why it happened and what was the ‘final straw’, as it were. Depression and anxiety and complex and, a lot of times, silent. I think about Chris Cornell and the reasons why, mere minutes after he came off the stage at a Soundgarden gig, he committed suicide. There, anxiety medication – and their adverse reactions – could have played a part but, when he took to the stage that night, he had already taken the medication.

PHOTO CREDIT: Mike Ehrmann/WireImage

People noticed he was slurring and out of time with the band. In the day before he got up on stage at the Fox Theatre in Detroit, he was on Twitter saying how pumped he was; how the gig was a massive one and it would be a dream gig. How, then, could a man like Cornell go from that elation and excitement to suicidal in such a short time? Did the anxiety medication help take the edge off nerves: did that, in turn, exacerbate the depression he has – that which, ultimately, led to his suicide?! If that were true, and he would have survived without the medication, it raised other issues. Do we need to set up campaigns, counselling services and measures so people do not need to take medication – some which can have life-threatening side-effects? Depression is a complex issue and, no matter how bad it can get, sometimes, people can see no other way to deal with it. One can say, yes, Bennington has millions of fans and that success behind him. How, then, could he either consider suicide – let alone go through with it?! It is easy enough when you are on the outside. One cannot imagine what was in his mind and what was happening around him in the days and weeks before his death. The wounds are, obviously, very fresh so I will not get into the whys and hows of his death. I have seen posting links to mental health charities: if you are in the same position, speak out before it gets to that stage. It seems there is that assumption that the reason people like Bennington commit suicide is, because, they feel alone and like there is nobody to talk to. Is that another reason why high-profile musicians’ deaths seem so stark?! One would think, given their fame, they’d be surrounded by friends and aids. This is a misconception and not always the case. One could not well post a warning message on Twitter and expect fans to help him through and talk him around. Depression is such a heavy and complicated beast: often, it takes more than words and therapy to cure someone. If you get to the stage when you take your life; chances are, all other options would have been explored and exhausted.

PHOTO CREDIT: Unsplash

That seems bleak but there is no single fix or easy way to resolve things. As someone who has suffered depression for eighteen years now; I can attest to how relentless and enigmatic depression is. I have tried counselling and talking – and bleaker things than that – and find it is not helpful or that comforting. Even if someone tries to cheer you or make changes: the problems are still there and you are the same person you were before. Depression is invisible and taking a theological, conversational approach to a chemical imbalance is a hit-and-miss approach. Some will find therapy and discussion open up a hidden burden and means others can help tackle things. In other cases, the mind overcomes and overwhelms everything else. If you have a past trauma or have been low for so long; there will be little discussion can do to mitigate and cure that. Depression is so varied and individual: it cannot be distilled to a single ailment and, as such, have a common remedy. One cannot say that, if Bennington has talked to people weeks/months/years ago, he would be here today. That would be a naïve assumption and insulting to his fight. Other say there is never a depression so bad the only way out would be suicide. I have seen others say that Bennington’s money and fame would have provided a comfort blanket and happiness most are not afforded. It does not matter how famous you are and how many fans you have. One cannot buy happiness – as we know so well – and success can often be the catalyst for self-destruction and isolation. It makes me wonder whether put too much pressure on musicians and whether platforms on social media make them more vulnerable and susceptible? Again, this is a forensic and hypothetical approach but are people becoming more anonymous and detached on Twitter and Facebook? Of course, one could read and see pictures/comments from the likes of Bennington and Cornell and think nothing of it. What is happening in their homes and away from the computer screen is undocumented and the other side of the coin.

PHOTO CREDIT: Unsplash

In many ways, if one were to reveal heartache and depression online, it leaves them prey to trolls and those who will add fuel to the fire. Are people feeling like social media is more an evil than benefit?! I would be remiss to be that revealing on social media. Not only would the responses be, I think, few but the advice might seem cliché and predictable. That is not a shot on good intentions but telling someone ‘you’ll be okay’ or ‘see a doctor before it gets worse’ is rather obvious. Chester Bennington knows all this – and knew how many people loved him – but that wouldn’t have made the difference. As I said; depression is not a single thing and nobody can say how it can be cured (if at all) and how bad it is. Maybe it seems redundant to mention it but I wonder whether we should do more to tackle stigma and issues surrounding it. Depression is an illness and, unlike cancer and other maladies, is not provided as much research and financing. Should the government do more to ensure the health service is set up to deal with the growing mental health crisis. That is what it is: millions away from the music industry go through the same and, sadly, many feel the only way to silence the pain is to commit suicide. The fact we live in a time when the plague of depression is killing so many seems shocking and unacceptable. I feel social media is a mixed blessing and something that is making people feel more alone and anonymous in many ways. It has its benefits and positives but how instrumental is to someone’s mental health and its well-being? Coming back to Chester Bennington and maybe commercial and critical pressures were a factor. Linkin Park released their current album, One More Light, was released in May and received mixed reviews. Many were scathing and said the band were past their best days. Bennington lashed out against critics who claimed the band had sold out and gone soft. He felt they had matured and it was a natural evolution. Critics are entitled to their opinions but it makes me wonder how detrimental and destructive bad reviews can be to a musician’s mental health.

IN THIS PHOTO: Chris Cornell

In the same way there would have been huge pressure on Chris Cornell’s shoulders – before Soundgarden’s gig back in May – maybe the reaction and backlash concerning One More Light was another wound Bennington could not shake off. Perhaps it is not productive analysing and speculating but it is clear we need to take a more proactive and reactive approach to depression. Governments around the world are not spending as much tackling the illness at its roots. Every notable suicide creates a wave of sadness and anger but, when that dies down, do we simply 'move on'? I have said how complex depression is so throwing money at it is not going to be as helpful in a lot of ways. I wonder whether we need to look at the way people are treated on social media; the pressure we put on our biggest musicians and whether, when someone confesses depression, we should detach them, to an extent, away from music and force them to get help. Bennington, right from Linkin Park’s debut album, used music as a way of talking about addiction and depression. Such a raw and honest approach to personal issues resonated with fans and helped so many people deal with their own problems – sad and ironic the author and mouthpiece could not find enough in those words to save himself. I don’t know but feel there is a needlessness and waste. Nobody should get to the point where suicide is the only option: huge musicians like Chester Bennington show how indiscriminate and cruel depression is. I’ll end with something positive – and have created a Linkin Park playlist at the bottom – by stating how important Bennington was to many. I am reading social media comments and people thanking him (Bennington) for the music. It is clear how influential Linkin Park were/are. Many formed a band off of the strength of their 2000 debut, Hybrid Theory. Songs like Numb and In the End are classics of the early-2000s and that album has been ranked as one of the finest in all of Rock. Chester Bennington understood the pains of depression and the Devil of addiction. Many Linkin Park fans were going through the same things; teenagers and young listeners felt less alone and found someone who understood what they were going through.

A band that fought against the generic and mindless themes that were circulating in Rock/Nu-Metal of the time (of their debut) came in with a bold and substantial brand of music that connected with millions. So many set up bands – emulating Linkin Park and entranced by their spirit and sound – whilst many dedicated themselves to the band. A frontman who shared so much of himself through the music, to get to the point where he wanted out of life, has created confusion in many. We must address depression and suicide but it is just as important celebrating the life of a musician who changed so many people’s lives. His legacy will remain forever and many, myself included, preserve his music and find guidance and comfort in it. It was brutal and savage at times but it is that willingness to share himself with the audience that makes it so inspiring and special. Not many artists feel the desire to let people into their souls – whether it is quite traumatic and raw – but that is what made Chester Bennington so special. I will close this by thanking Bennington for his services to music and the enormous impact he made. When the dust has settled, we have to accept that the mental health crisis is getting out of control. It affects celebrities and civilians alike; striking those most undeserving and forcing people to take their life. It seems such a tragedy and one that, in a lot of cases, can be avoided. If you are in a situation where you feel like nobody else around you knows what you’re going through; it is always worth exploring every option. I will finish by borrowing words from NME’s Andrew Trendell. In an article published yesterday - some sage advice came through. In the piece, these words seemed to stand out:

“Experiences vary, and sometimes we might not notice it creeping up on us or our friends or family, but things you would commonly spot are feelings of low confidence, feeling worthless, hopeless, guilty, more irritable and angry than usual, or an inability to enjoy things,” said a spokesman from the Campaign Against Living Miserably (CALM). “Someone might have repetitive negative thoughts, you may feel you are in a bubble: you can’t reach out, and others can’t reach you. A flat feeling. You might know you love your partner or family, but you can’t feel it.

  Physically we might experience low levels of energy, finding it hard to do anything, often to the point where it feels impossible to get out of bed. This can actually be experienced as aches and pains. Sleep may also be affected: too little or too much… CALM added: “If you’re struggling, tell someone you trust. Someone you know who will listen and take you seriously, and don’t worry about how it comes out. ‘I feel shit’ will do to start things off. This first step of talking about it can be the hardest, but the overwhelming majority of people we speak to say it was a relief to let somebody else know and they got a really positive response.”
The symptoms and those brave, important next steps

One in four people are effected by mental health issues each and every year. It can be hard to talk openly about your issues, but you may be surprised at how supportive people can be.

We spoke to leading charities and experts about how to tell if you might be suffering with depression, and how to make that brave move of figuring out what to do next.

“Experiences vary, and sometimes we might not notice it creeping up on us or our friends or family, but things you would commonly spot are feelings of low confidence, feeling worthless, hopeless, guilty, more irritable and angry than usual, or an inability to enjoy things,” said a spokesman from the Campaign Against Living Miserably (CALM). “Someone might have repetitive negative thoughts, you may feel you are in a bubble: you can’t reach out, and others can’t reach you. A flat feeling. You might know you love your partner or family, but you can’t feel it. Physically we might experience low levels of energy, finding it hard to do anything, often to the point where it feels impossible to get out of bed. This can actually be experienced as aches and pains. Sleep may also be affected: too little or too much”.

“If you were looking out for a mate you may see them withdraw from social situations but sometimes they may party all the time,” says CALM. “With blokes particularly, drugs and alcohol are often used as a way of dealing with these feelings. It can also take less to ‘snap’ at others. The important thing is that if you see a change in someone, be there for them, ask them how they’ve been doing and be willing to listen without judgment.”

CALM added: “If you’re struggling, tell someone you trust. Someone you know who will listen and take you seriously, and don’t worry about how it comes out. ‘I feel shit’ will do to start things off. This first step of talking about it can be the hardest, but the overwhelming majority of people we speak to say it was a relief to let somebody else know and they got a really positive response.”

Mental Health charity Young Minds listed some symptoms of depression as:

  • Not wanting to do things that you previously enjoyed
  • Not wanting to meet up with friends or avoiding social situations
  • Sleeping more or less than normal
  • Eating more or less than normal
  • Feeling irritable, upset, miserable or lonely
  • Being self-critical
  • Feeling hopeless
  • Wanting to self-harm
  • Feeling tired and not having any energy

“The most important thing you can do if you think you’re depressed is talk to someone,” a Young Minds spokesman added. “This could be a friend, a family member, a teacher, a colleague, a GP, a counsellor or a confidential helpline. Don’t suffer in silence. Talking about how you’re feeling can really make a difference.”

But what do you do next?

Sue Baker from the charity Time To Change gave us the following top tips – apply these when thinking about having your first conversation about your mental health with someone:

  • Be prepared: “Think about the different reactions – positive and negative – that the person might have so you’re prepared. The person will be thinking about their perception of mental health problems, you as a person and how the two fit together.”
  • Choose a good time: “Choose a time and place when you feel comfortable and ready to talk.”
  • Be ready for lots of questions… or none: “The person you are talking to might have lots of questions or need further information to help them understand. Or they might feel uncomfortable and try to move the conversation on – if this happens it’s still helpful that the first step has been taken.”
Band.jpg

PHOTO CREDIT: Unsplash

  • An initial reaction might not last: “The person might initially react in a way that’s not helpful – maybe changing the subject, or responding with unhelpful advice or clichés rather than listening. But give them time – it might be the first time they’ve ever had a conversation about mental health.”
  • Have some information ready: “Sometimes people find it easier to find out more in their own time. You might want to download some information from the Time to Change website.”
  • Keep it light: “We know that sometimes people are afraid to talk about mental health because they feel they don’t know what to say or how to help. So keeping the conversation light will help make you both feel relaxed.”
  • Courage is contagious: “Often once mental health is out in the open, people want to talk. Don’t be surprised if your honesty encourages other people to talk about their own experiences.”

PHOTO CREDIT: Unsplash

“Equally, if you’re looking out for a friend, there are lots of simple, everyday ways you can support someone who has a mental health problem,” added Sue. “Small things can make a big difference – like being there to listen, keeping in touch and reminding the other person that you care. You don’t need to be an expert to talk to someone with a mental health problem. And it’s often the small things you do and say that can make a big difference to someone – like asking ‘How are you?’ or dropping them a text to say hello.”

FOR HELP AND ADVICE ON MENTAL HEALTH:

I hope some, if not all, of that advice, is of use – for anyone who feels they are alone and scared. Let’s hope we see fewer suicides in the music industry and we take a more direct and long-lasting approach to mental health service reformation and strengthening. Deaths like that of Linkin Park’s Chester Bennington highlight an alarming problem and one we can all do something to improve/extinguish. In all the sadness and pain people are feeling today, it is just as important to celebrate a singular and extraordinary musician who…

CHANGED so many lives for the better.

INTERVIEW: Up Down Go Machine

INTERVIEW: 

 Up Down Go Machine

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THE London band Up Down Go Machine; in addition to that…

intriguing name, boast some terrific and unexpected sounds. I ask about new single, Gambler, and the sonic influences that go into it. The band weaves punchy, yet delicate, Folk melodies and stripped-back guitar sounds together. In terms of theme; Gambler explores a man whose addiction takes him to the dark side – inspired by the gangster films of the 1980 and '90s.

A killer chorus and fascinating set of lyrics is not an easy thing to get right – Up Down Go Machine seem to achieve it with ease. I ask about the band’s roots and the sort of music they grew up listening to; how they managed to secure (forthcoming) gigs in New York and their fondest memories to date.

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

A big hello from Up Down Go Machine. 

We are made up of moi (Sam) on the drums; Stephen on the bass and the powerhouse vocals of Stephen - who also plays the guitar.

Can you reveal the origin of that band name, ‘Up Down Go Machine’?

Our singer, Stephen, on his travels, found out that the name ‘Up Down Go Machine’ is a direct translation of 'a lift' in Japanese...apparently.

At the time, he thought, "That would make a great band name!".

We decided Up Down Go Machine was a fantastic name and felt it had relevance to our music so we swiped it, branded it and gave it a logo.

Talk to me about the single, Gambler. What was the inspiration for that song?

The inspiration actually came from when Stephen was watching the movie, Casino.

The individual characters took his attention and he wanted to write lyrics that delved into the darker aspects of the gambling scene. From here, we wanted to create a sound that was ambient and deep but at the same time; had space to allow the track to build - as it moves along from chorus to chorus.

A recent review said that the track has pace, restraint and understatement - and it's this that makes it stand out. We couldn't actually agree more!

 

It is the lead-off single from your eponymous E.P. What has it been like putting the songs together? What sort of stories and tales compelled the songs?

The stories all vary: telling a different tale each time! 

We have songs about a damn bursting back In the 1700s; another based on a mermaid that falls in love with a man - and one of the tracks is focused around one of Louis Theroux documentaries about alcoholism - taking one person's stories and perspective of his/her world. 

Your music takes in many different genres and sounds. How would you describe your sound?

One of the hardest questions to answer, really!

I suppose we fall under the combination of Folk, Indie & Rock.

Our music had an overall finished sound - which is explored and polished when in the studio. We all bring our own talents and music tastes to the table. This is what makes the music so interesting to create.

How did the band get together in the first place? Take me back to those early days.

The band first came about when I (drummer, Sam) met Stephen working for Oakley.

We got onto the conversation about music and he told me played the guitar and sang. I checked him out, heard his vocals and immediately replied with....LET'S START A BAND! 

I notice Celtic Folk is evident in your music. What kind of music did you all grow up listening to?

We've all grown up listening to all sorts of music - which is what it's about!

Our singer, Stephen, comes from Wales so holds his Celtic roots close to his heart. This is a fantastic attribute to have in a band - with such a powerful vocal - as you can hear it, not only in the music, but in the raw talent of his voice.

When writing our music; all of our own personal musical backgrounds and musical tastes are brought to the table - in the hope to create something exciting and unique.

You have performed at a range of venues and locations over the years. What has been the fondest memory so far?

We have been fortunate enough to play at some amazing venues along our musical journey thus far.

For me, the fondest memories were coming off the Big Top Stage - after a stomping set at the Isle of Wight Festival...BUZZING!

Swifty followed by Shepherds Bush Empire.

I believe, among other duties, the band will tour New York very soon. How did that offer come about? How excited are you to head over there?

We have a few contacts over in N.Y. who, gratefully, are loving our music right now - so they have kindly asked us to go over there and perform at some great venues across the city!

Due to the bands overall sound, we personally feel that our music style will be well-received over stateside - so can’t wait to get over there and smash the pants off it!

Future gigs include a spot at Music Makers Festival. What was it like getting the call for that?

Very pleased!

The Music Makers Festival has a great line-up of some of the best artists around at the moment. So, it's always a pleasure to be asked to perform these sorts of shows.

The likes of BBC Radio 1 have supported your music – it seems there is a lot of love for the Up Down Go Machine brand. How did that make you feel? Does it give you the confidence to keep striding and dreaming?

Absolutely!

We are SO grateful to all of the support we receive for the band. We all have such a passion for the band and the music so there's no better feeling than to hear your music and hard work being praised by the likes of the BBC.

We're most certainly going to be striding well ahead with the music - so we only hope the price continues and we get out music out to new ears and picked up by new fans!

Are there any new artists you recommend we check out?

Get your ears around a bit of CAMP CODE: awesome Ozzie-ness!

Also, D.D Dumbo: Delightful grooves!

If you're in a chilled mood or working in a sweaty office: may I suggest Maribou State?

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

It's not always (just) about writing great music: it's just as important to create a solid brand identity for yourself/band and pushing forward with consistency.

This will make it easier for people to recognise you and your music moving forward.

Pick me some songs to finish on, guys...

We Are Augustines - Chapel Song

D.D Dumbo – Walrus

Stereophonics - More Life in a Tramp's Vest

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Follow Up Down Go Machine

FEATURE: The Best Albums of 2017 (So Far): Stormzy – Gang Signs & Prayer

FEATURE:

 

The Best Albums of 2017 (So Far):

 Stormzy – Gang Signs & Prayer

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I was going to select Sleaford Mods’ English Tapas for the final inclusion…

PHOTO CREDIT: Stefan Heinrichs

on this list but felt, as both were pretty strong, Stormzy’s Gang Signs & Prayers just muscled it. English Tapas, in a sense, is a very British album – it looks at national issues and the same parade of dodgy characters one usually finds on a Sleaford album. It is a remarkable record and definitely in this year’s top-ten, thus far. I plumped for Stormy because, not only is it his debut, but it seems to predict a lot of the uncertainty that was to unfold in the country. He speaks about where he is and came from and, in many ways, has managed to push Grime forward. There is the traditional boasting and confidence; songs that look out at the country and what is happening around us. Whilst it does not acutely lambast and chide the government and their mishandling issues and the people – one feels Stormzy is preparing another record that reflects the tense times we live in.

In looking at Gang Signs & Prayer; it is important looking back and the lead-up to the album. Stormzy has been a player on the Grime scene for a few years now but never really gained the recognition and attention he deserved. Perhaps that was a natural reality – nobody catapults right off the block – but, given the strength of his debut album; the seeds were planted right from the off. One listens to cuts from his debut E.P., Dreamers Disease, and hears those sparks and flashes of inspirations. That E.P. was an independent release and gained a modest following. Even then, one felt a special and bright talent was starting to take shape. Maybe the songs (on the E.P.) were not as confident and nuanced as what we find on Gang Signs & Prayer – plenty for people to get excited about, regardless.

Know Me From came out in March 2015 and was another step forward from the London Grime newcomer. Unveiling the final part of his WickedSkengMan freestyle series – I think Judi Dench put out a similar project at the time! – WickedSkengMan 4 onto iTunes – that was joined by a studio version of Stormzy’s Shut Up freestyle. It was a first top-forty for the young artist and an important accomplishment. Not only that but the track’s video racked up millions of views and pushed Stormzy’s music to new audiences. Because of this increased attention and approval; Stormzy helped pushed the song up to eight in the singles chart with a passionate Christmas campaign. There was a gap following that success but it was not wasted. By February this year, a series of billboard campaigns appeared around London that displayed lyrical quotes and the #GSAP 24.02 hashtag. The first taste I, like most, had of the album was the single – and my favourite slice from the album – Big for Your Boots.

With Fraser T. Smith on production duties (with Sir Spyro); it got to number eight in the charts – the joint highest-placed single from Stormzy – it would reach number six eventually and, therefore, became the biggest hit so far. What I love about the album is the fact it harks back to the ‘golden’ age of Grime. I am a big follower of Dizzee Rascal and his immense debut, Boy in da Corner. Maybe Dizzee’s songs were directed more at the estates and characters he encountered as a youth – Dizzee was a teenager when the album was recorded – whereas Stormzy’s debut had a slightly different agenda. What thrilled me about Gang Signs & Prayer is the sheer confidence and mix of sounds displayed throughout. It is not a simple and one-dimensional effort – like one might hear from his peers – but an explorative and cross-pollinating wonder that sounded like it was being performed by someone decades into their career. That lack of nerves and complete conviction meant it connected with critics – one of the most celebrated and loved albums of the year (until that point).

There is pensiveness in the record, as some noted, that balances the bold and, sometimes bolshie, nature of the music. Never combative, reckless or impudent: it is, instead, a wonderfully realised and mature release from an artist taking a huge swing at the competition. Blinded by Your Grace, Pt. 1 has a few writers in the mix but it is Stormzy’s personality and voice that comes through. It is, oddly, a sort of Stevie Wonder-like piano-led song that, as you say it, sounds a bit ridiculous. The fact it is one of the highlights shows what a force Stormzy is. It is an emotional and reflective piece that acts as a pleasing contrast to the braggadocio and swagger one discovers in other moments. Sure, there are a few weaker offerings on Gang Signs & Prayer and some flabbier inclusions – mainly towards the end of the album – but they are compensated by so many triumphs.

One of the biggest criticisms of Grime and Hip-Hop is how repetitive, limited and constrained it can be. In a sixteen tracks debut album; Stormzy would not have survived the critical assault were he to further denigrate the genre by producing a run-of-the-mill record. Instead, knowing the knock British Grime gets, there are a variety of instruments, ideas and stories packed into the songs. There is, yes, bravado and proclamation but, as the songs start to melt away, one finds a sensitive and intelligent young man trying to push Grime beyond its roots – ensuring it is fresh, inspiring and evolving. I feel Gang Signs & Prayer acts as a vital scripture for contemporaries to study. U.S. Rap and Hip-Hop is a lot finer and more reputable than the British alternative – this can change if more follow the example of Stormzy. The fact Stormzy refutes the maxim that a Grime album needs to contain endless bangers is a brave decision. He, on his debut album, keeps the shout-outs and smack-downs to a minimum – preferring to looks inwards and address something deeper and more personal.

Not only is there is some fantastic performances from Stormzy himself but some of the guests he hooks with. Kehlani and Wrecth 32 join MNEK and Raleigh Ritchie add something different to Stormzy’s deep and darker tones. Cigarettes & Cush, featuring Kehlani, is one of the standouts and a song that, once heard, rattles around the head – two very different performers sounding perfectly suited on the song. If one is blown away by the collaborations and guest spots: one cannot ignore and underplay the emotive and tender times on Gang Signs & Prayer. 100 Bags is Stormzy sharing his open-letter to his mother – offering regret for his past indiscretions and foolishness; thanking her for raising him alone and standing by him. There is a song on the album, at the very end, when Stormzy calls MC Crazy Titch – calling from prison as he is serving a life term for murder. That stick-to-basics approach is everything rebelled against on the album.

Accusatory in the way it calls-out Grime artists unwilling to push the genre forward: here, we have a demonstrative evolution and desire to take Grime in new directions. I guess there are basic elements and rather bare-naked offerings on the album – a freestyling over a 2004 instrumental is as sparse as they come. What I mean is the insipid beats and cliché set of lyrics – one would experience on any other Grime album – are dispensed with and replaced by something fuller, more interesting and original. Inspired by artists like Skepta, Lauryn Hill and Frank Ocean; there is a wonderful blend of U.S. Soul/Hip-Hop and British oldskool Grime. All of this unified and comes to fruition in a marvellous debut album that must rank as one of the best albums of the year. Certainly, there will be no British Grime albums that match the scale, scope and quality of Stormzy’s debut – unless Dizzee’s approaching album rekindles his early genius – and, I think, Gang Signs & Prayer becomes more relevant and compelling as time passes. What Stormzy does next is up to him but, whatever he does, he has a huge task…

ECLIPSING a remarkable debut salvo.

___________

 Released

24th February

Recorded:

2015-2017

Genres:

Hip-Hop; Grime; R&B

Length:

58:46

Labels:

#Merky, Warner, ADA

Producers:

Stormzy, Fraser T. Smith; 169, E.Y Beats; Mura Masa, Sir Spyro; SOS, Sunny Kale; Swifta Beater, Wizzy Wow; XTC

DOWNLOAD:

 Cold; Blinded by Your Grace, Pt. 1; 100 Bags; Shut Up

STANDOUT TRACK:

Big for Your Boots

INTERVIEW: George Glew

INTERVIEW: 

 George Glew

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TAKING that first step into music can be a big challenge…

but George Glew is prepared for the task at hand. He has been recording music for a while so his single, Bury Me, comes equipped with natural confidence and experience. His aim is to release a song each month (for a year).

I ask how he is feeling about this feat and whether it will lead to an album – a place to put all those songs together. He talks about the music scene in South Wales and the music he is inspired by.

I was interested to know about the songwriting process and the reason for such ambitious productivity; albums that have struck his hardest and what his tour schedule is looking like – and whether the artists that struck his ears as a child.

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

Hi! I’m very good.

It’s been a mental few days, what with Bury Me being released on Friday, but feeling very positive.

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

Of course.

My name is George Glew and I’m a twenty-four-year-old singer-songwriter/producer from South Wales - now living in Bristol.

I have been listening to your single, Bury Me, and am interested in its origins and story. What compelled the song?

I wrote the song quite a few years back so when trying to remember the origins or the feeling I had when writing the song is difficult. I think something had happened and I just wanted to have a fresh start; become a new person.

With that, take all my wrong doings and peoples hurt with me and start fresh. This song has really stuck with me for some time and it really means a lot to me.

I hope people find their own meaning within it.

It is your debut track. Is it quite nervous or are you excited by this moment? Why was now the perfect moment to come into music?

I had been (anyway), for about a-year-and-a-half, just writing and producing songs - and I felt the need to really get music out there and start gigging again - rather than just having all these tracks that no one would ever hear.

Then, the idea of doing a track a month came up, and it seemed perfect!

But, yes, I was still a little bit nervous - but it’s out there and I can’t really do anything about it now, right?!

Can you tell me how you got into music? When was the fuse lit?

I started playing instruments from an early age: piano first, then guitar and then drums. I think the idea of creating my own music and producing etc. started when I was about sixteen. I would say that I heavily got into it when I was eighteen.

I made a small, super-basic studio in the garage at my mum’s house - and just started recording my songs and other mates’ songs as well.

I really found my flow in writing and my style when I was about twenty and I started writing songs and thinking: “These aren’t bad”.

I believe you are releasing a new track every month for the next year? What was the reason behind that decision? Can you give us a window into next month’s song?

You are correct!

The reason is, probably, the fact that I have loads of finished songs in demo-form and it just seems the best way to do things now. I also have a few different sounds in my repertoire - not just this big, Soul-y, Blues-y side (so I can show each one in its own light).

With Bury Me being one of the oldest and best songs it just had to go first. I won’t be releasing a track a month for forever - or just singles, for that matter - as I really love albums and full bodies of work.  I’m very excited about this next year!

I’m not sure whether I can tell you about next month’s release but it’s a good one and it’s got a very interesting instrument in it… 

After the twelve songs are out; will they go into an album? Any plans for an E.P. at all?

Maybe; maybe not.

It’s hard to tell just after the first release but I would love to do a special release of them all of some kind… will keep you posted on this one.

Can you tell us about your songwriting process? Do you sit down and dedicate a certain amount of time to songwriting or do you write when the moment strikes?

I try to keep to doing a track from start-to-finish, once a week: it’s hard to keep up at times but it keeps me thinking about the creative process - so that I never forget the point of being a recording artist.

I feel like it’s important to set time aside, you have to sometimes force creativity to stop your creative brain from dying.

Then again, if I feel inspired to write something, I will - there’s no set rule.

You were born and raised in South Wales. Was there an array of great music there or was it quite quiet in terms of the local scene?

At the time when I was making music and living in South Wales, there was a lot of Hardcore and Metal bands about, and not too many singer-songwriters, so, I naturally fell into playing in Alternative bands.

During my teens, it was the height of the Pop-Punk scene with bands like Kids in Glass Houses and The Blackout - but I don’t think it massively influences me now.

I met a lot of great musicians, though, and some of my favourite bands are from there: The People The Poet and Straight Lines.

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What kind of artists did you grow up listening to?

When I was little, my mum always listened to Queen, Eric Clapton and Stevie Wonder - stuff like that. So, I guess it formed my later tastes and is probably engrained in my brain. I still love that music now.

Big influences for me when I started writing were singer-songwriters like Paolo Nutini and Bon Iver, and later on, I found artists like John Mayer and Gary Clark Jr. - who really pushed my guitar playing.

Can you reveal any gigs you have coming up? Where can we see you play? 

I have a monthly residency at The Gallimaufry in Bristol which I’m really looking forward to. It’s on July 25th, August 29th and September 26th.

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How do you spend your downtime from music? Do you have any hobbies at all?

There’s very little downtime between my day-to-day job and focusing on the music - but I do find time to just relax and spend time with friends really. It’s important to recharge sometimes and remember to live and gain life experience.

I also love watching films; but with no distraction…

IN THIS PHOTO: Nugget

Are there any new artists you recommend we check out?

There are so many artists I love but I would recommend you guys checking out Sleeptalking, Keir and Nugget.

They’re all amazing artists that I’ve known for a while now. They all do amazing things - but in very different ways!

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IN THIS PHOTO: Sleeptalking

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

John Mayer - Continuum

This album taught me about great musicianship and how, sometimes, less is more – also, the songwriting is just incredible!

This album alone enhanced my guitar playing so much.

Bon Iver - For Emma, Forever Ago

Probably the most beautiful album of all time - and I’ve constantly gone back to it for so many years now. It can take me to another place.

John Legend - Darkness and Light

Some of the most creative production and mixing of any recent Pop record - probably one of the only recent Pop albums I’ve loved from start-to-finish.

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

Just keep writing songs: the more you write the better your judgement becomes...

Also, stick with your gut and create what you love: whether people like it or not, you’re making the music you love and you’re going to be associated with it and performing it each night.

Work with as many people as possible to start with and learn from them -  there’s always something to learn from collaboration.

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).

To Build a Home - The Cinematic Orchestra (ft. Patrick Watson)

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INTERVIEW: Candice Gordon

INTERVIEW: 

 Candice Gordon

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SHE has, previously, recorded an E.P. with legendary hell-raiser…

Shane MacGown - and is set to release her own album, Garden of Beasts, on 8th September. I talk to Candice Gordon about the album and the kind of stories she touches on. Living in Berlin; I was curious about the scene there and whether there are, local or otherwise, any artists she recommends we follow closely.

Gordon talks about working with label-mate A.S. Fanning (who produces her album) and the insight into new single, Nobody. Having previously lived in Dublin; I wonder whether she misses the city and any plans on going back. I learn more about Brown’s touring scheduled and, having worked with someone like Shabe MacGown, she has a bit of a wild side herself!

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

Grand.

I have just finished editing a video for my next single and I’m going to Frankfurt tomorrow to support Midnight Oil - so I’ve been rehearsing for that.

Tell me about Nobody. What is the origin of that song?

I used to work in shi*ty, shi*ty night clubs for money. From this experience, I had this image of vacuous desperate hedonism - I wanted to examine some driving factors of human behaviour in this album and create a sort of narrative.

Nobody is the point in the album where innocent carefreeness turns harmful. It’s basically about objectification and dispossession.

On 8th September, Garden of Beasts is out. It sounds like an interesting album. What is the inspiration and story behind that title?

When I moved to Berlin, I, frankly, became obsessed with the Nazis and the Holocaust. I wondered how on earth those people could do what they did?! How can people be so evil - the common, Average Joe people, complicit in such atrocity?!

I was immersing myself in a lot of documentaries and literature about it all and then I saw a documentary series (not about Nazis this time) called The Human Animal - and it sparked the idea of this concept album.

I was comparing things like sophistication vs. savagery; caring vs. harming; lightness vs. darkness etc. The beginning of the album is the birth: it grows through adolescence, exploration; trauma, death and, finally, a cleansing and rebirth.

I have a picture in my mind of these characters going through it all but I’m not sure if all that will be apparent to the listener.

I don’t really want to impose it on them - just hint at it - and, maybe, they will take the contemplative journey.

Oh, yeah: the title is directly inspired by Tiergarten in Berlin - but plays well with the Human Animal stuff.

What was it like having label-mate A.S. Fanning producing and Ingo Krauss mixing? What did they bring to the album?

Fanning is a grounding element for me; a solid foundation. He kept things together when they were on the verge of falling apart.

Quite a few times during the process I was ready to pack it all in. He’s also a great multi-instrumentalist and creative musician; ten/ten: would recommend. I would also highly recommend working with Ingo Krauss. He’s sort of a sonic philosopher. REALLY passionate about sound.

He just gets the job done (and to a high standard) - I am endlessly appreciative when people just do what they say they will do.

It was recorded in an Irish country house and Berlin’s Funkhaus. I know you have moved to Berlin. How important is the city and how influential are the people and cultures there when it came to Garden of Beasts?

I reckon I answered this up there but I’ll elaborate with a book recommendation - and one that I read during the writing of the album and really had an impact on me: Alone in Berlin by Hans Fallada.

For those that don’t read: they’re releasing a film version soon (or maybe already have).

You grew up in Dublin. Do you miss the city? How do the music scenes differ in Berlin and Dublin?

I do miss Dublin.

I dream I’m there often. I really miss the sea.

But, it’s too capitalistic and Catholic - and I’m too much of a hippy liberal...and I’m a woman - so it’s not a good fit right now.

Maybe I’ll move back when one of us has changed.

Many reviewers note the brooding and visceral nature of the music – a mix between Nick Cave and PJ Harvey, perhaps. Do you take that as a compliment? Are those artists important to you?

Yes, I hear this a LOT.

After I play a gig I get it too, that and Patti Smith. A LOT! I don’t get why. I really don’t get it. I don’t think I sound like any of them. I found out that Shane MacGowan phoned Nick Cave - after we worked together - and told him he should check me out - and I did swoon!

But, yeah, I don’t get it and it’s frustrating because enough people have said it; so I recognise a pattern - but I am not hugely influenced by them; although I do really like the music and highly respect them as artists.

Maybe we come from the same planet. Of course, people intend it as a compliment.

One journalist, rather wonderfully, said Nobody was the best song never to feature on the Twin Peaks soundtrack. Your music has a Lynch-ian quality. It is cinematic and dramatic. How, do you feel, cinema, drama and visuals aspects inspire your sound?

That was said about Before the Sunset Ends - which was the lead track of the E.P. (produced by MacGowan).

When I write music I see scenes like in a movie. Maybe everyone does. It is very vivid, yeah, and I love Lynch.

I would absolutely love to compose for film.

I have been working a lot with a filmmaker here in Berlin, Valquire Veljkovic. He used a few songs from Garden of Beasts on his forthcoming trilogy, Harvesting Insects, and it’s very satisfying to hear my songs placed on a beautiful film. I am planning to compose specifically for him this year.

In the past; you have worked with Shane McGowan and performed at Truck Festival. It seems like you embrace and lust after a certain rebelliousness. Would that be fair to say? How do you spend time away from music?

Some friends and I have a running joke about how Larry David I am.

I often find myself in situations that would fit right in to Curb Your Enthusiasm. He’s a rebel isn’t he, so, yeah, I’m a rebel like that?

Away from music: I don’t know.

I like movies and comedy; and vegetarian food. Any of my really rebellious behaviour...I will leave up to the imagination of the reader.

What do the coming months hold in terms of tour dates? Any plans to play the U.K. this year?

Yes.

Playing London on the 27th September on a line-up with my compadres A.S. Fanning and Louis Brennan. It’s in the Servant’s Jazz Quarters.

I will be touring in Europe in October.

Are there any new artists you recommend we check out?

Both of the aforementioned have amazing albums coming out soon.

Paddy Hanna is a talent waiting to be discovered too.

Also; a favourite band at the moment are BALOJI.

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

I’ve been listening to Alan Vega’s Cubist Blues this summer.

I have a feeling it’s going to influence some future work of minute - but I can’t promise anything.

Likewise; same with The Modern Lovers’ The Modern Lovers.

I’m going to go with Kraftwerk Radio-Activity as a record that I had some pretty wild existential revelations to this.

What is the most important advice you have been offered by anyone – either, in terms of your music or something that has changed you as a person?

One thing that comes to mind: in the history of the Seattle Museum, there’s an exhibit about how the Alaskan gold-rush contributed to the growth of Seattle. They advised their residents not to go to Alaska and they had a catchphrase: “Mine the miners” - and business boomed in Seattle catering for the miners that were passing through to find their fortune in Alaska.

Of course; most of them returned broken-down and empty-handed.

I think about that regarding the music business now.

On that note: what advice would you give to any new artists starting out right now?

You’ve got to find the sweet-spot where you take your work seriously enough to work on it every day - and not too serious that you get paralysed.

You’ve got to be having fun: lighthearted but, at the same time, completely heavy - like it’s some sort of spiritual divination. Or like a drive; or a hunger for the sublime. When you’ve got good work, then you need to find the good people to work with.

People easy to work with who work hard and get stuff done. You work hard and get stuff done...and then the ship is sailing.

Also, work as fast as you can on something when the fire is lit - before it goes out.

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).

Play me some Fela Kuti!

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Follow Candice Gordon

TRACK REVIEW: Roxanne de Bastion - Heart of Stone  

TRACK REVIEW:

 

Roxanne de Bastion

 Heart of Stone

 

9.3/10

 

 

Heart of Stone is available at:

https://www.youtube.com/watch?v=TgIbPg8JX0g&feature=youtu.be

GENRES:

Singer-Songwriter; Pop; Alternative; Folk

ORIGIN:

London, U.K.; Berlin, Germany

RELEASE DATE:

28th July, 2017

The album, Heirlooms & Hearsay, is available at:

https://open.spotify.com/album/2X5uUMDFi3I73qbxapgwCH

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THERE is so much to love and respect…

about Roxanne de Bastion. I will come to look at her track, Heart of Stone, but, before then, aspects relating to the young artist. I want to look at Berlin and the German music market; artists who strive for equality and better rights for their peers; mixing 1960s touches with varied compositions; a striking voice and its effectiveness; the inspiration behind albums and touring schedules – gaining popularity and what that can lead to. I shall start by looking at Germany – where de Bastion spent her first few years. It is, I am seeing, a lot of musicians actually immigrate to Berlin. It may seem like London is the most attractive proposition but that is not exclusively the case. A band I am interviewing later this week, Zap!, have found themselves in the German capital. It seems like their way of life and way of working is attractive and alluring. I can understand, given the way the country has been divided here, why many would want to go to another nation. Germany seems a lot more stable – politically, anyway – and capable of speaking for its people without creating a generation divide. We have screwed up every political decision/vote we’ve had and it seems like the ‘majority’ are advocating a detachment from people and other nations. Germany, at the very least, is more pragmatic and less entitled. When nations are divided, it impacts on every sector of society. The music industry here is great but it seems like Berlin is flourishing – and promoting some of the finest bands around. Even though de Bastion lives over here; she began her music course in Berlin and learnt a lot. I want to talk about a few of the bands making waves and the sort of music coming out of the city. I am taking from this article and their choices of the best artists to keep an eye out for.

Roosevelt is one stunning artist who has been progressing over the last year or two:

“His 2013 EP “Elliot” was praised by the international music press, and he toured with Hot Chip, Totally Enormous Extinct Dinosaurs and Crystal Fighters. His self-titled debut full-length, released August 19 on Greco-Roman, the Berlin-London-based label co-founded by Hot Chip’s Joe Goddard, will be accompanied by a world tour with dates in Europe and the United States (many already sold out). Like his label-mates, this record is loaded with instant dance party anthems. Although he was born in 1990, Roosevelt makes music that sounds like a New Wave smash hit: dance-pop with unabashedly big melodic pop hooks, fetching vocals, and memorable sing-along choruses. Trust us: You will hear this record at every house party you go to this year”.

Slow Steve are a quartet that is “Inspired by ’70s science fiction films and the work of Jules Verne, the debut album from French musician Remi Letournelle, formerly of the band Fenster, feels like the vintage soundtrack to an unmade film. Delicately layered psychedelic pop soundscapes, and  vintage analog instruments create otherworldly settings, while the lyrics tell interwoven stories about exploring land, sea and sky”. One of the other acts worth watching (from Berlin) is Laisse-Moi:

“Laisse-Moi, a Berlin-based synth pop trio, was born in a analyst’s office. As a teenager, Manon Heugel grew up as the “girl singer” in “guy’s bands,” but got sick of singing the funk rock fashionable in ‘90s Paris, moved to Berlin, and found work as an actress. But then, in her analyst’s office, she decided she wanted to sing her own songs. She found a German bassist, Christina Riesenweber, and a classically-trained French pianist, Marie Klock, and with a drum machine and vintage analog synthesizers, they formed a synthpop band inspired by German no-wave and ‘80s French pop, narrating stories of Berlin nightlife with a sexy, feminist bent”.

Diät “is comprised of two Australian guys and two German guys playing melodic post-punk that wouldn’t be out of place in the original Manchester scene. Their debut record, “Positive Energy,” co-released last year on Berlin’s Adagio830 and American label Iron Lung, was recorded in the middle of an East Berlin winter, and reflects the relentless dark northern European days when the sun goes down by 4 pm”. ANA ANA is a vital and incredible voice coming from the city right now:

“Now an electropop musician based in Berlin, she creates ambient triphop clearly influenced by artists such as Massive Attack. But her piano remains the distinctive center of her work, calling to mind classic piano-based singer songwriters such as Carole King, Tori Amos and Regina Spektor, while her strong, soulful pop vocals are influenced by American R&B artists (she particularly likes Prince and Aaliyah)”.

It is clear there is a lot of talent and diversity buzzing out of Berlin. I can see why many people are lured there: it is obvious how Roxanne de Bastion has grown and what she took from Germany. Now, she is in London and amalgamating her German experiences with fresh sounds and scents of the British capital. Fascinating to see de Bastion, in essence, having quite a Germanic approach to music – sublimating and fusing that with British tastes and elements. Whether she will remain here and take advantage of the country – or move again further down the line – she is, surely, one of the best artists the city has produced in the last couple of decades. Discovering artists like de Bastion gives us an insight into a nation like Germany and the type of music that is favoured. She will encourage others to investigate the capital and all the terrific music that is being played there. It is clear Germany gets overlooked (compared to the U.S. and U.K.) and warrants a lot more fondness.

Before I go on; a little bit of insight from the musician herself - on her upbringing and connection to music:

"My family has a piano. It has tiny marks on the top right corner, where my Dad used to gnaw at the wood with his baby teeth. Years later, I would play underneath it, while my Dad played his compositions, soaking up the sounds before my hands were large enough to reach a fifth. Our piano is a Blüthner baby-grand from Leipzig and was bought by my great grandfather, Aladar Holzer, in Szeged as a wedding present for his wife to be, Katicza Schwarz, in 1905. I carry her name as my middle name and share her birth year, exactly 100 years later. Their son Stephen de Bastion, then Bastyai von Holzer, learnt to play on this piano and became a professional musician in his early 30s. Shortly after, World War II broke out and, as for countless others, life was derailed, for them and generations to follow. Aladar, Katica and Stephen survived the hardships, but that is a story for another day (or another album). This is about our piano. It too survived; both the nazi and the communist takeover of Hungary and was shipped to England, where it was to live in a council house on the outskirts of Stratford upon Avon. My grandfather did not pursue his music career in the UK. He did, however, keep composing and in the late hours of June 19th 1954, he recorded “The Old Mill”, on a ferrograph. Our piano was given to my father after Stephen passed away. The piano moved back to Berlin in the 1990s, only miles from where it started its journey nearly 100 years earlier. Our collective history, the enigma that is my grandfather and our piano inspired this album. I am so grateful that my father, Richard de Bastion, played it on my song Train Tracks (remotely from Berlin), making this an album featuring three generations of de Bastion musicians. This album is dedicated to Stephen de Bastion"

One of the greatest things about Roxanne de Bastion is her commitment to equal rights and making sure artists are heard. She is on the board of FAC - whose advocacy is as follows:

“The FAC functions as a collective voice, actively promoting transparency and fairness within the industry. Artists possess a persuasive voice in influencing political debates, so the FAC ensures that voice is heard by government and policymakers in the UK, USA and EU.

Within the music industry, the FAC encourages better standards and business practices from record labels, music publishers and other business partners.  The FAC has secured a seat on the board of UK Music, an umbrella organisation that brings together all sides of the music industry.  This ensures the artist voice is heard at the highest level and on an equal footing alongside labels and other stakeholders.

The FAC is also at the heart of umbrella artist organisation IAO (International Artist Organisation) in order to unite artists on an international level”.

The Featured Artists Coalition is a vital movement and one de Bastion immerses herself in. She joined as a Board Director in 2014 and, spoke on a panel (in Berlin) with Travis’ Fran Healy. She is someone who wants the best for her fellow musicians. That is impressive to hear in someone whose hands must be tied up with various commitments, music and personal. I am amazed she finds the time but it is clear how much passion she has for music. In 2014, she conceived, organised and ran the From Me to You (FM2U). It’s a one-day conference that is specifically for independent artists. The panels are moderated to ensure all topics addressed relate to musicians and benefit them – there is no looking at the bottom-line and business interests. It also looks at lucrative technologies and the best ways to aid and develop the music industry. Having travelled around Europe; de Bastion realised a lot of things were being ignored – subject matters raised had little to do with music-making and the real experience of being a musician. She strives to change this and has seen her ventures grow. Few are as proactive and involved as Roxanne de Bastion. Not only is she getting her music right and good: she wants to make certain, when her songs are out there, it is given opportunity, proper exposure and respect.

I am really impressed by de Bastion’s business-minded attitude to music. As much as anything; she wants to make the industry fairer and safer for artists. She is encouraging dialogue and equality – that is something we can all get behind. In my previous review, looking at London’s The Wild Things, I spoke about feminism, sexual equality and how, over the past few weeks especially, there has been a lot of issues surrounding sexism. It seems we, as a people, are not as forward-thinking and modern as we hope. There needs to be real change in music: restructuring how decisions are made and who exerts the most control. The music industry should be a cooperative where the key shareholders are the musicians and listeners. It seems the big decisions are made by men or those who run businesses. They have a very skewed view of how music should run and what constitutes fairness and equality. I will come to this in my conclusion but want to look at de Bastion’s music. I shall touch, briefly, on her album later but I am concerned with the song, Heart of Stone. It has its own story – again, I shall address this – but seems to blend disparate and beautiful sounds into a cohesive whole. I know there are 1960s’ Psychedelia and strangeness in a lot of de Bastion’s work. It is never divisive or two out-there – every element and touch have accessibility and appeal. She ties that with varied compositions elements. Bringing in classic-sounding instruments and sophisticated soothe: there is bohemianism and sophisticated; rich emotion and ample passion. Artists often have an issue concocting great music that brings in diverse and polemic elements. Many fuse genres like Folk and Hip-Hop (well, a few try that) with varied compositions elements. Bringing in classic-sounding instruments and sophisticated soothe: there is bohemianism and sophisticated; rich emotion and ample passion. Artists often have an issue concocting great music that brings in diverse and polemic elements. Many fuse genres like Folk and Hip-Hop (well, a few do!) and others try Pop and Rock. Getting it right is not always as easy as one might perceive. Creating something original and popular is often the hardest thing – the two do not always have a logical bond. There is that desire for something commercial which often contradicts the quality and innovation of modern music. Sounds that are foreign and unusual are not the most obvious songs that make the mainstream.

PHOTO CREDIT: Chris McCracken

I want to look at Berlin and the German music market; artists who strive for equality and better rights for their peers; mixing 1960s touches with varied compositions; a striking voice and its effectiveness; the inspiration behind albums and touring schedules – gaining popularity and what that can lead to. Perhaps de Bastion’s upbringing – a bilingual, highly musical family – was instrumental in her current path. It would be hard to ignore the sounds that would have swirled from the family home. De Bastion herself puts the luscious piano and soaked strings with more conventional and Pop/Folk-minded sounds. I am not sure what de Bastion grew up lionising but I imagine there would have been local sounds and chart acts of the time. She is still a very young woman and is adopting new inspiration with everything she records. It is a bold and impressive approach to music. One would forgive her for reigning things in and replicating her older work: her new album is rife with social commentary and mixed sounds; so many different ideas and expressions run through it. Heart of Stone, as I shall investigate, is a jewel that, once heard, begs you to listen back and unearth its true intricacy and mystery. It is no surprise that, running alongside this wide-ranging musical approach is a startling and singular voice. I have been reading reviews from radio stations and publications who all express the same thing: Roxanne de Bastion’s voice is like nothing you will ever hear. Most of the singers I come across, in one way or the other, are similar to others. Many are gearing themselves for the mainstream and consciously have a very familiar tone – something that has been approved and used to sell millions of records. Those who are unconcerned with that side of things are free to have their own sound and use their voice to truly inspire. That is what one gets from de Bastion. She is a songbird who, according to some high-profile names, is someone you need in your life.

I am not one to argue my betters so have been intrigued by what it is that makes her so special. Perhaps it is that unique background that has led to this stunning concoction. On the one hand, the young artist would have been open to Germanic sounds and artists playing around Berlin. She would get a glimpse into Classic music and Folk. Moving to London, she has had a chance to witness a new nation and a different source for inspiration. There is that bi-nation, bilingual approach to music that extends to her personality and ethos. Here is someone who wants to connect with people and does not believe in entitlement and shutting others out. We are divided by language and balkanised right now. The U.K. wants little to do with Europe: the rest of the continent is bemused and, for no logical reason, there is a rift running through the continent. Not only have the British people made it clear – the majority; not me or many people I know – they would prefer to be isolated; it is galling and a very worrying nationalism. Those, like many of my generation, who want people to join together and fight issues as a united force is finding it hard to have our voices heard. In a way, de Bastion’s singing voice is an instrument that appeals and attracts people from all around the world. It has no graces or demands: a singular delight that shows how universal music is. Why, then, do our people insist on division when they love music so much? Music is an art form that hates separation and hatred. Hearing someone like Roxanne de Bastion sing melts troubles away and shows how silly and frustrating divisions are. There are no easy answers – things will take a long time to settle down – but one should not underestimate the power of music. Roxanne de Bastion is someone who wants to change the world through music and what she is putting out. Not only does she want to make the best music she can: there is a need to have all artists on the same level – making sure each of them gets heard and is not overlooked. That is impressive and commendable from someone who could well easily ignore that and focus on her own sounds.  

I shall come to look at Heart of Stone soon but, before then, a look at the C.V. of Roxanne de Bastion. U.S. artist Lambchop has chosen de Bastion to support them as they tour the U.K. in August. There will be a collection of dates that range from the South Coast to Scotland. On 29th July, she will take to the Cambridge Folk Festival and a great chance to have her music spread to the eager and passionate masses. It is going to be a very busy next couple of months but one that will introduce her music to new supporters. Again, in my last review, I wondered how musicians survive on the profits from streaming services and gigs. The former seems like a risky avenue and one not compensating its artists sufficiently. Touring is the way to make any money – and survive. If small venues are not as stable as they should; getting these festivals and mini-tours are invaluable. Few artists have the same chances as de Bastion but she, as we have seen, is a rare bird that has deserved everything that has come her way. Of course, she will be looking at small venues and spots around the country to subsidise her earnings. Bristol, Glasgow and Manchester are a few of the bigger cities the Berlin-born singer-songwriter will be heading to in the near-future. The fact she has already got big plaudits from stations like BBC Radio 6 Music means there will be a solid fanbase already. I know her social media numbers and growing and she is getting so much recognition and love on Facebook and Twitter. Her eager P.R. drive – assisted by Helen at Folkstock – is getting this remarkable music to stations, new people and nations. I am sure, in the coming years, she will be one of those artists who tours the world endlessly. It seems like an international sojourn would suit her greatly. Whether she is playing back in Berlin or not I am not sure – the following she has here might keep her in the U.K. for a bit.

Before coming to Heart of Stone; its origins intrigue me. The song is about, as its writer explained, about repentance and being born anew. It is about casting off those dark thoughts and washing your hands of blood and dirt. Whether there was a personal moment that inspired the song I am unsure but it is a great and original avenue to explore. What fascinates me about the song is how stunning and mature it sounds. The composition and vocalisation is wondrous and profound. There is something unexpected and mesmeric about the song that seems to suit the lyrical Genesis. That need to cast aside a black soul and not be tied up with dark concerns is reflected in the music. Not many artists are addressing something as universal and necessary through music. So many still get hooked on love and exploiting that for all it is worth. In a way; Heart of Stone could be about love and not being poisoned by a relationship not worth your time. I can extrapolate a lot from that side of things. Unrequited love is always a heartbreaking and harrowing thing so, being madly in love with someone who might be aligned to the wrong man is always painful and upsetting. Not naming names but seeing a friend – whom I have immense feelings for – making questionable choices – or following the unwise part of her heart – means it creates a lot of stress and longing in me. Heart of Stone could easily be about that kind of love: not getting what you want and not letting it consume you. Rather than being obsessed by options and possible ways in - perhaps accepting things might not work the way you’d hope is a healthy and dogmatic realisation. I do not know but songs like this certainly make one think. Songs are designed to inspire and make us richer as people. I am concerned few are taking the trouble to pen something that resonates beyond their own ego and concerns. Roxanne de Bastion is a young woman who has a philosophical approach to music. She writes songs that are designed to help and improve a human. Heart of Stone, her album as well, is full of teachable lessons and wise words. Let’s hope many of her peers follow suit and make music a more diverse and extraordinary place.

Barely a whisper accompanies Roxanne de Bastion as she announces the first words of Heart of Stone. Covered in sand and dirt, in the video, she proclaims how she woke up feeling old. Not knowing what this should be the case; there is a sense of the young artist literally and figuratively feeling age and the years on her shoulders. Maybe that is a comment on the connection to her grandfather. Perhaps there is an element of being burdened by certain issues and struggles. Given we know the song is about washing away negativity; one can see there are some personal concerns that need airing. Knowing what I know about her grandparents – and how she casts her mind back to their realities – it is understandable she would want to rid her body and mind of any bad feelings. In those initial stages, one is entranced by the purity and stillness of the vocal. It is almost child-like in its delicate nature. There is a sense of social acrophobia in the heroine. She does not want to go out and tackle the world around her. Maybe the state of affairs in the world has taken their toll and there is little need to fight it. A bit of defeatism and hopelessness is on her shoulders. With the voices swirling in her head; many could forgive her for shutting away from the crowds and resting. Instead, the doors are being flung open and she is embracing the world. Many might literally interpret the song as a sense of frighten: not facing the perils of the outside but having to swallow any anxieties. To me, I feel there is a personal struggle that is much broader and larger than the world around her. That seems odd – given the size of the planet – but the pains and strains one can carry in their heart. Perhaps there is a lost love or personal relationships that need to be exorcised. It is interesting because the words are broad and personal at the same time. There is no specific event

As the heroine’s body gets stronger and more determined; the composition matches her and heightens.  More elements come into play and one starts to hear the piano become more prominent – other instruments in the mix. The production gets hotter and more lustrous. The vocals, as such, match the surroundings and become more energised. Roxanne de Bastion is not someone who changes her ethics and sound without necessity. Her voice retains that beauty and grace but needs to inject more urgency and rawness when the lyrics call for it. This is not a cynical ploy to awaken the senses: it is a natural progression and evolution of the story. I became more engrossed as the song continued and what it could symbolise. Few artists can hook you in and get into the heart as readily as de Bastion. Heart of Stone is a general song that urges people not to be defeated by the worst instincts and urges. Knowing what I have unearthed about de Bastion; I wonder how many areas the song ventures into. Maybe there is a symbolic aspect in the video – on the ground and face covered in mud/sand. I think about the music industry and how influential that is. Maybe there are little warning signs to those who hide behind desks and masks – not really thinking about the equality and fairness in the music industry; concerned with faulty ways and their own egos. Given her family history; perhaps there are warning to a Europe that is, in many ways, as divided and fraught as it was in 1939. There is a delirious and cherry-lipped charm to the composition and vocal in the song. It bursts into life and has its own charm and personality. One moment, you are stunned by its emotiveness and seriousness: the next, enchanted by its merriness and defiance. The heroine woke up cold and alone; she was dealing with something serious but, in a single moment, decided to change things.

There are so many different notes and ideas that work away in the background. Whilst the heroine is facing the changes of the day and the way she approaches thing – the composition seems to summon alterations in the climate and emotional reflections. Strained strings and swooping notes; tinkle of the piano and percussive notation. There is so much working away but Heart of Stone retains a simplicity and focus. In the video, the heroine draws a chalk picture of a piano – colours burst out of it and it seems to represent the clash of colour and black-and-white emotions. Things are not as simple as they appear (black-and-white) whilst realisation and epiphany can be a colourful realisation. Music is a way of unlocking that freedom but so too is purging things and feelings that bog you down. From feeling sleepy and wanting to retreat; there is this renewed energy and determination to tackle things head-on. That is inspiring for anyone in the same predicament but adds curiosity to the song. I feel like Heart of Stone is more personal and intimate than I first thought. That feeling of coming to – she literally says it in the song – is a real turning-point. Having washed the blood from her hands (whether a symbol of guilt and accusation or literal) there is a chance to improve and embrace happiness. Few songs go through such a transformation in such a short time. One gets the sense the origins of this pain are more complicated than a couple of minutes of music. I assume there was a struggling period and real dark period. The key to unlocking the positivity and hope inside is what we hear in Heart of Stone. There is salvation, ambition and urgency. The song continues its spirited and galloping sound. The percussion and piano entwine and rolls around the floor as the heroine’s voice is at its most expressive and stunning. You are compelled and struck by the power and beauty that remains throughout the song. Heart of Stone is the perfect representation of Roxanne de Bastion and the sort of music she is putting out. Heart of Stone is a brilliant song whose nuances and brilliance will have you coming back for more – keep an eye out for announcements of new music very soon.

Before I revisit some of my earlier points; I want to look at Roxanne de Bastion’s album, Heirlooms & Hearsay. The idea of an heirloom is not something one thinks about and connects it to music. In a way, all of music belongs to every one of us. It is out chattel and inherited bequeathment. The heirloom of music is to be treasured and passed to new generations. The ‘hearsay’ part of the album could be about rumours and toxic gossip – the way that kind of talk is not helpful. Maybe it is about false promises and chasms that exist between the reality of the music industry and the way it is being run. In discussing the album, de Bastion has stated it is about her family and the differences between generations. Not identifying herself as either German or British – not a fan of the notion of a nation state – we are all one of the same and a lot richer than previous generations. De Bastion’s grandparents were caught up in the war and had to evade terrible social poverty and physical harm. It seems, as a more privileged and, in a way, ignorant generation, we forget what life was like in the late-1930s and 1940s. De Bastion’s grandparents made it to the U.K. in 1947 and just as well – if they did not, we might not have had Roxanne de Bastion on the planet. She is thankful she is here and feels this entitlement – the sense we should all get what we want all the time – ties to a sense of class and the modern age. With the Internet controlling our lives – social media ruling many – we seem unable to disconnect from the machine and bond with our fellow man. The U.K. is a wealthy nation but there are huge differences between those in the poorer quarters – compared to the richer in our society. Many who have money and success do not think about those less fortunate and take the time to do anything about it.

As a nation, we are less human and aware of the world around us than ever before. Whether that is because of technology and how buried in it we get – perhaps there are other reasons. In a lot of ways; Roxanne de Bastion’s album addresses that and why we get entangled in negativity and selfishness. Heart of Stone is about washing away negativity before our hearts cement and close off for good. Other tracks on the album ask why we find it logical to think of ourselves and push others away. We do this in our own lives but, as a country, we are showing how singular and stupid we can really be – cutting ties with a continent that has supported us through the decades. Having gone through two World Wars; it seems all that the brave men and women fought for – unification and a solidified continent – is being ripped apart. It shows ingratitude that has inspired a lot of anger in de Bastion. Thinking about her grandfather, especially, and the things he had to go through really lit a spark. Half the album looks at him and the stark realities of his life. The other half looks at now and how the world has changed. It is a fascinating blend that is like a concept, in many ways. It is a history of Europe and how the continent has evolved since the 1940s, especially. In a lot of ways, we have not moved on at all: certainly not learnt any lessons and continue to push others away. Our means are less forceful but the motives are, in a way, more disturbing. There is no issue of national security and world peace: we feel we are better off without our European cousins. I urge people to get the album on Spotify – or go to de Bastion’s official website, too – and listen to a record that teaches and informs. It points at where we have come from and how we need to improve as a group of humans. Recorded with some great musicians; the L.P. has a great live feeling. It makes the songs sound more stark, beautiful and direct. It is the start of things for de Bastion and indication she is an artist who will be a worldwide treasure very soon.

I will close this down but, before then, a kick nod to the subjects I discussed early on. I will come back to Germany in the last moments but want to come back to artists who promote equality and look out for their peers; a bit on clashing decades and sounds – what a truly terrific voice can do. Roxanne de Bastion’s work across music – as an artist and what she does with the Featured Artists Coalition – means she is getting her name and songs out to a lot of people. In a way, her music is stronger because of what she does with F.A.C. She sees, first-hand, the struggles musicians go through and what divisions exist. One can apply this to aspects of the album: the young artist talking about her contemporaries and the bad deal they get. In any case; de Bastion has that empathy and insight into how the music industry truly works. She knows changes need to be made and is aiming to get better rights for musicians. That is commendable but it is a struggle and fight we all need to be a part of. If we want the music industry to grow and survive; it is fundamental and paramount we engage with it and ask questions. It is not the case there is little money available to ensure music’s heritage and foundations are kept solid and visible. The government has a chance to contribute; those who make decisions in music have power and influence – it seems there is a lack of effort and consideration for something as wonderful as the music industry. It would be a crying shame were we to live in an age when our best small venues are extinguished and replaced. Gentrification and changing tastes are seeing venues being closed and replaced with bars and flats. Maybe people are staying in more and it is not possible to ensure the survival of all venues around the country. That is something we might have to face but there are so many other issues and aspects that need addressing – Roxanne de Bastion is a woman who gives her heart and soul to making things fairer, better and more human. She acts as an ambassador and envoy of music – someone who can really make a difference.

Looking and listening to Roxanne de Bastion and I have every faith she will be a star of the future. She is a beautiful and strong woman who concerns herself with the business, morals and sustainability of the music industry. She wants to change national perceptions and eradicate the interconnection Berlin Wall of division that has blighted the landscape. In essence, having descended from grandparents involved in the Second World War; she knows, through them, what life was like for them in the 1940s. It was a hard and modest time that was as synonymous with destruction as it was normality. We do not have the same threat and problems to contend with. I think we ignore and forget how the world was and think, as we are free from war, we should go to the other end of the spectrum and hang on to a privilege only earned through the freedoms and liberties our previous generations fought for. In any case, there are people like Roxanne de Bastion who are ensuring we do not become completely ignorant and naïve. Not only is her passionate speaking voice causing waves: her striking and heavenly singing voice is causing quivers and tremors. I have heard few singers that can startle and silence people. Many are hailing it as one of those truly original and legendary sounds. I have heard it in the context of Heart of Stone and can share that opinion. Not only does the British-based songwriter harness her extraordinary voice: there is a keen passion for various genres and sounds. She is not someone reserved to a genre or mould – like so many of her contemporaries. I know musicians that replicate others in order to find some form of cheap success. For Roxanne de Bastion; she has the fortitude to create her own voice and tackle music her own way. In the short-term she might have to fight harder but, in the long-term, she will reap the rewards.

Roxanne de Bastion grew up in a German household but turned into a woman whilst in our country. That combination of Germanic childhood memories – the music of her parents and local musicians – with the chart and mainstream acts she would have experienced here (and local gems) have combined in a rich and astonishing melting pot. Maybe it is her family and bi-nation exposure but I’d like to think de Bastion was instilled with the curiosity and endeavour from birth. I love how she employs bits of the 1960s and the psychedelic sounds of the time. There are hints of earlier Folk artists and some artists, no doubt she would have heard in Berlin as a child – the bands and acts reserved for that city. Throw in some modern artists in Britain and you have that unique Roxanne de Bastion sound. Coming from a city like Berlin; she would have been inspired by the fantastic artists playing around there at the time. She is away from there now but, even if she has left, the spirit and quality have not dampened. I mentioned a few artists earlier but they are the tip of a sturdy iceberg. Maybe London has the better reputation but Berlin is becoming a natural calling for many musicians. I know artists there who are fascinated by the range of clubs and venues in the city. There are dive bars for Rock bands and those untampered, decaying areas that inspire the heaviest and sweatiest bands. There are great Jazz clubs and plenty of choices for those who want something more sophisticated. Being a cosmopolitan city; there are big arenas and theatres – all manner of spaces for new musicians to cut their teeth and be inspired by. Visit Berlin and you will experience a different people and way of life. More connected and less distant than many here: it is an extraordinary place for art and music. I feel more musicians should take guidance from Berlin and the way things are done there. Maybe the international media is more concerned with British and American music but there are a lot of promising artists that will make their way to international focus. Roxanne de Bastion has taken all the spirit and colour from Berlin and married it to the differences and qualities of Britain. That goes into a musician that has revealed a stunning album – Heirlooms & Hearsay – and the single, Heart of Stone. In fact, the song is part of a double A-side. The Painter is the other part of it, could not have the time to review both, and was co-written with Thom Morecroft. It is a rare co-write and one that just sort of happened – showing de Bastion can work in various situations and create music in different ways. Discover her music and what comes from a rare and special woman. She wants to make real and positive changes in the world of music and has the power to do that. Listen to a song like Heart of Stone and you would have to ask…

PHOTO CREDIT: Helen Meissner

HOW could you possibly ignore her?!

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Follow Roxanne de Bastion

TRACK REVIEW: The Wild Things - F.I.A.

TRACK REVIEW:

 

The Wild Things

PHOTO CREDIT: Marcus Maschwitz Photography

F.I.A.

 

9.4/10

 

 F.I.A. is available at:

https://www.youtube.com/watch?v=n3mdk6ht9Ik

GENRE:

Rock

ORIGIN:

London, U.K.

RELEASE DATE:

June 2017

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NOW that I have The Wild Things in front of me…

it gives me the chance to have a chat about a few particular things. They are a band who is ready for the challenges puts before them; getting stuck in and ensuring their music is properly decent, original and striking. I will touch more on that soon but, for now, wanted to look at female-fronted bands and the band market (and possible struggles); siblings in bands and friendships; sounds that mix classic Pop and Rock together; professionalism and ensuring you are ahead of the curve – a bit about gigs and steadily building a fanbase. The reason I want to look at female-fronted bands – aside from the fact The Wild Things is – is because of, strangely, the brew-ha-ha surrounding the Doctor Who announcement. One would think we are still in the 1950s given the reaction to Jodie Whittaker’s appointment in the TARDIS. The fact Whittaker is a fine act and great choice: it seems some of the Doctor Who ‘faithful’ have been voicing their displeasure. It would be well, to an extent, were Doctor Who set rigidly in stone – and casting a woman would violate and contradict its ethos and reputation. I am not sure what the circumstance would be where that would be true but it is not – the show is flexible as any and allows for a female Doctor. I do not think it is the change that has ruffled feathers but the fact the new incumbent is a woman. If the new Doctor were black/Asian, would that provoke such a spirited and vitriol-fuelled attack? I feel people would get used to it – despite some hesitance at the start – but why would a woman get the Doctor Who super-fans so angered?! The fact most of them would not have been with a woman is probably one reason behind it. Most of the true fans are happy with Whittaker and looking forward to seeing what she bring to the role. The fallout from the announcement makes me worry whether we are as open-minded as we should be. Besides the fact, when it came to the E.U. and the recent election – our nation made a stupid and dreadful decision on both counts. It seems we are not as smart and sensible as we think we are.fanbase. The reason I want to look at female-fronted bands – aside from the fact The Wild Things is – is because of, strangely, the brew-ha-ha surrounding the Doctor Who announcement. One would think we are still in the 1950s given the reaction to Jodie Whittaker’s appointment in the TARDIS. The fact Whittaker is a fine act and great choice: it seems some of the Doctor Who ‘faithful’ have been voicing their displeasure. It would be well, to an extent, were Doctor Who set rigidly in stone – and casting a woman would violate and contradict its ethos and reputation. I am not sure what the circumstance would be where that would be true but it is not – the show is flexible as any and allows for a female Doctor. I do not think it is the change that has ruffled feathers but the fact the new incumbent is a woman. If the new Doctor were black/Asian, would that provoke such a spirited and vitriol-fuelled attack? I feel people would get used to it – despite some hesitance at the start – but why would a woman get the Doctor Who super-fans so angered?! The fact most of them would not have been with a woman is probably one reason behind it. Most of the true fans are happy with Whittaker and looking forward to seeing what she bring to the role. The fallout from the announcement makes me worry whether we are as open-minded as we should be. Besides the fact, when it came to the E.U. and the recent election – our nation made a stupid and dreadful decision on both counts. It seems we are not as smart and sensible as we think we are.

Applying this to music and I am seeing the same Whittaker-flavoured prejudice when it comes to female artists. Maybe it is me being modern (and not a nob) but I want to encourage the industry to promote female musicians and get them headlining festivals. It appears they (female artists) are getting fewer opportunities than the boys – often overlooked when it comes to festivals. This extends to studios and music roles. We are seeing more and more women speak out against the imbalance but should men become more involved? There are journalists like me who passionately rebuke my gender: we should be doing better and not living in such a caveman-like age. Yesterday, I was looking at a series of advertising campaigns from the 1950s – BBC had it on their website – that included one for cigarettes where the tagline, effectively, said; if the man blew smoke in her face, she’d follow him anywhere. Another was advertising hoovers: the woman, on Christmas Day, was on the floor, drooling over the instruction manual. Another, saw a woman hanging off a cliff with two men, above her, laughing that, at least she was useful in the home – a couple more perpetuated that stereotype of the woman being in the kitchen and not excelling in a ‘man’s world’. I was shocked that was seen as acceptable back then but, in truth, have we really progressed in the last sixty years?! I see advertising when we drop similar atom-sized clangers: music is still allowing sexist practices and inequality to reign. The Wild Things are a band where their lead, Sydney Rae White, is a successful actor and musician but one wonders how much of the attention will come based on her looks – and whether her band will be overlooked because she is a woman? It is a frightening thought and, let’s hope, she has not encountered too much discrimination thus far. What is the solution when it comes to blatant sexism and these issues?!

PHOTO CREDIT: Marcus Maschwitz Photography

I feel we need to change the current order and decision-making cabinet. It is, by and large, white men who are products of an older generation. I feel, sadly, even Glastonbury’s organisers are still not quite up to the times- the fact none of the headliners this year were women is a sad reflection on their booking policy. Music is an industry where the only judging criteria should be quality. Talent, popularity and ability are all important to consider but it is the merit of a band/artist that needs to be the sole consideration. Whether the solution is easy and quick is to be seen but every day, in different ways, I am seeing sexism rear its head and show how unevolved we are as people. Knowing The Wild Things – and how strident and effective White’s talents are – I know she shares my opinions and will keep on sticking a middle finger up to those who dare to doubt her – simply because of her gender. I know the guys have gigs coming up but I do wonder how many are passing by because of the fact they have a woman in the ranks. This is true of festivals who, when it comes to the band, predominantly, are male-heavy. A current BBC reporter shows there is a gender imbalance in their organisation. It is such a widespread problem and I do think it is as simple as blaming it all on men. There are no legislations and lengthy processes to go through to redress the issue: it is, simply, them not wanting things to change. Music is the only industry – possibly the arts/theatre/film – that has that reputation for love, togetherness and support. If female artists are being let down by the corporate heads and decision-makers; how can we continue to advocate this ethos of equality and affection – without it seeming hollow and ironic? I shall move on from this topic but feel, given the fact I am faced with The Wild Things, it deserved a mention.

PHOTO CREDIT: Marcus Maschwitz Photography

Sydney and Cam, from the band, are siblings which is something that intrigues me. I know bands with siblings – HAIM’s three sisters; Oasis’ duelling brothers among them – but there seem to be very few in the modern age. I am not sure whether Oasis’ ‘reputation’ has led a lot of siblings to forge working that closely together – in case there are irreparable strains on their relationship. With The Wild Things, one hears that close connection and understanding between Cam and Syd. They grew up – thinking back to the time I interviewed them – in quite an interesting household. It is what one would think of when imagining an actor’s household. Playtime would have been more creative, eye-catching and fascinating than most; the sort of people the young Cam and Syd would have seen coming through the door differs to most people – their exposure to music and arts would have been quite prominent and insistent. Perhaps it is the fact they both bonded with the arts at such a tender age they decided to go into a band together. I think of HAIM – more than Oasis – when I talk about the West London quartet. There is a lot of love and friendship in their ranks: solidified and defined by that unbreakable brother-sister bond. Sure, there would have been disagreements and spoils over the years – that is natural when you work so closely with a sibling. It is, I feel, the solidity of their relationship that keeps the band so ambitious and strong – the music instilled with so many positives, joyful moments and incredible highlights. Of course, Rob and Pete – friends of the guys and loyal cohorts – are as crucial in the mix; they are invaluable components in that original and distinct Wild Things sound. It is interesting The Wild Things has siblings in the band; they are female-fronted (or Syd is one of the leads) and are based out of London. The group are in the thick of the British music industry and have potential stumbling blocks at their feet. Not suggesting internal issues and aspects will cause this but, more likely, outside voices.

PHOTO CREDIT: Marcus Maschwitz Photography

One of the reasons The Wild Things are proving so popular and accessible is the fact they blend mainstream-possible Pop and grittier Rock. Their music has a summery, light nature but can pack plenty of punch and energy. It is a vibrant and intriguing mix that, the one moment, can showcase a seductive and near-hushed verse – before climbing to a colourful and vivacious chorus. Alongside the incredible music is the band’s effective and charming love of vinyl and older recording equipment. Look at their official page and one can see, when they promote their new single, vinyl copies of them. Naturally, the band relies heavily on digital forums but one suspect there is a distinct passion for proper music hardware. I am not sure how many copies of F.I.A. will be pressed to vinyl but I hope there will be a fair few at their gigs. I can see the guys selling their music on vinyl, C.D. and cassette – ensuring it connects with older generation and those who prefer their music on traditional formats. I am not surprised there is a nod to vinyl because, thinking of Syd and Cam again, the guys must have grown up listening to legends of music. That can explain their chemical blends and decades-mix music. I feel one of the reasons artists can rise of fall is down to the core sound. Going into music; it can be difficult knowing what the public wants and how to stand out. It is easy to compromise ethics and go for something commercial but I feel that is a path had to turn away from. When you have that kind of ideal and aim in mind: how easy is it to disconnect and go for music more ethical and individual? In terms of The Wild Things; they had that upbringing of great music – the siblings and two boys would have been exposed to wonderful sounds. I feel, as they are in their twenties, they arrived into the world at the right time. They would have had the finest of the 1990s but, one imagines, the benefits of their parents’ record collection – those legendary artists from the 1960s and 1970s. Now, they are taking in modern influence but have incorporated some Rock and Pop from the previous decade.

PHOTO CREDIT: Marcus Maschwitz Photography

It is a wonderful blend that manages to create something nostalgic but forward-thinking. The band is not reliant on anyone else to create their sound but have educated and nourished themselves on fabulous music from the past. Genres like Pop and Rock can be quite vague and hard to define and differentiate. So many artists produce a mesh of Pop and Rock that sounds unfocused, limp and generic. The differing styles of music have potential when mixed but it can be risky. Pop, if you take it back to its best days (The Beatles’ harmonies and classics from the 1960s) and unite that with a dose of 1970s Rock and Indie from the present-day. Sure, there is some great Electro-Pop happening now but nothing as durable and genius as The Beatles. I get a whisper of the Liverpool legends in The Wild Things; Rock rumblings from the 1970s and of-the-minute concoctions of Electro-Pop and mainstream tastes. It is a heady brew that engages the imagination and gets the voice primed and eager. Not only do musical tastes and collated influences enforce The Wild Things’ music: one feels, when looking at someone like Syd, there is a lot of herself in the music. I have been reading her social media feed – always a dangerous thing to do! – and hearing about her ‘exploits’ of late. A couple of weeks back, on a particularly ‘memorable’ day; White had her eBay account hacked; her cat vomited over her flat and, most notably, she was caught in her birthday suit by a window cleaner – who didn’t even down his bucket and squeegee (I realise, as I type this, that sounds like a euphemism if ever there was one!). It might sound like something from a Carry On film but, for White, it projects a certain infectiousness and loveable personality – one can imagine a sitcom about her life (fictionalised to an extent) would make a good BBC series, no?! At the very least you have a young woman who, through risqué escapades and nothing-left-to-the-imagination scenarios, brings that quirkiness and fun into the music. I am not sure whether Cam and the get caught in any similar predicaments but one can sense a consensus of fun and frivolity in The Wild Things. Consequently, that D.N.A. goes into the music and differentiates them from the competition.

I shall move on from eBay fraud, Sydney Rae White and the bold-faced window cleaner – she’ll be relieved to hear! – and look at the London band’s professionalism and work effort. Look at their official website and one is greeted with a colourful and striking image of the guys. It is moody and sexy; it is eye-opening and memorable. Look at their social media feeds and you get regular updates and insights into the band. One of my biggest gripes – one that continues to grate the testicles severely – is the fact I get approached by so many people (P.R. companies among them) asking me to interview/review their acts. That is exciting and can lead me to some great discoveries. Even if the music is THAT good, in order to flesh out my pieces; I require a certain number of photos to accompany it. That is not unreasonable but one would think, looking at some artists, the camera had just been invented. If one had to wait for someone to stick their head under a cloth (as the old cameras had) and freeze in position for several weeks – that would put people off taking too many snaps. We are as far from that as humanly possible. People, these days, photo things that go in and out of them; every asinine afterthought and mind-numbing possibility. The fact so many musicians are not putting an adequate number of photos online is something that can risk a career. Fortunately; The Wild Things have an array of gig snaps and portraits that keep people like me happy. It is not only impressive because it suits my ego: it shows the band is serious and wants people to include their music on their pages. The bigger publications are going to be more impressed if they see professional shots and a lot of information. There is no point being enigmatic and piecemeal when considering images and details. This considered and fulsome approach to music extends to their interviews and music. I have alluded to the variegated and fascinating sounds one hears: the band is keen to promote and share their interviews and speak to as many journalists/sites as they can.

PHOTO CREDIT: Marcus Maschwitz Photography

The Wild Things have a gig at The Lexington on the first of next month but one suspects, when things start to hot up, they are going to be pounding the gig scene rather hard. I am trying to book them for a thing I have coming up later in the year. Their live shows are terrific and have gathered impassioned reviews. It is clear they are meant to be in music and have a real bond with the audiences they perform to. Not only is the London band ahead of the game in terms of their sound and social media: they are one of the most reliable and exciting live forces in the U.K. Maybe it is not a shock as The Wild Things have acting blood in their midst. In fact, one can draw a line through each member and see a varied performance C.V. Sydney Raw White, more so than the three chaps, is a prominent and up-and-coming actor. Many of us saw her in the hit BBC comedy, Uncle. It is being shown at the moment but, sadly, wrapped for good earlier in the year. It would have been an emotional time for White but a happy and happy experience on the show. She got a chance to perform with some wonderful comic actors and open the door to other comedy/drama shows. I feel White (and her sibling, especially) bring acting and that discipline into their music. One need only look at their latest music video – where Cam ‘suffers’ for his art, to extent – to know how closely connected acting and music are. I am not saying musicians who do not have acting backgrounds are less effective live performers but one knows The Wild Things have a definite edge. Their histrionic range and performance talents go into live shows that ensure every song they play gets into the head. The videos they produce, on a fairly small budget, are always terrific and original. I will touch more on that but it seems the gang will see themselves privy to some rather illustrative gigs in the coming months. Proving how effective and compelling they are on the stage: how long until the West London four-piece are receiving nationwide/international requests? It cannot be too long, that is for sure!

PHOTO CREDIT: @marcusmaschwitz

Before coming to F.I.A. and why it is a song you need to get involved with; I want to take the mood down a little and talk about bands. Yesterday, when speaking with a website designer friend in Canary Wharf - the jammy bugger works in One Canada Square and has one of the best views of London imaginable! – he was talking about bands and how hard it can be to break them. He, in addition to designing websites, manages a few acts – including the wonderful XY&O. The boys have played Glastonbury but, despite the expensive P.R. campaigns and endless work, they are not where they should be in music. Some P.R. campaigns can cost a grand. A manager/band can put their latest song/album to a P.R. company who will, on their behalf, contact people like me and get as many sites/journalists talking about it. One hopes, with that attack-on-all-fronts approach to promotion, more and more people will get acquainted with the artist. That is true but, one of the biggest drawbacks for a band, is when it comes to monetising their music. Me and Alex (the guy I was speaking with) bemoaned the fact our music passions were not generated as much money as they should – mine generates zilch, in reality. The Wild Things rely on gigs and the revenue they can generate from that source in order to produce new music/videos. Sure, people like Syd have their acting but, considering she pays rent and needs to survive in London; how much of that pay cheque goes into her music? One suspects the band, like many other, have quite tight and troublesome profit-and-loss sheets. The sheer passion they have for music mitigates a lot of the financial pressure but bands are not being compensated and safeguarded enough. Speaking with Alex; we chatted about streaming services like Spotify and the true ‘profit’ associated with these services.

PHOTO CREDIT: Marcus Maschwitz Photography

The reason some artists get success on Spotify is that they are part of playlists which generate millions of streams. For most artists, they have to rely on more modest numbers. The money they are paid for each stream is so meagre; one cannot make any decent money from this source. A recent article from The Guardian laid out the facts when it comes to our smaller venues:

“A dearth of live music venues threatens the UK’s talent pipeline, according to those in the music industry. “Live venues are one of the few places where a new band can actually make a living, and the big problem is that the money which used to be there from recorded music has all but dried up,” Pink Floyd’s drummer Nick Mason said recently. “It’s really important we try to keep open these places where young bands can play and work.” The venues had believed that their pleas for support were being heard. The former culture minister, Ed Vaizey, said in 2015: “A vibrant music venue which is breaking new acts has just as much right to be considered a cultural venue as a local or regional theatre.”

“A lot of our venues don’t just put on pop music,” (Beverley) Whitrick said. “They will also put on jazz and folk, some put on theatre, and most put on comedy. A lot of the stuff they host, they know they are going to lose money on.”

Darren Henley, the ACE chief executive, said it had strived to ensure the new funding allocation was diverse and inclusive. “We are funding some incredible music organisations as part of the portfolio for the first time, including Readipop in Reading, contemporary music promoter Capsule in Birmingham, Loud in Libraries, NTS Live and Sound City in Liverpool. We also fund contemporary music through our other funding streams – for example, we’ve just announced that we’re funding Boiler Room’s coverage of this year’s Notting Hill carnival through our Ambition for Excellence programme.”

This, alongside the paucity Spotify pays artists for having their music streamed, is creating a real fear among bands. Solo artists/duos are in the same position but it seems bands are being hit hardest. I wrote a piece a few days ago wondering why so few of the best mainstream albums from the last year or two were created by groups. Maybe it is harder for them to perform and monetise their music: that, in turn, means they have less money for creating music and have to compromise in a lot of ways. I am not sure this is the complete truth but there is something in it – money is such a pivotal reason why so many musicians are not producing their best material. For The Wild Things; they are one of those hard-working bands who have to take jobs to fund their music and, one hopes, will not suffer because of the venue issues. I would love to see them become one of the biggest bands in the country – no reason why they cannot – but worry there is an alarming trend unfolding before our eyes. Aside from sexism and imbalances – I shall return to this a bit later – so many facets of music are suffering and being let down. Not only will many great venues close – well before new funding talks in 2020 – but bigger spaces too. These spots are crucial for every band when it comes to getting their music to the people. If they cannot rely on the gig fees and merchandise profit they receive from venues: are streaming sites an attractive and effective alternative? It seems not as we are reading tales of artists not being remunerated from Spotify; the fact modern music is not as profitable and compensated as it should be. Whether the government should be doing more and subsidising venues – so they do not face closure – is hard to say but more needs to be done in general. The likes of The Wild Things rely on the small venues to get them into the public consciousness – take them away and it will be so much harder for them to prosper. Now that I have depressed everyone, I better move on. I have been a bit Grim Reaper in the last section but, listen to F.I.A. and I am in no doubt The Wild Things will succeed and reign on the strength of their music alone.

PHOTO CREDIT: Marcus Maschwitz Photography

The band’s aim, Syd especially, is to enslave the human race. Not in a Donald Trump manner but something more melodic and loving. The band’s mingling of sweet harmonies and ball-kicking Rock is enough to get the human race buckled to its knees. Anyone expecting a slight and ineffective enslavement is in for a shock listening to F.I.A. I approve of the opening moments of the song’s music video as it castrates and villainises a few public figures – those who are making the world a worse place. Piers Morgan – one of the slimiest reptiles in the pond – is given Devil horns. President Trump has some of his ‘wise’ sound-snips comicalised and mocked – an epic buffoon who, with his sexism and vile agendas apparent, is being seen as a bit of a joke. It is worrying with have people like Morgan and Trump in the world – especially in such high and prominent positions. The video starts with the first chapter: The Sleazeball. In the video, Cam plays a version of the boss in the U.S. version of The Office – Syd is at a computer; subjected to his ‘management’ style. He is a bit of a sleaze and it is this narrative that perfectly supports the lyrics. Syd’s voice is firm and intent as she reveals, about a subject or general figure, who has certain revelations in the public. In fact, wind back, there is tussle as to whether there is accusation towards the perverse and ill-informed – those idiots like Trump and Morgan – or more a personal perspective. White, as the song’s heroine, has this lighthouse-like beacon guiding the way. It seems she is falling and struggling to come to terms with something. Whether there are ambitions not being achieved – her as the office drone; vulnerable to groping and unwanted advances – might represent a stagnation and frustration. She, as a woman, is playing second-fiddle to leaders/managers that perpetrate negative ideals and are, well, rather crude. Why should she, as the dignified and pure, have to suffer this?! Maybe the song looks back at her previous work experience: perhaps it is a commentary on sexism in society or the way men seem to make more of the decisions.

Whatever the interpretations; one is hooked by the video and music. The former has that low-budget charm and humour chapters – Syd and Cam showing their acting chops and presenting a tableau that is going to familiar to many. The song is a typically boisterous and spirited number from the London band. Syd’s voice is as strong and set as ever: the way she can blend the luscious and cherry-ripe with something spiked and kicking is impressive. She has one of the nimblest and strongest voices in new music and demonstrates it here. The guys help to whip up stomping percussion, liquidy bass and stirring guitars – they whip up a storm and provide one of their tightest performances to date. White, as the ill-fated heroine, wonders why she has to be in the position she’s in. The song’s title – the acronym stands for F*ck It All – is her exasperation at the way things are going. The song’s video projects sexist subtitles – Cam, as the boss, belittling Syd and saying, even though she is not a man, if she works hard she can make it happen – and some rather creepy images (not Cam massaging his sister’s shoulders but that all-too-common workplace ill). I get a sense of Syd speaking for many people in society – not necessarily women. It seems, even if you do have ambitions and good intentions, you can be let down by people. As a musician and actor; she must have faced closed doors because she is a woman. The video for F.I.A. certainly highlights a sexism that we should eradicate. There is this assumption things will be okay – telling her parents it will be okay – but there is tension and rage building under the surface. This is visualised by the song’s video which, rather wonderfully, sees the put-upon heroine take action. Her boss’ too-near-the-ear leering and patronising sexism is too much for the heroine to take. She screams and, as we transform from the office into a multi-coloured-disco-floor-cum-battleground; things intensify. Syd wields a sword – her boss looking concerned for his life – and she has taken more than enough! Coinciding with the next chapter (The Criminal); we see the fall from grace of the heroine.

The song’s lyrics might not be as extreme as the visual arc – the oppressed killer having to escape and evade punishment – but there is a tangible sense of relief and release. This is exemplified by the song’s explosion and passionate burst. The guitars, drum and bass volumise and create a wonderfully boulder-like and fiery sound. Everything gets hotter, suffocated and exhilarating. The band, every one of them, shows their instrumental chops – how they can switch from the summery, harmony-rich calm to full-out Rock jabs without much of a breath. It shows how confident and assured the band is. They can switch one-eighty and make it sound natural and expected. As the third chapter, The Stalker, comes in; it becomes clear there is a combination of the personal and observational. Syd has been around those pervy bosses and types that demean women. Then, she looked at those who strike out and damage the world; stalker, who harass women, are those we need to take to task. Whether there is a personal exclamation – fed up with these people getting away with it and affecting women so severely – or a need for society to clean up, it is interesting to examine. It is clear the heroine is not one to take these issues lying down. In the video, she strikes a man who tries to mug a woman. Then, she tackles a stalker and asks who is running the show – The Big Boss is the final villain that needs slaying. The humorous and comic book approach to video-making is a nice companion to a song that addresses something rather serious. The band takes the song through suites and stages. Syd yelps and spits; she has passionate segments and ensures each part of F.I.A. has its own personality. The band is level to the task and, as such, infuses the composition with different sides and flavours. It is one of the finest, if not the best, songs from the band and one of the most complete. There is a definite sense women/sisters can overcome the worst side of man – something that needs to happen (perhaps a little less violently than in the video!). Whatever your take away from the song; it is a huge and anthemic song from the London band and proof they deserve a lot more oxygen and success. Let’s hope that does not take too long to happen!

PHOTO CREDIT: Marcus Maschwitz Photography

Many of us experienced quite a storm last night – you’d think it was the rapture, the way people are going on – and have been thankful it is a lot calmer this morning. In any case, that storm cleared the air and will take the heat down a little. If that meteorological sensation has, after some turbulence, created something positive; one wonders, applying that to music, whether that is the way to broach issues we are facing (pardon my rather clumsy metaphors and linking ‘powers’). In all seriousness; I, as much as anyone, was aggrieved seeing the online disagreements when Jodie Whittaker was announced as the new Doctor. We are seeing more and more sexism make its way into society – this seems rather baffling in 2017. I feel people are not as evolved as they should be: hanging onto horrible and vile ideas of past decades and thinking that is okay. At the very least, there is a stubbornness and unwilling to adopt anything new and progressive. This can be applied to music in a lot of ways. From the mixing desks and studios; to the festivals and looking at the charts themselves – women are subject to discrimination and this has to stop. A lot of charts acts are still promoted based on their looks: sexuality a big ticket for the girls but not as much for the men. How can we logically rationalise this approach and not take action?! The older boys are calling the shots and, until this order is replaced, we are not going to move on in any meaningful way. Sydney Rae White is the lead of The Wild Things and not someone who pays sexist men any quarter. One imagines she would have experienced sexism and, compared to her male peers, not provided the same sort of respect and focus. For the London-based band; their music shouts in the faces of anyone who dares to overlook them. I have mentioned – and shall not elucidate and return to the well – some of Sydney Rae White’s unfortunate happenings a couple of weeks ago. She, to me, is one of those charming and real people we need to see more of. Having a close bond with her brother, Cam, and friends Rob and Pete; the guys are one of the most together and effective bands I have heard.

PHOTO CREDIT: Marcus Maschwitz Photography

I look at a lot of bands and feel they lack anything unique and interesting. Maybe their music has some pluses but, looking at the members, and they are rather indistinguishable and bland. That is not the case with Londoners The Wild Things whose individual personalities and stories makes the listener take notice and dig further. The Whites’ acting background - Syd involved in Uncle and other projects – gives one an idea of what their childhood was like. I think they had quite a creative and illuminating space as children: engrossed in the best arts and music of the time; living in a part of the country where they would have been exposed to so many different people, tastes and cultures. I am not sure how Rob and Pete found Syd and Cam but, one suspects, there was a solid friendship from way back. I talked about siblings in bands and how it can lead to mixed results. One will not hear any Gallagher-esque spats and wars between Cam and Syd. They have that tight and loving relationship that makes the music so solid and natural. The entire group has a tight-knit dynamic and that leads to some wonderful music. Like current favourites Methyl Ethel – the latest album from the Australian band, Everything Is Forgotten, is one of the year’s best – one gets some wonderfully rich and summery Pop; echoes of Rock and concrete – music that would sound epic in the live environment. I shall bring things to a close but want to return, very briefly, to professionalism and the gig profitability for modern bands. I have outlined, via The Guardian, how vulnerable the fabric of live music is in the U.K. The Wild Things, of course, are eager to get their music out there and generate funds from tickets/merchandise. If digital streaming services provided a comforting fall-back for bands, that would appease a lot of the stress we are seeing – the sad fact it is exacerbating pressure and insufficiently paying artists who appear on the site.

Those grassroots venues are, as always, an invaluable rite-of-passage that needs proper conservation. The Wild Things are a brilliant live act who is placed in the busiest music city in the U.K. They will want to have full access to the spectrum of venues around London. If, as has been hinted, many spots will close in the next couple of years; what does that mean for their future?! Their music is righteous and bodacious for sure, I get you, but it can only get its voice heard if they can bring the music to the people. Streaming services get the songs into the ether but gigging has always been the effective way of spreading the word. We need to accost the government and open their eyes to the denigration and depletion of the live music scene. I shall not bum the guys out too much as, and I shall end on this point, they have a bright future. I am not sure whether they have plans for an album but I know the guys have an impressive body of work behind them. Surely, new ideas are percolating and one imagines they are brewing something – whether an E.P. or another single. The vibe and chatter augments; there is demand for their music – how will this drive the band and what form will their ambitious take? I feel they have an E.P. inside them and feel a summer-released four-track, for example, would be a savvy move. In that same spirit, they will be looking for gigs and know there are venues that would house them – an E.P. to show promoters and venue bosses would go a long way. The reason the band are making strides is their professional approach to music. They get images of themselves out there and producing stunning songs like F.I.A. Their hard-working and versatile approach to music is going to take them a long way. I have no doubt the London quartet are going to be headlining stages in years to come so it is good you keep your eyes peeled and ready. F.I.A. is a typical slice of brilliance that shows The Wild Things…

ARE here to stay.

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Follow The Wild Things

INTERVIEW: Dani Robert

INTERVIEW: 

 Dani Robert

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ONE cannot deny how well the single, Clouds, has done lately.

ARTWORK: Casey Blair

Its creator, Dani Robert, talks to me about its Spotify success and whether its acclaim was expected or not. Originally from the farmlands at Pain Court - she is now based in Toronto. I ask about the music scene in the Canadian city and how it inspires her. I ask about her latest single and the inspiration behind it; whether there is anything (music-wise) is coming up – and how instrumental music was when she was young.

I ask whether Robert is coming to the U.K. and what tour dates are approaching; the three albums that mean the most to her – and whether it is a struggle being a young artist in a competitive market.

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Hi, Dani! How are you? How has your week been?

Hey.

it’s been a great week! I’ve been doing a lot of press and promo for the new single, Clouds - so a whole bunch of things keeping me busy.

I am so excited about how people have been responding to it. We just broke 100,000 Spotify spins!

Such a giant blessing!

Clouds is your new single and summer anthem. What is the story behind the song?

The song is all about a personal experience I had with a close friend of mine.

I had felt so many feelings for this person and I felt he did too - but we just never talked about it! It made me think of all the times we feel something and are so hesitant to act or even talk about it. I compared it to a cloud because clouds are there, but they’re also just vapor – similar to these experiences.

The feelings were there but weren’t really because we never acknowledged them (like vapor). So, the moral of the story is: TALK ABOUT YOUR FEELINGS!

The video looks like it was fun to film. What was the process of putting it together and how involved were you in putting the concept together?

It was such a great experience filming this video.

We worked really closely with the director, Gord Poon, to put together a story that, essentially, brought the lyrics and song itself to reality. He did a great job really taking my personal story and putting it on screen. I was pretty hands-on in the whole process too: from the initial brainstorm process to the casting - all the way to the end product.

Based on the responses I’ve been getting, I think we were able to capture a real-life experience that is allowing people to truly feel something. If you guys are able to feel something - and I mean anything at all - I’ve done my job!

It seems like a lot of time and thought was put into putting the song together. What was the process of making the song itself?

Definitely!

The song itself took about a year to fully complete. It was a long and worthwhile process that involved many people: from Mic Te to TJ; to A.M. and, of course, Ashton Adams and Kyngs - who produced the whole track.  It started off with a few lyrics and a piano rift but when I took it into the studio for the guys to listen to - they added their touches and it took a life of its own.

That night in the studio, when we finally finished everything, I remember being with my team, dancing and beaming with smiles! It’s a very personal song to me because it’s something that really happened to me!

It has been streamed thousands of times on Spotify and taken to heart by so many people. How important is that kind of reaction and reception to you?

I’m just blown away by how well received the song has been thus far – over 100,000 Spotify listens in less than two weeks!

I’m so happy you guys like it! So many people have shared with me their own feelings on how they can relate to the song, and to me, that’s really what music is all about. As an artist, I just want to connect with people of all backgrounds and walks of life. It’s so beautiful to see so many different people from around the world create their own interpretations of Clouds.

It really shows that us, as people, really aren’t so different from one another.

Is there an E.P. or album on the horizon?

Definitely.

New music is on the horizon soon – whether an E.P. or an album, that’s to be determined. I have a collection of songs in the musical vault!

Right now, we’ve just been so taken aback with the success of Clouds and I’m just really trying to soak that all up. Stay tuned, though!

You live in Toronto but are from Pain Court. How different are the two places and what was the decision to move to Toronto?

Both places are pretty different from one another- but are each beautiful in their own way.

Pain Court is a small French village that is forty-minutes away from Windsor, Ontario. It’s filled with fields, old barns and breathes at a much slower pace.

Toronto, with its diverse neighbourhoods, for the most part, is much faster-paced and taller - in a sense that there are more sky scrapers! The only structure comparable to a sky-scraper in Pain Court would be their grain bins. Haha.

Music is the thing that ultimately brought me to Toronto though. Being there has allowed me to build the team of people I currently work with today. Toronto’s music scene is extremely tight-knit as well. It’s been so humbling to be a part of a community that has bred people like Drake, Shawn Mendes and Alessia Cara!

To call these people my peers is truly an honour.

What is the music scene like there? How does it compare to other parts of Canada?

Like I said: the scene there is so tight-knit and talented!

So many international artists are from there from Drake to Alessia (Cara); The Weeknd, Justin (Bieber) - who’s just outside of Toronto.

Montreal is another place in Canada I really love. It’s also so amazing and diverse - there are so many talented groups from Montreal.

Those are probably the two places I’ve really been able to experience as of late. Canada is such a huge country. I’m hoping to see much more of it when we go on tour.

How early did you take to music? Did you start playing as a child?

I started playing the piano when I was five and began writing songs when I was seven. My babysitter, Jess taught me Heart and Soul on the piano and, from there, I couldn’t stop playing!

There are so many creative ways of looking at the world when you’re that age and I found the best way to express it was through song. I am so grateful to have the opportunity to express myself in such a way - because it really is my most comfortable method of communicating and connecting with others.

What kind of artists and albums did you grow up listening to?

Growing up, my parents always had the radio on. They listened to a lot of '60s and '70s music - and I listened to a lot of Sarah McLachlan.

As I got older, I also started listening to Chantal Kreviazuk - after my mom and aunts brought me to her concert. Watching her play, I remember hearing a voice inside me saying: “You will be doing this someday!”

Is it quite tough being a young artist coming into music? Do the ‘goods’ outweigh the ‘bads’ - or does it depend on the day?

Being a young artist sometimes has its challenges with all the responsibilities involved - and all the different hats you have to wear.

It doesn’t necessarily depend on the day because you’re always thinking and experiencing so many things at once and are always on the go. Whether that is spending hours in the studio, being in constant communication with my managers; having to meet multiple deadlines in a day, odd sleeping hours; meetings, social media management or press runs you’re always on - it doesn’t leave a whole lot of time for myself.

As a young artist, especially, I think I have the added challenge and responsibility to make sure I’m presenting myself in a proper and respectable way. I have so many young listeners that I have no choice but to make sure I set an example for them. Often, when put in that position, a lot of pressure is there to do well not only for myself but for everyone impacted by my music.

But, when I see how people are connecting to the music and my story, all those challenges and bad days are really over-shadowed. Nothing compares to seeing people connect with my music and even having it help people in their lives.

So, to answer your question: the good absolutely outweighs the bad!

How do you unwind and spend time away from music?

I spend a lot of time in nature, swimming; painting, hanging out with my family; friends and Ned the cat (which my mom will soon be making a Facebook page for - stay tuned! Haha).

My faith is also really important to me - so I like to pray and go to church.

PHOTO CREDIT: Kenneth Leung

Can you tell us whether there are any tour dates coming up? Any plans playing in the U.K. this year?

As of right now, we are in the beginning stages of talking about tourin - but I would love to come to the U.K within the next year!

I hear that in general, the music scene in Europe is incredible - as you guys have a true appreciation for music. Wonderfully enough, my primary Spotify listeners of Clouds are actually from there.

Are there any new artists you recommend we check out?

I love Anna of The North – she’s an awesome artist from Norway.

I absolutely love her sound, look and overall vibe. Her melodies are absolutely breath-taking.

PHOTO CREDIT: Jonathan Vivaas Kise

I would also recommend an upcoming Canadian rapper I’ve worked with named Brae.

He’s on the same management team that I am (AMAG) so we’ve become good friends. He’s such a talented young Canadian artist - not to mention he has such a happy-go-lucky personality. His live performances are unreal!

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

Sarah McGlaughlin’s Surfacing (album) is a big one.

I was so young when I first listened to that album on my old cassette player at home. It definitely inspired me to write songs on the piano like she did. The overall beauty, depth and emotion captured on the album is beyond words.

Chantal Kreviazuk’s What If It All Means Something also had a big impact on my writing when I was young.

It was the depth and her ability to capture emotions and tell stories that drew me in. 

Lastly, Frank Ocean’s Nostalgia, Ultra, is another project that leaves me in awe.

My ears never get tired of it and I feel like I’m in a different world when I listen to it. Strawberry Swing, in particular, literally makes me cry!

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

Music isn’t just about making songs: it’s really about discovering yourself and knowing yourself. Get to know yourself in the studio - do you need breaks? Snacks? Do you need to prance around the yard and pick daisies in the middle of a session? (That’s what I do sometimes).

Analyse yourself and get in tune. I know there’s a ‘grind’-mentality out there but, sometimes, stepping away and coming back - or even waiting for that actual experience to capture - is worth it as listeners feel and hear the difference.

Really importantly; my manager Mic Tee always reminds me, that, despite the stress - to make sure to have fun in the process!

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).

Thank you for the wonderful interview and I hope to meet you in person soon! 

I would love it if you played The Dreamer by Anna of the North!

Thanks so much and don’t forget to follow me online: @danirobertmusic!

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Follow Dani Robert

INTERVIEW: Aminu

INTERVIEW: 

 Aminu

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AMINU is some I am intrigued by and how he has progressed…

over the last few years. Not only was he approached for Simon Cowell (for a deal) but has worked with a range of talented producers. I ask him about his new single, Love U, and its compelling video. Aminu is based in London but born in Nigeria. I ask about his heritage and whether he brings his African roots to the music – and if music was a big part of his childhood.

He tells me about future touring plans; when he first got the performance bug and the experience of working with producer Rob Ra – who seems to have a direct and honest approach (like Simon Cowell). Aminu gives a little peek into his upcoming album, DYFM, and what we can expect to hear from it.

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

Hi there.

My weekend has been really nice and relaxing – although, I am getting a little cold from time to time as I'm always on the move.

Battling through different climates can be somewhat of a challenge. L.o.L.

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

Sure.

My name is Aminu and I'm a singer-songwriter - born in Nigeria and raised in the U.K.

Tell me about the new single, Love U, and its video.

The video for Love U has been a really wonderful experience.

It came about from an old song I had written a while back. It came alive again after I played it to Rob Ra - who I’ve have worked with on other successful projects.

We then gave it a much-needed revamp and reintroduced it back into the forefront - with a fresher sound.

Is there going to be any more music arriving shortly?

The single is taken from my album, titled D.Y.F.M. - which stands for Do You Feel Me.

I'm still finalising the tracks on the album - and making sure that it gets across to all the fans!

You were born in Nigeria. Was music a big part of your childhood there?

Yes, I was born in Nigeria.

I remember growing up and hearing lots of Soul and Disco being played during our birthday parties as children. Michael Jackson’s songs and his videos - like Don’t Stop ‘Til You Get Enough and Billie Jean - just drove me to perform in front of the T.V. It, sometimes, felt like I was the only person around.

London is where I wrote my first song as a teenager. I went on to complete my studies in U.K.

Was it difficult leaving home/Nigeria and going into music?

Yes.

It was tricky but my parents saw, from my school days, that I had something. They regularly came to see my plays and shows at school. I always had a good balance between studies and creative time.

It was after university - and music wasn't paying off hugely - that they recommended I got back into the corporate world (which I did).

But, I always had time to create music after sorting out my mobile studio set up. Everywhere I’d go; so too did my music.

I believe Simon Cowell came across your music and offered you a deal. How did he come to your attention?

Simon’s situation was a really good place during my history!

It meant something to me - and it meant something huge! I wasn't offered a deal by Simon, but rather, he had come across my C.D. and advised that I had a communicative session with the top management at BMG then. I received an invite to discuss - but no agreement had come out of it.

I treated it like ammunition! It was the world telling me I got the goods so I needed to get there myself! After that; everything in my life changed!

What was it like working with Rob Ra on your new music?

Rob Ra is so unique!

He's a straight-shooter. Similar to Simon, he tells you if it’s a ‘yay’ or ‘nay’! L.o.L.

I get on well with people who are honest! He advised me to attack the market big-time - and that I had a hit on my hands so don’t keep it on the shelf. He came up with a couple of remixes for my Afrobeat track, Shake U.

I had a video shot as well, and the rest was history. Whenever we get into the studio, it's always fresh!

Your music crosses genres and sounds. Is it important to blend styles and nod to your Nigerian roots?

Yes.

It’s very important to have a mixture of stuff that everyone can bop heads to.

I want my music to reach the kids and the adults. I also want to relate to my Nigerian roots so people outside can also look into how we live, work and play out there!

What kind of music did you grow up listening to?

I grew up listening to Michael Jackson, Marvin Gaye; Frank Sinatra, Boyz II Men; Tina Turner, New Edition; Prince - and many more!

What inspires my music is reality. Reality doesn't always have to be serious! You can still live your fantasies through reality, I believe!

What have been your highlights in music thus far?

When I spent some time in the Middle East, I once had a three-piece band: a fantastic bassist; pianist, and myself. We had to serenade the guest at none-other than the Iconic Burj Al Arab Hotel - the only seven-star hotel I know to-date.

It is where I had a residency gig - that allowed me to spread my wings, make contacts and perform almost every evening. I played Jazz, Soul and R&B classics - including some original material.

Yeah. Those were my best times, doing international gigs - whether in Nigeria, U.K. or the Middle East.

Can we expect to see you tour anytime soon?

Yes.

I am currently organising a U.K. tour but this will happen if certain factors - or perhaps dots - connect properly.

The U.K. is still getting to know me and I don't want to rush - like to go with the flow a little bit.

Are there any new artists you recommend we check out?

Ermm...I would just say watch out for some artists I plan to bring over from Nigeria. The talent there is insane - and it’s digestible overseas.

But for now, I will keep it a surprise!

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

The three albums that meant so much to me are…

Usher – 8701; Michael Bublé - It’s Time; Aaliyah - One in a Million.

These three particular albums drew a completely different side of me as a performer - and a writer.

Usher made me feel like a superhero; Michael Bublé has the voice that I always wanted - and sang the songs I always wanted to sing. Aaliyah’s record fed me with lyrical genius and I know it doesn't make sense - but it did! With top writer/producers like R Kelly, Missy Elliot and Timbaland grooming her - you knew it would be Lit!

What advice would you give new artists coming through?

My advice to new artists is that they should never stop believing, and, I know its cliché, but the moment you stop believing you can - then there’s no point to continue.

Do whatever makes you happy and love the people who love you the most.

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

 L.o.L. Ok.

Can you play me Bruno Mars’ That’s What I Like?

I love this song!

Thank you for giving me this time (Aminu).

_________

Follow Aminu

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INTERVIEW: The Pocket Gods

INTERVIEW: 

 The Pocket Gods

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THERE are some bands that come and go…

and then there are those who endure and continue to inspire. The Pocket Gods are in the first camp – oh, wait, no: the second one. I catch up with them to talk about the new single, Another Sunny Day, and what it is all about. I learn more about the record-breaking album of one-hundred songs: all thirty-seconds in length (or less). It is a shot against streaming services like Spotify – and their egregious and borderline-unethical payment to artists.

Being such an established and well-heeled band; I learn about the album, The Jesus and Mary Chain – and what it is like knowing such a famous band. The Pockets Gods have been on the scene for years and gained plaudits from the likes of Steve Lamacq.

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

Yep. 

Crazily busy which is great gigs, interviews - and sorting out launch party for the album!

Can you tell me how The Pocket Gods got together and the secret behind your decades-spanning endurance?

Oh, crikey, well: “It was twenty years ago....Sgt. Pepper...”.

Erm, yes. I formed the band whilst working in Tower Records in London, with keyboardist Noel Storey, and recorded a demo of a song called My Next High and we were more Alt-Country at that time - even had a pedal steel, harmonica and a guy on decks!

Well, Noel and I are still in the band - which is a good start – and, despite having a cast of a-thousand ex-drummers and bass players, we all remained on friendly terms.

We just kept at it I suppose and kept recording albums - think there's about fifty-odd albums out there and nearly eight-hundred tracks been released. Also, not taking ourselves too seriously - so no massive egos.

Tell me a bit about Another Sunny Day and the inspiration behind that?

Well. I wrote the basis for the song while surviving a hot summer living in London - some dodgy bedsit in E17 and there was just know where to go to escape the heat.

I was just wishing the rain would come and wash it all away - my then-band-mate Nigel Parrington then added great bits to it and it was a hit single in Belgium for our band at the time, The High Ones. I've always thought it to be a great summer anthem so I wanted to re-record it for this album.

There is a new album out, too. What can you reveal about it?

Aha, yes.

It's our Sci-Fi-Indie-Pop opus - featuring new versions of old songs and some new more experimental tracks. It's written like a classic L.P. with an A and B-side kind of all flows together - there is even a ten-minute track on the end - which is kind of ironic; seeing as we're known for our thirty-second songs!

It is titled after the legendary Scottish band, The Jesus and Mary Chain. What is your experience of the band and how important are they to you?

Ah, yes.

They were fab. My brief experience of playing with them inspired me to form The Pocket Gods so, without them, I wouldn't have started the band. The funniest moment was when I went to audition for them at their own studio in South London - appropriately called, The Drugstore.

I learnt all the bass lines note perfect (ala Paul McCartney) and was happily playing away when Jim Reid came and whacked the bass amp on full-fuzz and distortion all the way to eleven - it was just white-noise and served me right for playing too many notes!

The band has a Guinness World Record for releasing the most tracks (one-hundred) on a digital album. How did you manage to write so many tracks and how long did it take to get them all together?

Oh, yeah, to be honest; it was hard work and was running out of ideas after about seventy songs - especially as I wanted them all to be about the music industry.

The whole album was a critique of the industry and the whole digital streaming - and lack of royalties for artists. To be honest, I wasn't aware that it was a world record until they contacted me. I chose one-hundred as it sounded cool. I wouldn't have been able to finish the album if it wasn't for friends and fans of the band recording tracks for me as well - so, thank you all!

Each track lasts thirty seconds. What is the reasoning behind this?

Ah, there you go...

Well, simply; services such as Spotify pay out a very small royalty of approx.. 0.007 after a track play reaches thirty seconds - and then no more. So, your track could be eighteen-minutes-long but you would still get the same royalty - so I thought: why give them more why not write songs that are thirty-seconds long and, by putting one-hundred of them on one album, you maximised the royalties!

The thirty-second song idea came from Professor Mike Errico in the U.S. - who wrote about it in The Independent - and challenged bands to start writing thirty-second songs.

I took up the baton!

Was there a sense, putting that album out, it would be seen as a bit unconventional? Has it been quite humbling getting such great feedback and kudos?

No, not really.

I did chat to Mike Errico about how I would never write or record conventional longer songs anymore - and we did do two more albums after the first. But, at the end of the day, I fell back in love with playing longer songs and also wanted to show our new fans that we weren't just some fad novelty protest band - but we could actually record great albums.

Yes, it's been very well-received and, especially with a young audience, even the great Steve Lamacq has said we were sounding fresh - which is great.

How do you think music has changed since you started out? Do you think the digitisation of the music world is a good or bad thing? Is it harder being in a band now?

Overall, the industry has changed so much...

It was way too slow to adapt to changing technologies which allowed piracy to reign supreme for a while - it's now only just starting to recover. I do think though people do look back with rose-tinted glasses about how great it used to be. People forget the reality was although bands got advances they were, basically, in debt to the major labels and had to pay it back.

Also, to get a decent demo. made you, would have to spend a lot of money in a decent studio to get something that sounded good - now you just pick up a MacBook and away you go.

So, technology has allowed more people to make music but, consequently, there is a lot of artists out there trying to make an impact which is hard...hence my reason for trying to create an angle and make it newsworthy - with the one-hundred-times-thirty album. 

Back in the 1990s; you were discovered by John Peel. How important was it to have your music backed by such a legend?

Actually, it was much later: it was the year he died, tragically.

I wrote a song called The Ballad of the Peshwari Naan about our local Asian restaurant and thought, after recording it, that John Peel would love it - as it was a mix of Sonic Youth and Cornershop.

So, I sent him a C.D. and forgot about it. Two years later, he calls me up saying he loved the track and gave me his home address to send more stuff (to him).

Lovely man.

Tony Wilson died shortly after finding you; your former manager nearly died of an asthma attack after taking you on. Have you managed to halt the Grim Reaper streak and, in all seriousness, was having Tony Wilson recognise your music your greatest moment?

Yeah, I think we have halted the so-called ‘curse’ to some extent - especially as Huw Stephens and Tom Robinson are fit and well (fingers-crossed, chaps).

Yeah, Tony was a legend I loved the whole Factory music scene and ethic - and he was a one-off and definite character.

He was hailing St. Albans, where we're from, as the ‘new Manchester’ - as we had bands like Enter Shikari around and we were part of that scene (but obviously not as heavy - great band though, E.S.).

It was a shame not to meet him as he died a few months before In The City festival that year - which he used to organise. We got to play the St. Albans showcase, where the best new bands from our area got to play this fabulous festival. I even accosted aforementioned Huw Stephens in a petrol station shop and asked him to come to our gig....which he did and said he enjoyed it! 

You have toured with some legendary acts over the years. Who has been the most memorable?

There's been a few, but I loved playing with The Ramonas: an all-girl tribute to my fave band, The Ramones. They were great and the gig was memorable as my wife Claire (Bass player) was seven-months pregnant at the time - but she rocked. 

What are your plans for the rest of the year? Any tour dates coming up? Another album?

Plans?!

Wayne Rooney-style hair plugs if the albums sell well...or shoes for my kids (do you know how expensive kids shoes are?!).

Yep; a few gigs looking for a decent support slot (nudge, nudge Noel Gallagher!). Gosh, another album I was supposed to be writing - another thirty-second song album this time; one-hundred-Elvis-x-thirty but have been busy promoting this one.

We also should be back on Sky T.V. as house-band on the Nub T.V. music show - which is always fun.

We got to play with Joan Armatrading, Junior and our friend and collaborator, Owen Paul on the last series! 

Are there any new artists you recommend we check out?

Yeah.

Please check out our label-mates, Flaunt - as U.S. Electro-Indie duo who has been described as a "mellower Nine Inch Nails". Their new album, Spectra, is out now and is simply the best album I've heard since Nevermind.

If you had to select the album (of another artist) that mean the most to you; which would it be and why?

Teenage Fanclub - Grand Prix

Following on from the J.A.M.C. stint, I was hanging around with a lot of the Creation bands such as Slowdive - but I really love ‘The Fannies’ (as they're known). It's (just) great Indie-Pop, lush harmonies and great song.

A very underrated band

Do you get much time to take a break from music? How do you like to spend your free time?

Ha, free time: that would be nice!

Well. My three, wee nippers take me out to the park and make me play football - I'm a massive Huddersfield Town fan (yes, there are some and, after Patrick Stewart, I'm probably the second most-famous fan).

I also like to go U.F.O. hunting as, shush, don't tell anyone, but we live next door to the U.K.'s own Area-51...seriously!

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

Give up...

No, sorry, er…don't give up. Keep at it; believe in yourself but also keep honing your craft.

Also (sounds a bit hippy-ish), but follow your destiny and follow the signs the Universe is sending you.

On a more practical-level: get out and meet contacts face-to-face. There's still nothing better and industry people are more likely to work with you if they have met you - and like you as a person 

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).

Ok. 

Mine is Something Different by Flaunt! 

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Follow The Pocket Gods

FEATURE: The Best Albums of 2017 (So Far): Kendrick Lamar – DAMN.

FEATURE:

 

The Best Albums of 2017 (So Far): 

Kendrick Lamar – DAMN.

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OF all the albums I have assessed so far in my...

investigation of this year’s finest (up until this point); few are striking and important as Kendrick Lamar’s DAMN. (or ‘Damn’; depending on whether you are a fan of capital letters and misplaced full-stops). A fulminating, sermonising; searing and finger-pointing album with a dose of braggadocio and political accusation. It is the fourth album from the stunning visionary, Lamar. He first came to my attention with his 2015-owning masterpiece, To Pimp a Butterfly. From its cover – black faces outside The White House – that is both ironic and striking; its music, Jazz-flavoured yet intense and provocative: a stunning work that, rightfully, swept the end-of-year lists. DAMN. is as vitriolic and exclamatory as its title suggests but contains little compositional D.N.A. of To Pimp a Butterfly. Whereas that album has flowing and silky horn beauty: DAMN. is a more punctuated, precise and ‘traditional’ soundtrack. It is purer in its Hip-Hop tones and beats: the songs, as such, are more urgent and have less time to ruminate and explore.

The sheer mass of producers that are credited on DAMN. suggests a militaristic approach to music – a process born out of precision, marketing meetings and committee rancour. In actuality; what one gets from DAMN. is the focal master exerting as much ease, individuality and expression as any of his previous records. One might not witness as much compositional variation, nuance and, perhaps, quality as To Pimp a Butterfly. DAMN. is, in my view, a more essential, timeless and essential disc. It articulates the anger, confusion and divisions of To Pimp a Butterfly but is a more personal, focused and accomplished album – Lamar’s raps, flows and rhymes and slicker, sicker and more compelling than ever. If DAMN. sounds like it was the result of group meetings, big drawing rooms and record label gatherings: the actual origins are a lot more humble and domesticated. He claims most of the album was penned in his mother’s kitchen. The album is the perfect blend of Lamar’s lyrical vision and vital contributions. Mike Will was essential when it comes to inspiring beats – one of the key voices when it came to DAMN.’s finest and most invigorating creations.

Given the hustle, divisions and anger percolating in the U.S. (before the album was released); one can interpret some of DAMN.’s fiery and most judgmental moments as a shot against the Trump administration. In truth, a lot of the songs are more personal and disconnected. There are political references and observations but, for a large part of the record, one hears Lamar switch from bragging and boastful superstar to a tenderhearted young man talking about his roots and family. Blood, the opening track, is Lamar telling a story in which he is shot by a blind woman he’s assisting – not the cosiest and most family-orientated track but one that does not instantly suggest political aggression. The song is inspired by the Book of Deuteronomy and features, in the introduction, an audio clip from Fox News (criticising Lamar).

DNA/DNA. Is Lamar’s most virtuosic and astonishing display on the album – perhaps the finest moment of his career. Few songs are as confident, slick and peerless. Personal and staggering; filled with sick and stunning spits – a tour de force from Lamar. Yah calls out Fox reporter Geraldo Rivera; references religion and breaking the rules of God – the consequences of doing that and the moral choices we make. Element features damning dissing; Feel is one of the deepest and more startling tracks on the album – Lamar looks at the isolation of fame and how he feels detached and distant from his family. Humble is Lamar, with ease, showing why he is leagues above his peers – without letting ego overtake his focus and skill – whereas Lust, in one sense talks of fatigue fighting against the Trump victory and sadness of that, it also looks at material loyalty (and extra-marital temptations). Fear compartmentalises Lamar’s anxieties at various stages in life; Duckworth (Lamar’s real surname) the connection between the American and his father. There is so much going on throughout the album: that balance of personal and the metaphysical/political/socio-economical.

For me, the album could have flopped after To Pimp a Butterfly – Lamar released mix-tapes between albums and showed, even his ‘lesser’ work, was still miles ahead of the competition. The previous L.P. was so celebrated and appreciated: if he were to pen a very similar-sounding album; that could have been a risk. One would understand the temptation of falling back on that album and trying to replicate it. Instead, against all odds; Lamar created something less extravagant, inventive and cross-pollinating. DAMN. lingers because of its directness and incredible words – rather than the luscious and broad-minded compositions. The lyrics are on-point, hugely inspiring and thought-provoking. Lamar’s vocals are at their heightened and class-leading best. There is that mix of old-school and modern; soul-baring and widespread – these contrasts make DAMN. such an exhilarating and unpredictable thrill-ride. The occasional cameos (Rihanna’s on Loyalty the most memorable) could have shifted focus and made the record crowded – the fact Lamar is the only voice one hears is no slight at his cohorts; proof he is a presence that cannot be equalled.

Lamar’s voice adopts a variety of guises and personas – inhibiting various worlds and making each song sound new, crucial and hugely impressive. There are few artists, if any, with the confidence and command of Kendrick Lamar. He has every right to be this forthright and assured: his sales, reviews and popularity have arrived off the back of a sublime and faultless body of work. DAMN. shows he is adaptable and ever-evolving. Taking a step back sound-wise means he has the chance to leap forward in terms of his story-telling and performance. Maybe new ground is no broken but is afford Lamar chance to revisit old ground and return to his roots – both musical and familial. The sheer dynamism of his rapping is enough to convert those who prefer their music a little calmer and less controversial.

He is, you know, not an artist who alienates, plays to elites or those who ‘get’ Hip-Hop. He speaks on behalf of the world and, as a result, makes music for everyone. There are few artists who do that: fewer who can create an album as timeless (as we shall surely see) and mesmeric as DAMN. Its title is very apt given the quality, aggressions and resonance. Those aggressions are never petulant, profane and spiteful – every harsh and anxious moment is sublimely tuned and channelled into some of the most astonishing music you will hear. DAMN., in my mind, is going to sweep the end-of-year lists – exactly the same way To Pimp a Butterfly two years ago. It only takes a single listen of DAMN. to realise what a trajectory…

PHOTO CREDIT: Noel Vasquez/GC Images

KENDRICK Lamar is on.

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 Released

14th April

Genre:

Hip-Hop

Length:

55:01

Labels:

Top Dawg, Aftermath, Interscope

Producers:

Anthony ‘Top Dawg’, Dr. Dre; 9th Wonder, The Alchemist; Bēkon, BadBadNotGood; Cardo, DJ Dahi; Greg Kurstin, James Blake; Mike Will Made It, Mike Hector; Pluss, Ricci Riera; Soundwave, Steve Lacy; Terrace Martin, Tae Beast; Teddy Walton, Ying Exclusive

DOWNLOAD:

 Element; Loyalty, Humble; Lust, Duckworth

STANDOUT TRACK:

DNA

INTERVIEW: JoAnna Lee

INTERVIEW: 

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  JoAnna Lee

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THE debut album from JoAnna Lee has so many interesting…

tales, avenues and sounds. On So Free’s title track; one hears a strong young woman who is following her own path and ignoring the doubters. A sultry and passionate voice helps highlight music full of richness, strength and emotion. I talk to Oregon-born artist Lee about her album and the themes addressed within. She discusses her new home of Austin, Texas, and what the music scene is like there.

I was keen to know about her beginnings and how she came into music - leaving her home of so many years was an anxious and unsure time. I learn more about a brave and ambitious young artist who is creating some of the most intoxicating and exciting music in Texas.

I learn more about Lee’s touring plans and the kind of artists she connects to; whether we will see her in the U.K. and the story of her latest single, The Real Thing.

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

I am great!

It's been quite a busy past couple months but I am enjoying every minute of it.  

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

I am JoAnna Lee: female singer-songwriter/guitarist; located in Austin, TX. 

I love sharing with others my feelings through my music and through my songs - I know that many people can relate.

Tell me about The Real Thing and how that song came together? Was it inspired by a particular person or relationship or just capturing a particular mood?

I wrote this after moving to Austin. I was hanging out at a local bar with a friend and there was a guy playing - who happened to be way too drunk to be performing...

I convinced him to take a break and I would cover for him - and so I did.

That moment I took over, a guy walked in through the door and I couldn't take my eyes off of him. Once I met him, we connected and it inspired the feeling of new love… and, how (all who start to make the fall question) could it be the real thing?

I believe the album, So Free, is out on 22nd September in the U.K. What can you reveal about the themes and ideas examined on the album?

So Free is a true and honest introduction and reflection of who I am and where I have been - in love, relationships and my growth into figuring out how love really is.

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You hail from a small town in Oregon. Was there a big music scene there? What was it like growing in such a place?

There definitely wasn't a big music scene there - speaking on most people’s behalf – but, through my eyes, it was something special.

So many great artists I know were living in the same town with so many talents - and we had the opportunity of being able to live in each moment and inspire and encourage each other to always keep working towards greater things.

Now, like so many great artists, Austin is home. How inspiring is the city and are there any particular bars/venues that you love playing there?

I love Austin.

Austin is my true inspiration. It inspired me to be free, to live for me and truly get to know the person I am. It made my art grow and it showed me the possibilities are endless.

So many venues I have loved playing there: Cedar Street Courtyard is definitely one of my (most) favorite places to play - but there are many that I look forward to playing at.

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How early did music arrive in your life? Did your family get you into it at a young age?

I started singing as early as I can remember.

My family definitely inspired so much, but, above it all, I always knew I wanted to sing.

Was there a particular moment when everything sort of ‘clicked’?

Every time you feel what's right in your heart is when you feel it ‘click’.

That's happened several times in my life, in so many ways.

Tell me how you came to the attention of producer Dwight Baker?

Well, one day I got a call from Les Cutmore - who's the label owner of Cutmore Records - who recently signed me. We were talking about some of my songs and he said there's this producer in Austin - and I'd like to hook you up to work on a track or two. I said yeah, why not.

So, he gives me the address - which is only about a thirty-minute drive from me - he then told me to be there tomorrow at twelve-noon and just ask for a guy called Dwight Baker!

That's how me and Dwight hooked up.

The fan numbers are building on social media; you have a lot of supporters behind you. How humbling is it and how important is the backing of your fans?

I am so very thankful.

If it wasn't for so many of the people who have supported me, I would have folded in a long time ago. So happy so many have been there through it all and will be there for me continuously.

Has there been a memory, thus far, that stands out as particularly special?

To see my music video reach as many views as it has within a short amount of time was truly humbling - and showed me that all my supporters are still listening.

What kind of tour dates are coming up? Any plans to play the U.K. very soon?

I have a lot of shows coming up. Some of them will be actually in the U.K. within the next month.

Looking forward to planning a tour soon… and just working hard to promote the new album, So Free.

Are there any new artists you recommend we check out?

Yes!

Depends on which level you are talking...

On a local basis: Adam Rodgers and Jonny Gray.

On a worldwide basis: Will Heard, NoMBE, and Jordan Rakei.

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

Stevie Wonder - Hotter than July

Has (on it) my favorite song of all time: All I Do.

Eric Hutchinson - Sounds Like This

One of the (most) happiest times I've felt was listening to this album.

Jamie Lidell - Jim

We…..Jamie..Jamie..Jamie….

Give this album a listen and you will know what I'm sayin’.

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

Seriously…even when you feel like you've given it all; just means you need to give more.

Prove to yourself what you love and what it is you want out of life.

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).

Susan Tedeschi - It Hurt So Bad

That’s my jam. 

Thank you - and I look forward to visiting London in a few weeks.

________

Follow JoAnna Lee

FEATURE: Bands on the Run: Is Mainstream Music Becoming a Solo Market?

FEATURE:

 

Bands on the Run:

 

 

Is Mainstream Music Becoming a Solo Market?

________

AS I continue my feature about the best albums of…

IN THIS PHOTO: The Amazons/PHOTO CREDIT: Matt Goff

this year; I am noticing one thing: none of them is created by bands. Well, one of them is a duo but, in terms of numbers – and the finest records of this year – one hardly gets past the three-piece. Look at the critical consensus and there is the proliferation of solo artists on their minds. Kendrick Lamar, Lorde and Ed Sheeran (whether you like him or not); Laura Marling, Stormzy and Waxahatchee – throw in The Is the Kit and Kehlani for good measure! None of these acts needs another voice to get their songs out to the public. As a flip-side to the great albums of this year: some of the biggest disappointments have been from bands. London Grammar are, to be fair, a trio but have left many cold with their second album, Truth Is a Beautiful Thing. Same goes with Royal Blood (a duo) but I am finding those mediocre albums – as determined by critics – are not being produced by solo artists, by and large. Imagine Dragons’ Evolve and The Amazons’ eponymous album have not registered big reactions. TLC, Linkin Park and Maximo Park have created less-than-wonderful albums. Maybe it is a funny year but I am finding few bands/duos/trios creating year-defining records. The xx are, perhaps, the only band (a trio, technically) who have made any sort of statement this year. It is a singles-game in terms of the most promising albums. One can quibble with a few names here and there. Fleet Foxes’ Crack Up is by a band but I see the album as a solo vehicle for Robin Pecknold – he writes the songs and dominates throughout. Let me back up and bring in some examples. The reason I have put Amazons as my thumbnail/featured photo is because they represented the resurgence/hope in new guitar bands. When I heard their single, Little Something, I was so excited by the Reading band and what their debut album would contain. Aside from having a stunning and vivid front cover – check it out – and some excellent, memorable song titles – the substance of the songs was a little lacking. Too many tracks geared towards the festival crowds and the audiences they graced/still do – the sweating throngs on the 'toilet circuit'. Many would argue that is what a guitar band should be about but there is little variation in terms of the music, themes and sounds. In forging their own sound; The Amazons have slipped into the realms of the generic and forgettable.

IN THIS PHOTO: Royal Blood/PHOTO CREDIT: Matt Davies

The same could be said of Royal Blood. The Brighton duo had my positively wet – expunge that image if you can@ – when they announced (finally!) their sophomore album, How Did We Get So Dark? Following an eternal gap from their debut; the only thing that has changed in the years since is a few touches here and there – Pop backing vocals and some wider lyrical concerns. The sound has rigidly remained the same: pummelled percussion and meaty, loud-as-an-atom-bomb bass. It is as though the best Rock artists are writing music to blast the masses into next week. It is the rugged working-class and the honest, raw Rock – well, that is what we DO need. There is something too clinical and ‘safe’ about so many of this year’s band-made Rock records. For every promising newcomer like Cabbage – they divide opinion but seem more promising – there are mainstream artists who seem more intent on writing songs for the radio than genuinely trying to progress Rock and Indie music. The legendary artists/bands of the past endured and impressed because they did something genuinely fresh and exciting. Even if they had an established career; one noticed a step forward between albums – new sounds and ideas. Royal Blood, Maximo Park; Imagine Dragons, The Flaming Lips and the likes – they seem to have lost their original promise and purpose. Whether I can turn this semi-rant into a cogent and cohesive piece is to be seen but there is method and logic in the argument. How many mainstream band-created albums can you name that you are hooked by?! There might be one or two but I am betting most of your favourites (from this year) have been made by solo artists – maybe a duo at a push. Perhaps there is no real reason other than the fact the most promising bands are not at mainstream level. A great deal of the poll-makers are recommending solo artists as their tips for success – is this deterring bands and creating a fallacy?! In the past, it was assumed bands ruled the roost.

IN THIS PHOTO: Foo Fighters

Look at the festival bills and one assumes Foo Fighters, Muse and Radiohead are what the public wants. The trouble is, they are older acts and, aside from Radiohead, the others have not released a new album for a while. Foo Fighters have announced Concrete and Gold (terrible title) and, if Run is anything to go by, it might be okay – their last album was a struggle to get through to; it is a bit iffy. Muse released Drones in 2015 and that was not overly-well-received. Coldplay, another big festival act, are not swimming in classic albums: one has to look lower down the list of festival names to discover truly worthy bands. If Rock, or mainstream at least, is showing a regressive attitude; it appears the underground are showing more intrigue. I shall come to them but want to present the flip-side to my slagheap of criticism. I do not write this piece to shame and scold the so-called ‘best’ bands around. In fact, two of the most promising releases of the year are going to be from bands. If the digitally-produced simians of Gorillaz didn’t live up the hype surrounding their album, Humanz (too many Zs, Damo!) then Arcade Fire surely will! The Canadian band has released singles from their forthcoming album, Everything Now (out on 28th of this month). The title track has delirious, kooky panpipes; Electric Blue – the latest revelation – sports some of their strongest performances for years – Creature Comfort and Signs of Life are terrific tunes. They look set to top Reflektor – an album that, rarely for them, was not met with universal acclaim. Everything Now seems like it will be the veritable dog’s wotsits! Similarly, responding to a four-year gap after Like Clockwork…, Josh Homme’s acolytes have teased new slice-of-cool, The Way You Used to Do. Villains is out on 25th August but the first single from that record brings in sounds of Swing and crooning legends; gilded to a stone-cold Rock swagger – the results are exhilarating and turbo-charged. It is a snarling, canine slice of dance that promises much gold from the Californian band. I am already waxing my knees from all the dancing I am going to do when the album arrives.

It seems like Queens of the Stone Age are one of the bands who, despite the fact they have been in the game a couple of decades, are capable of consistency, innovation and malleability. THAT is what the likes of The Amazons, Royal Blood and Imagine Dragons could learn from. Queens’ could easily produce Rated R part two but, instead, bring in fresh influence and sounds. Not every band is blessed with the same skillset and natural-born command of Josh Homme but that is not to say we should see such a dearth of compelling band music. I have highlighted two bands who shall not disappoint: is that enough to counterbalance the raft of underwhelming, half-cooked releases? I would say not, but wonder if this is a malady reserved for the mainstream? Perhaps the sensation has bypassed the blood-brain barrier and gone straight to the top. It seems, given its comparable mass and variety; the bands of the underground are priming themselves for a revolt. I guess it is hard to discipline and organise the truly great unsigned material from that which is merely okay. The sheer volume and berth of the underground means there is a subjectiveness saying THAT is where the best bands will come from. In the same way, Rock is not dead – it does need a colonoscopy, to be fair – bands are not a spent force. Last year was more productive for the market and I guess things will pick up this year. I am glad solo artists are getting the lion-share of the attention but it makes me wonder why. In terms of newer acts; it is pretty equal between bands/solo artists/duos etc. In the mainstream, I feel there is a mass majority of solo artists/duos. I did not realise the tide had turned this way because, as recently as a few years ago, this was not the case. One would see a great band doing well which, in turn, would compel their peers to up their game – that would create a wave and knock-on-effect. Is the reason we are seeing fewer great band albums due to their being no true leader in the field?!

IN THIS PHOTO: Laura Marling/PHOTO CREDIT: Lauren Connelly

I have mentioned the likes of Radiohead and Foo Fighters but we need new blood to strike and compel the field to create truly wonderful music. I feel there is scepticism from the media that is biased towards solo artists. Again, this was not the case until recently. Has something happened to sour the waters or was there the feeling solo artists were not getting proper exposure?! Whatever the reason, I am concerned this year, like last, will be synonymous with terrific albums by solo artists. Last year’s best was, in my view, a mix of Hip-Hop and R&B classics – Beyoncé chief among them. This year, so far, Kendrick Lamar, Laura Marling and Lorde look set to fight for the gold medal. Maybe it is their style of music that is being favoured – bands unable to replicate what the people want. HAIM, another band tipped for a lot of acclaim, have not produced their best work this year – same goes alt-j (maligned by a lot of critics and listeners after witnessing their album, Relaxer). I genuinely think it is an issue reserved to the mainstream right now. I get to see the finest new bands develop and strike – not just here, but all around the world. How easy it will be for the crop’s cream to assimilate into the mainstream is hard to say but we definitely need to see a chance. I am hopeful we will see a bit of a turnaround for the fortunes of the mainstream band dollar. This year, especially, has been lukewarm at best. Whether future releases from Arcade Fire and Queens of the Stone Age will be joined by a litter of unexpected quality releases, has yet to be seen. What I DO know is it is the solo artists of music making the big impact on critics. Whatever the psychology, origin and solution: I am keen to see whether the second-half of 2017 is any different. I hope we are not seeing a prevarication of mainstream band wonder – where solo artists are stealing most of the affection. If this trend continues over the next few years; it will have a damaging effect on the mind-set of new bands hoping to make a success of their careers. THAT, more than anything else…

IN THIS PHOTO: Arcade Fire

WOULD be a huge tragedy.

FEATURE: The Best Albums of 2017 (So Far): Lorde - Melodrama

FEATURE:

 

The Best Albums of 2017 (So Far):

 

  

Lorde - Melodrama

________

AFTER I finished my laudatory piece about Laura Marling…

and her latest album, Semper Femina - it occurred to me how young she is. To write an album like that at twenty-seven is a remarkable feat: the fact that is her sixth album is truly remarkable. Now I face twenty-year-old New Zealander Lorde and I am back in that agog state. Following her 2013 debut, Pure Heroine, critics were impressed by her honesty, striking lyrics and addictive, incredible voice. Some were less kind but it was a felt, from an artist still in her teens, better work would arrive. It did not take long for Lorde to plan her second attack. Not long after the release of the album, a couple of months, in fact, Melodrama was starting to take place. If, in her words, Pure Heroine was the teenage feeling of preparing for a party – putting lights up, getting ready and sound-tracking the never-ending preening, preparing and clothing choices – this album is the youngster at the party and deep in the music. Maybe a clever way of explaining a mature step forward; one cannot help notice how different Melodrama is (to Pure Heroine). Whilst, unlike Sampha and Laura Marling (my two previous subjects in this feature), there are more writers/producers in the mix – it is not to say Melodrama is the work of a committee.

PHOTO CREDIT: Dean Chalkley

Eight of the eleven tracks feature Lorde going solo on the lyrics: she co-writes the music on all tracks – her and Jack Antonoff taking care of things for the most part. One feels Lorde could have written everything herself but found a connection and affiliation with Antonoff. Recorded over an eighteen-month period; there is a sense of realisation, discovery and growth on Melodrama. Pure Heroine was a young artist taking her first steps and preparing herself for the party, as it were. Melodrama is the full-flight, volume-turned-up-loud epicentre of the party. Not that there is needless bombast, petulance and rebellion. Instead, Lorde’s intensity and volume come in the form of maturity, huge originality and consistently brilliant lyrics. That might sound like a middle-aged version of ‘cool’ but, considering she was still a teenager when the final notes were being recorded, that is incredibly impressive. Lorde’s second album is, for the most part, battles with loneliness in all its forms.

Many have theorised the songs document a relationship breakup – the New Zealand artist has denied this – but it is about certain awkwardness and the pressures of fame. One would see someone like Lorde and assume – given her success and popularity – she would be fighting people off. Melodrama is a revealing look inside a young woman who is juggling music responsibilities and growing up – trying to find company but finding it hard to come by. Music is, intrinsically, a lonely and tough industry: few albums address it and redact the truth. Green Light, the first single from the album, is one of the more traditional breakup songs- Lorde stated how she loves breakup songs and gets an understanding of that side; not having to Google it and learn that way. Watching Lorde’s triumphant appearance at this year’s Glastonbury was a revelation to me. She was on a huge stage in front of thousands of people. It would be understandable were the nerves to get to her – daunted by the reality of being centre-stage and under the spotlight. Her charming, personal and humble performance was as real and authentic as they come. No vainglorious boasting and ego: a woman, at times dazed, who was overwhelmed by the crowds and their love. This sense of personality and modesty comes through in the music. Tracks like The Louvre – the heroine hanging in the back of the gallery; not quite prestigious enough to be in the atrium or public gaze – is a sheepish woman who wants attention - but knows she might have to settle for being a wallflower.

IMAGE CREDIT: Getty

That is unfair because, hearing Lorde talk and listen to her music, she is second to nobody. It makes Melodrama’s consistency, highlights and themes harder to take – knowing she deserves to be happier and more resolved. Perhaps loneliness and isolation have fuelled some of the greatest albums ever. Taking inspiration from Tom Petty, Paul Simon and Joni Mitchell; Lorde wanted Melodrama to be a catharsis but, also, combine hedonism and vulnerability. Writer in the Dark warns against kissing a singer/writer like her – a blend of kiss-and-tell caution and falling for someone who will lead the guy astray. Album highlight Liability is a bare and gorgeously-sung track – the second single from the album – where the heroine sings from the diary pages and confesses her inner fears (the track is under-produced to allow the words to strike and register more clearly).

Having grown up in the public focus since the age of seventeen; Lorde had no choice but live with that lifestyle. A young woman from the offset – not a petulant or pouting teen – she has become an apostle of maturity and acting your age. So many mainstream Pop stars are immature and too reliant on sex, relations and drama to sell their album. Lorde, by contrast, shows a dignity and steeliness her contemporaries should learn from. The input of Fun and Bleachers man Jack Antonoff is pivotal. He brings in retro. synths., stunning signatures and big, empathic moments: contrasting from Pure Heroine’s less diverse and ‘calmer’s sounds. Colour seems to be a background theme for Melodrama – and Lorde as a woman. The go-now green of the title track to the pastels and watercolours of The Louvre; the black and grey heaviness of Sober to the black-red-and-pink femme fatale allure of Writer in the Dark contributes to a kaleidoscopic collage of textures and tones.

If The Louvre is more about the doomed infancy of a causal relationship: one can extrapolate a sense of anonymity, invisibility and solitude. One hears literalism and obliqueness mix throughout the album. There are autobiographical elements and fictional passages: these contrasts and consistencies result in an album filled with wonder, promise and mysticism. Lorde is queen and master of everything she surveys on Melodrama. Her vocals range from bewitching and low-growled to high-pitched and ethereal. The songwriting is among the most original, personal and surprising you will hear all year – few expected such an evolution from an artist so young. Production values are rich and luscious when needed; under-done and subtle when the music calls for less tangible parentage. Because of this intelligent and wise approach to the music; critics have been buckled and seduced by the young Lorde. She continues to up the game and, at twenty, show there are plenty more albums left in her. Melodrama is a dizzying and wondrous record that has…

FEW rivals this year.

___________

Released

16th June

Recorded:

July 2015 – January 2017

Genres:

Pop; Electro.-Pop

Length:

40:58

Labels:

Lava, Republic

Producers:

Lorde, Jack Antonoff; Jean-Benoît Dunckel, Flume; Frank Dukes, Kuk Harrell; Joel Little, Malay; S1 and Andrew Wyatt

DOWNLOAD:

Greenlight, Sober; The Louvre, Sober II (Melodrama); Writer in the Dark, Supercut

STANDOUT TRACK:

Liability

FEATURE: The Best Albums of 2017 (So Far): Sampha - Process

FEATURE:

 

The Best Albums of 2017 (So Far):

 

  

Sampha - Process

________

THERE is a lot of talk concerning race in music and whether…

the industry is doing enough to support minorities. Whatever your views on this debate; there are a lot of inventive and compelling black artists that are complicated the debate – in a good way, that is. Many assume minority artists play in minority genres – it is a specious argument but one, ironically, created by the media/a section of people pigeonholing these acts to begin with. Step forward Sampha who is impossible to categorise and label. His music could be described as Neo-Soul or R&B; maybe Pop with a bit of Hip-Hop. He is at his most affecting when opening the heart and speaking from his own experiences. This is evident on the astonishing, articulate and deeply moving debut, Process. In past years, the British singer-songwriter has made use of his bedroom/homemade studio. Residing in Modern, South London; Sampha is known for his collaborations with Jessie Ware, Drake and Solange – among many others. Born to Sierra Leonean parents on 1988; the young Sampha (Sampha Sisay to give him his full name) played piano at his parents’ home in Morden. After his older brother made him a makeshift studio – and the curious youngster engrossed his mind with old recordings and new discoveries – the flame was lit. E.P.s Sundanza (2010) and Dual (2013) showed immense process and captured the intimacy and rawness of Sampha’s music. It was inevitable the hungry and ambitious musician would seek the comforts and choices of the studio.

Sampha2.jpg

Recorded at various studios in London; Process was, befitting of its title, a gradual coming-together of songs that were finally released on 3rd February. Not that Process is a huge expansion and sea change from his E.P.s. The songs are finely crafted and meticulous: time to make the notes and ideas gestate, grow and appeal. Around the time the album was written; Sampha lost his mother to cancer. Process, in a sense, is the articulation of the harrowed and devastated man coming to terms with a huge tragedy. On the album, one got a contrasted and afflicted man who was wrestling with grief and loss – someone unsure whether he has abandoned his roots and stepped too far into the mainstream. That could never be. Sampha was progressing from the confines of home and embracing the studio and its surroundings. Process has Sampha’s London roots ingrained in every note: memories and tales of his mother are entwined in the soil like a mighty tree.

It would be hard to give the music (on Process) its lustrous, cinematic and emotional immediacy were it not for some of the more hi-tech recording equipment available at the time. Sure, Sampha would have been able to create a more haunted and bare-naked sound at the home studio. Process is not a man taking a chance to follow money and a label: it is the natural reaction to the circumstances that provoked the album’s progeny. When writing the songs, he would have been acutely aware they would be played on radio – or, at the very least, make their way to people all around the world. The importance of the subject matter and instrumentations/sounds/values needed to authentically define his emotional and creative mindset could only emanate from the studio. He has not compromised values or lost any of his potency and credibility. Process has a sound that is not over-produced: it is organic and free yet has experimentation and scope. THAT is the reason Sampha, in his words and nobody else, felt he had betrayed his roots. One could not hear that unique approach to arrangements without an over-reliance on hand-held technologies.

Songs like Plastic 100°C has koto sounds and is soothing and panicked, all at once. Kora Sings boasts juxtaposed and intense percussive scramble; Reverse Faults showcases Sampha’s gift with samples and sonic patchwork – weaving it into something unnerving, strange and beautiful. What impresses me, and most critics, is that steadfast refusal to conform with the market and copycatting peers. Sampha did not feel the need to become the next Kanye West or Drake. He retained his London blood and distinct, peerless attitude to music and composition. An almost anonymous presence could easily sink without trace. The fact Process is no ordinary album is just as well: it is a moment in time that cements Sampha’s reputation as one of the world’s most impressive and vibrant songwriters.

Compassionate and soul-baring; strident and meditative at other times – a remarkable album that few people were expecting. Given the aftermath of his mother’s death; it would be forgivable were Process an inconsistent and self-indulgent mess. Sampha does not look for sympathy not turn the album into a family photo album. Instead, it is an album everyone can understand and feel connected to. (No One Knows Me) Like the Piano is, perhaps, the most affecting song concerning his mother – that early experience with the instrument and his mother’s hand in that. Rather than shy away from the heartache, stress and troubles experienced: Process is an execration and detox, in a way. It is a brave young man revealing memories and words that many would want to keep concealed – due to them being deeply personal and sacred. That is one reason why Process resounded with critics. Sampha, on the record, managed to turn tragedy into something beautiful and uplifting. There are genuine moments of sorrow but, against the tide of loss and change, there is hope and the need to process things and make sense.

Given Sampha’s work with artists like Jessie Ware; it would have been easy enough to have her sing on, say, Take Me Inside. Process is a personal/familial sermon so would seem disingenuous and tainted were too many other bodies to tell the story. Aside from a couple of co-writes later on the album – Timmy’s Prayer has Kanye West on the credits – it is Sampha alone. Three singles have been released from the album – Timmy’s Prayer, Blood on Me and (No One Knows Me) Like the Piano – and that is quite rare in this day. Many artists release five or six songs from a record. Perhaps there is another single coming but, one suspects Sampha is already looking ahead to his next release. Whether you agree with Sampha’s assertion he has abandoned a bit of his roots, one cannot deny the sheer wonder available throughout Process. It is one of the most impressive debut albums in recent years and, when it comes to this year’s best albums, it is…

PHOTO CREDIT: foxyneela

RIGHT near the top of the list.

___________

Released

3rd February

Recorded:

2014-2016

Genres:

Alternative-R&B; Neo-Soul

Length:

40:17

Label:

Young Turks

Producers:

Sampha and Rodaidh McDonald

DOWNLOAD:

Kora Sings, (No One Knows Me) Like the Piano; Reverse Faults; Incomplete Kisses

STANDOUT TRACK:

Blood on Me

TRACK REVIEW: Sasha Brown - Parallel  

TRACK REVIEW:

 

Sasha Brown 

 

PHOTO CREDIT: @nastassjathompson  

Parallel

 

9.5/10

 

 Parallel is available at:

https://soundcloud.com/sashabrownmusicofficial/parallel

GENRES:

Alternative; Electro; Pop

ORIGIN:

London, U.K.

RELEASE DATE:

14th July, 2017

WRITERS:

Sasha Brown, Joe Kearns and Jason Elliot

_______

AFTER a brief excursion to New York…

PHOTO CREDIT: Anne Laymond (1883 Magazine)

and an investigation of Josh Michaels – I am faced with a homegrown talent who is already making an impact with her single, Parallel. I shall come to look at that – and Sasha Brown, no less – in a minute but, before the, and bearing her in mind, I wanted to look at a few things. I will talk about multi-talented artists and their scarcity; the capital and how I feel more bonded to the people and its music; those who have radio experience and can bring that to music; songs that look at relationships in a different way; those musicians tackling Pop and adding something new to it – female artists who are working hard and deserve exposure. I shall also look at social media and promotion but, before then, I want to look at artists who have a lot of skill and ability up their sleeves. With Sasha Brown, one gets an excellent songwriter and singer but there she is a musician too. A lot of today’s artists rely on other people to write for them and perform every part of their song. What you are left with is the voice and, sadly, good looks – marketed and exploited to the hilt. Sasha Brown, sure, is striking and beautiful but is someone who will never fall into the trap many of her Pop peers do – exploring beauty and sexuality for views, sales and success. Brown is a strong and defiant artist whose original and personal songwriting is doing all the talking. She is a saxophonist and, one feels, has a compositional curiosity that could not only see her learn new instruments – she had the knowledge and ability to add more elements to her music and explore new genres and possibilities. Whether we will be getting a horn-rich Jazz-Rock song – in the manner of early-days Steely Dan – or a sassy Beyoncé-style floor-filler in the next few months, I am not too sure.

Parallel benefits from a young woman who has an affinity and understanding of music that is not as prevalent as one might imagine. I look about the mainstream/new music and I see divisions. On the one hand, I look at the Pop/Soul/Alternative market in the underground and I am pleased to report hysterical talent and promise. Yeah, there are a few artists who need a swift kick up the arse by, for the most part, I am seeing so much talent flow through. Artists taking care of their music and imposing personality, control and direction – with an eye for instrumentation, nuance and mobility. In the mainstream, there seems to be less of that occurring. I know that word gets a bad-rap but, as we know, there are mainstream artists who have created some exceptional music this year. From Lorde and Charli XCX through to Sampha, Lucy Rose and the xx – some of this year’s best albums. The mainstream Pop demographic has a political and ideological division that is making it confusing and challenging for unsigned artists. You have those who are in the big leagues and deserve to be: writing their songs and performing music of the highest order. There is that rancorous and fetid collective of Pop performers who are processed-to-crap and have an army of writers dictating, controlling and directing. I shall not name anyone but we all know those pout-to-the-camera, dime-a-dozen artists who are produce anodyne, generic and insipid Pop. I will touch more on that later but what galls me about those artists is the lack of ability and talent. They hardly expend any effort creating any music/lyrics themselves and, often, sit back and watch a team create their music. When they get to the stage/forefront; one sees a rather faceless and dead-eyed artist churning out by-the-numbers songs. It is a depressing thing to see but a commercialism that has existed for decades. It is more pronounced in a digital age: there are more artists than ever and, I am afraid, that pre-teen/’tween’ market lusts after music with little depth or build-up – something instant, easy and uncomplicated. Maybe I am being too black-and-white and simplistic but I am always plump for musicians like Sasha Brown. She has the ability and hunger to carve up her own empire in music – a rational and genuine artist who wants to bring the public music that will endure for years to come.

I am envious of Brown because, in my view, she has a life I idealise hugely. I can imagine her apartment/flat would be quite Hoxton-modern: minimalist and modern with white-painted chairs and flower-boxes on the windows – a great view of a charming part of London with, perhaps, a cat scurrying around the kitchen now and then. Maybe that is a romantic vision that does not exist but I know two musicians who recently rented a stunning place in London – I can imagine their life is like that. Maybe Brown’s living arrangements are different but, in terms of her success, job and situation – this is something I am jealous of. Every time we hear something horrible hit the capital, I feel more bonded and united to its people. We have endured terrorist attacks and Grenfell; acid atrocities and some near-misses. From small-scale events to apalling loss of life – London has a resilience and togetherness that sets an example to the rest of the world. Sure, there are problems in the city – the immodest rent prices and fact the people are more sane and sensible than the rest of the U.K. – but there is so much on offer for the ambitious, young and curious. Brown is in a city that seems perfect for her. I will talk about her radio career soon but it is not only the landscape and people that will compel and motivate her – there are so many great musicians so close by. From upcoming Urban talent like Loyle Carner and Dave; scuzzy bands such as Goat Girl; Pop duos like MissDefiant. That is only touching the surface because, in terms of those new musicians, a lot of it is not being represented. I look online for those ‘London Artists to Watch’ and have to stick together bits from various sites.

The perfect thing about London is its links to the rest of the world. Brown is part of a city that attracts artists from around Britain and the world. I see a lot of American acts coming here. The fact we have so many great venues means a wealth of fantastic and interesting artists are hitting London. In terms of music cultures; I feel London and Manchester have the best acts, labels and venues in the country. London is a unified city but has its compartments and sectors. The flavour of music in the East of the city differs from, say, Brixton or Westminster. There is no such thing as a ‘London sound’ which means getting a handle on it will be tough. I hope the media does collate a genuine list of the best artists in London as, what I am seeing, is bastadisation and gerund assessments of great acts – we need a rundown that breaks artists into genres, location and age. A, theoretically, London Music Directory could give a map of the capital and put all the artists on there. If one wanted to find all the great Indie bands in Hackney, they could. If you need to know the best Pop acts from Greenwich then that would be possible. It sounds complicated but the reason I highlight this is because Sasha Brown is an artist who deserves a lot of acclaim. If one, anywhere in the world, could discover her music – in the context of London – then that would open more doors. In any case; I am fascinated by the banquet of London music and how inspiring it is. Every time the city comes under attack; it seems to have an opposite effect: people come through and join; many want to live here and do not care about any dangers. There has always been that vibrant and opportunity-laden music scene that is seeing acts like Brown conspire and dream. Parallel is a song born from a personal space but, one feels, born from the beat of the London streets.

PHOTO CREDIT: Anne Laymond (1883 Magazine)

I have already proclaimed my passion for Sasha Brown but the reasons extend beyond her music and personality. In terms of what she does; it seems like she is in a really cool place. If one is unfamiliar with Hoxton Radio – they explain themselves thus:

“Hoxton Radio sits at the top of the pyramid setting trends and influencing Londoners across habitual pop culture pursuits.

We innovate in bringing the freshest insight into fashion, style and new trends bringing fresh music to the airwaves, art to our viewers and picks in food, photography and creative networking across East London.

Our partners include Old Spitalfields Market, Tate, SOS Rehydrate, Frame, Supermalt, Eventbrite, The Hoxton Hotel, Vice, Intel, Shopcade, Tate, V&A, UAL, Foffa Bikes, The Breakfast Club, London Fields Brewery and Hackney Council.

Amongst our roster sits Ashley James, Stefanie Jones, Arielle Free, The Preshaah, Liam Young, Elspeth Pierce, Charlotte de Carle, Sabrina Carder.

Hoxton Radio works closely to support the arts and run in depth coverage for First Thursdays with previews, artist interviews, analysis and editorial coverage on air and online”.

I am not sure what their recruitment policy is at the moment but, God help me, it seems like a Paradise for an ambitious presenter/D.J. In my mind, my perfect situation in life would be working for BBC Radio 6 Music – as a producer or music news presenter – and living somewhere like Hoxton or Hackney. I would be able to do the dream job and, in the evenings, drink in the multicoloured carnival of the London nightlife – a casual cocktail down at Nightjar or a more vivid rooftop night at Queen of Hoxton. Hoxton Radio seems like a station one would be pretty comfortable in. They present fashion broadcasts and talk about culture; focused on interviewing and promoting new musicians – always keeping one eye on classic music and the best artists from the past. Yes, it is ultra-cool and youthful but has a vibe and quality that is hard to ignore. I shall step away from my ‘subtle’ bits at a proxy job interview but know Sasha Brown is one of the most important and talented additions to the roster.

PHOTO CREDIT: @nastassjathompson @zarakaplanmakeup

She, not only, is surrounded by some great people in a stunning location – Spitalfields is right there: right in the beating heart of London’s fashionable quarters – but has that ever-vital work experience. She takes to the airwaves and, not only gets to hear, first-hand, the freshest artists in the capital – Brown has that knowledge of promotion, interviewing and ‘selling’. She helps boast other artists and has a front-row seat in terms of P.R. and exposure. Not that Hoxton Radio allows her the chance to big-up her own music relentlessly – more is the shame but one must have an ethos and discretion – but few musicians have such a knowledge of the inner-workings of music and what stations like Hoxton Radio are all about. It might be small compared to, say, BBC Radio 6 Music but it is one of the finest radio stations in London. The blend of music played and features mean it appeals to a broad demographic: its market-share extends beyond the Über-Hip stalls of the market and its patrons. I hope Brown remains at the station because, looking at her social media feed, she is travling the world and interviewing great artists. If she is able to balance the encroaching and increasing demands of a music career with the day-to-day of the D.J. world – then, she will have the best of all worlds. The two are connected and bedfellows what will help expedite her passage to the mainstream. Having that background in radio gives her the advantage regarding getting her music out there and to the right people. Not only that but she has that enviable reality of not having to take on a job she hates to fund her career – so many modern musicians work several jobs in order to make their dreams work. Even if you take an internship position; one can go to a station like Hoxton Radio and see how the ‘machine’ works. It is an invaluable insight into radio and the music world as a whole – for someone like me, who wants to reach the Elysium of BBC Radio 6 Music, having that convenient and near-located experience at somewhere like Hoxton Radio, that would be immense. Brown, by virtue of her tender years, is on a trajectory that, I feel, will result in chart success and national radio presenting. I look forward spectating her assent and drive. There are few artists that have such a zeal and passion for what they do.

PHOTO CREDIT: @nastassjathompson

This brings me, rather neatly, to why I feel Brown will succeed. I will come to look at my last two/three subjects in a bit but, coming back to Hoxton Radio; Brown has a wonderful attitude towards promotion and spreading her music. Looking at Hoxton Radio and their website; one cannot help be staggered by its design and looks. It is easy to understand and looks beautiful. Considering a lot of their focus is on fashion and London’s stylishness; it should come as no surprise the website is so good-looking and stunning. Brown takes a similar approach and ensures her official website is striking and informative; her social media pages are updated and refreshed constantly. You get a direct look into a bold and hungry young artist who wants to succeed. There are few that have the same energy and work ethic as Sasha Brown. So many artists overlook the necessity of having photos, information and news on their pages. One gets a lot of wonderful images of Brown; a biography and news of what she is up to. That is great for a fan but indispensable for a journalist. It is easy collecting shots to put in a review and one gets an understanding of what makes her tick and compels her music. Right now, Brown is on Hoxton Radio duties elsewhere but, in the past week-or-so, has been on full-throttle promotional duties. Parallel has passed its release day and Brown has been pushing it out to radio stations, websites and reviewers. Many artists have P.R. companies and labels doing that but Brown, inexplicably, has found the time to promulgate and highlight her new song. Many would argue that is what every artist has to do but, I feel, Brown deserves a record deal and P.R. backing – so it could afford her more time to focus on songwriting and her job at Hoxton Radio. In any case; Sasha Brown acts as a shining example of what a young artist should be. Putting in that attention and passion can be gruelling but, if one wants their music to get to important hands, it is something that needs to happen – and not let the ball drop when you release more music.

PHOTO CREDIT: @rhona_murphy

I will tackle Brown’s expose of love and her bent on relationship intricacies but, until then, a little more on her merits as a self-promoter and artist. Hoxton Radio is that perfect boutique station that has its mind of discovering the best artists from around London. Brown can consider herself among them but never relies on her position and nepotism. What she has is the open window of London in front of her. As a D.J., she is able to interview and feature artists both upcoming and established. Seeing how they work and what they need to do to get success will rub off on her. I know she has been watching MistaJam – a stalwart of BBC Radio 1 who is among the most influential D.J.s on British radio – and would have had the time to talk to him about his radio work and the kind of places he has come from. Brown, during her job, gets to unearth an array of artists and will learn a lot about the types of venues they play and what music is coming from them. All valuable experience for an artist who is putting her first moves together. Sasha Brown is not someone who sits back and lets a team take charge of her career and where her songs end up. Instead, she is determined to do things her own way and ensure Parallel reaches the most important and influential sources (and me, obviously!). It is a hard slog and will tire her – even though she projects an endlessly positive façade – but it will reap benefits and long-term success. I am confident Brown’s fastidious and tireless commitment to music will lead her to the big leagues. I guess she has plans and ambitions in the coming years, I will get to those in the conclusion, but, from the off, she has an impressive and focused approach to marketing and promotion. Even though Parallel has dropped; there are performance considerations and ensuring the song makes it way onto local and national playlists.

PHOTO CREDIT: @nastassjathompson

Coming onto Sasha Brown and Parallel; it is, in parts, a critique on club culture and the kind of scenes Brown must experience as a young Londoner: it is a treatise on the complex and detailed intricacies of a relationship. Doubtless, Brown would have found herself entrenched in a relationship that, for one reason or the other, is not running as smoothly as she’s hoped. The reasons behind the dislocation might not be easy to explain or one-dimensional. Perhaps there will be personal differences or each party wanting different things from life. The reasons people find love and fall for the person they are with can be simple and obvious: the reasons they fall apart, rather ironically, can be very complex and unpredictable. Brown’s song, as I will show, spotlights a relationship where the two parties have love and affection but are moving in different ways – much to her chagrin and confusion. In fact, it is more about alignment and synchronicity: lovers who are on the same page but never really coming together as they should. The vernacular of love is different for everyone; the art of a relationship cannot be distilled or confined to soundbytes and easy definition. The task for many modern artists is trying to explain their dynamic and perspective about love whilst retaining an air of mystique and the personal. I feel one of the reasons Brown has chosen to write Parallel – and explain its story and background – is because there is a mass market where love songs are stuffed with basic language, predictable storylines and tattered metaphors. Looking at a lot of mainstream artists and there are recriminations, accusations and judicial vengeance. One never really glean why the relationship crumbles or anything more intricate. Brown does not look at the breakup or rush of affection: there is a forensic examination concerning the tectonic plates and personalities and how one sees two like-minded people moving forward but not gelling as they should. Parallel has an intelligent and deep motif that has a philosophical and metaphysical nature. One finds themselves supporting the heroine but thinking more about their own relations and security.

I’ll return to this point in the conclusion – as it warrants fonder explanation – but I am keen to examine Brown’s music in relation to the Pop market in general. I feel Sasha Brown is keen to add a breath of fresh air to the Pop industry. It is a complex genre that has a lot of sugary-sweet songs and commercial artists; too many acts driven by Spotify streams and download figures – their heads concerned with profit and popularity as opposed to credibility and respect. I know there are ample amounts of artists who pen proper Pop – it has an adult mind and appeals to a variegated and cross-pollinating mindset. Hoxton Radio, Brown’s employers, tends to spin Pop/music that has cooler and credible edges – less reliant on the florid and vacuous brand one hears on some national radio stations. As I type this, rather fortuitously, I am listening to a Desert Island Discs broadcast conducted with Scottish poet, Liz Lochhead. One of her song choices is Marvin Gaye’s I Heard It Through the Grapevine. That spikes something in my mind. That is a Soul classic but is a different take on love and its harsher nature. I feel Brown, whilst one cannot draw a line between her and Gaye, is more concerned with avenues not often discussed and explored in the mainstream. One can argue the word ‘credibility’ is a subjective construct. Music is very personal so how can we say what is good or poor?! I argue there is a consensus that is looking for something a little more substantial in mainstream Pop. It is the most profitable and burgeoning sector for music and the most influential – because it is the young demographic who listens; they are the ones who will dictate music trends in years to come.

PHOTO CREDIT: Anne Laymond (1883 Magazine)

If we are going to produce a generation who hold great music in high esteem; we cannot logically defend some of the Pop music we are subjected to. Crusaders and pioneering artists like Sasha Brown are not trying to overthrow the hegemony of the mainstream – they want to offer a viable alternative that can assimilate into the current Pop culture and provide young listeners with something different. So much of modern music is dictated by what is quick and instantly effective. That is okay if you want to appeal to short-term memories and those who do not want nuanced music. Artists like Lorde have produced Pop albums that show what can happen when you write adult, layered songs. She has been taken to heart and not conformed to the worst traits of the mainstream. Lorde is someone I can tie Sasha Brown to – easier than Marvin Gaye, anyway – and the kind of music that, whilst less prevalent in the mainstream, is much more appealing and intriguing. I shall wrap the introduction up wanted to highlight Parallel as a song one will be hearing a lot more of in the approaching weeks. Brown has been non-stop promoting and getting the song to the people. I am hearing from people who have heard the song and there is the impression it is different to what is out there. It has a summery vibe and distinct energy but there is an anger and explosiveness that adds something spicier and darker. There are few new artists as impressive and hard-working as Brown. She has her sights set on the future and making a big success of her career. The initial stages are always nervous and unpredictable but, so far, everything has been good and sweet. That is because, in no small way, she is a diligent and driven individual that wants to dedicate her life to music.

“All the noises make it hard” is a sentiment that instantly gets the imagination conspiring. Before then, one hears a brief electronic swell and pulse that projects some shadowy images. It is a perfect way to get the song underway: never too long and aimless; tight and compelling in its brevity. When the heroine comes to the microphone; she looks at this relationship and why things are taking a turn for the worse. The lovers are driving/moving slow in the fast lane; they are moving in different directions – it seems odd considering they are together and, one assumes, things were fine until this point. Maybe things have changed or the relationship is running its course. Brown never confesses whether there is any indiscretion and infidelity in the relationship. The two parties are looking at one another and, from the outside, seem connected and solid. We know that is not the case and there are definite cracks forming. “Play pretend to make it better” seems like one of the more heart-breaking and naked revelations from the song. It is though she is conspiring to tell a lie to save a sense of face and hurt. Putting on this mask means people in her life never get to know how bad and stressful things are. In a way, the sweethearts and kidding themselves and delaying the inevitable. Perhaps it is easier putting plasters over the splits because letting go is a final solution they do not want to entrain. I guess every relationship has its struggles so it might be premature to go separate ways when the first bump in the road occurs. One suspects this is not the first time the duo have had to encounter difficulties. Brown, in the verse, expends a little of effort providing her thoughts to the situation – it is quite heavy on narrative, exposition and language. The voice is fast and heated which gives the song a sense of anxiety and hurry. The listener is taking in one direction: when the chorus comes; that dynamic changes and the song is less accelerated. Well, in terms of vocals/lyrics it is because, in its place, is a warped, skewed and echoed electronic ‘voice’ that seems to embody the combination of emotions occurring inside the heroine.

Sasha15.jpg

PHOTO CREDIT: @charlicohen

There is something familiar and pleasingly tangible about the chorus. It has an oldskool vibe to it but – like Beyoncé, Lorde and the queens of Pop/R&B – that blend of easy confidence and hooks. Brown has a wariness and hesitancy but controls the song in a way one never feels the need to rescue her. There is not the sense the dam will break and the tears will come out. Rather, one hears a strong young woman who is calling her fella out and trying to confront the problems in a very mature way. In the same way as, say, Beyoncé looks at a sour love without rose-tinted glasses – Lemonade has its aggressive moments but there was candour and consideration mixed together – Brown seems like she is attempting to reconcile the divisions with a pragmatic and dogmatic approach. There are definite truths and appears there is no one-sided culpability. The beats are thick and bellicose; the swagger and defiance there – coupled with a sadness and sense of confusion. Brown rides the electronic-percussive wave like a G but reserves herself from cussing, exploding and breaking down. In a way, she is detached from the white-hot heat of the situation and viewing the relationship like the proton in the atom – never disembodied or disconnected; surveying the fragmentation with a bird’s eye view of the surroundings. Brown is not too engrossed and biased; there is never naivety that would cloud her vantage point or exacerbate the situation. Things are a mess – as she says so herself – as the need to play for the crowd is starting to wear thin. She cannot pretend and is exhausted by the emptiness and cold nature of the relationship. If two lovers are sharing a bed and a physical connection but do not have that intellectual and personal simpatico – you are not in a real relationship; more in a sexual bond. That might be alright for some but Brown seeks something deeper and more fulfilling. One cannot give their heart and time to a relationship that is bankrupt and morally fraught. It appears the guy has some culpability and Brown is not one to exonerate without good reason. One never gets the reason behind the disenchantment but things have run their course – two people with conflicting ideologies and views on what a relationship is about.

PHOTO CREDIT: Anne Laymond (1883 Magazine)

It might be iconoclastic to say this but I feel some of the finest Pop artists exaggerate and embellish songs of love/relations in order to connect with their audience – heightening their commercial appeal and meaning their songs get onto radio quicker. That might seem cynical but one hears a lack of genuineness and authority in some songs. With Brown, that can never be the case. You hear Parallel and follow its arc and tribulations. Maybe she is still invested in the relationship – it is reaching its ugly conclusion and still has some tattered feathers clinging on – but the best days are very much dead. It is quick voyeuristic spectating as one hears the heroine pour her heart out and unveil her troubled thoughts – quite hard to divorce oneself from the emotion and struggle the heroine faces. The good thing about someone young and in love is the fact heartache will be a familiar currency down the line. That might not seem positive but (it might not be the first time Brown has been heartbroken) a certain exposure and experience make future breakups easier to handle. The tender in years have a tenacity and resilience others do not share. That is not to say any upset and anger would be unwarranted: there is a sense of pain that runs through Sasha Brown’s new song. The heroine’s voice retains its proprietary blend of sexuality, seductiveness and strike – she is alluring and silky-smooth but has the high heels on (and is determined to stick them in the nuts of her doghouse-bound man). Maybe the fact she acknowledges things are past salvation gives her some closure – one can never get closure in any situation but a comparable sensation – and clarity. She is not doggedly clinging to a sinking ship hoping it will turn the right way up. Brown is in her twenties but does not display the ignorance and naivety many of her contemporaries do. It would be incongruous to suggest Sasha Brown has transcended the situation but she has mollified and mitigated her most poisonous sense of revenge and attack with passing of time and anger – not as aggrieved and dismayed as in the beginning.

Anyone approaching Parallel and expecting to hear your run-of-the-mill Pop voice – over-produced and produced to crap; lacking any emotional spectrum and inflexible to the core – will have to think again. In the first-half of the song alone, I hear so many different inflections; cadences and shades emerge in Brown’s vocal. Backed by electronic and percussive entanglement that ranges from sweaty and sexual to jungle-cruising and street-pounding – it would be hard to coalesce these diverse components into a cohesive whole. Maybe her work on Hoxton Radio – and natural exposure to variegated Electronic music – has given Brown a sixth sense and natural affinity. The composition is the arrhythmic heartbeat that defines the entropy and fragility of the relationship. It is rude and righteous enough to gain nods from the most credible and cool city-dwellers but blissed and sweet-leaf so it could traverse the islands and luscious beaches and gain the kudos and flirtatious winks of the most bronzed and bountiful bodies. In essence, its brain and bones are installed and instilled in London: the soul, essence and spirit seem to have their sights set on the beaches and warmer locales. Brown sits in the mix as the narrator and heart-acher: a staunchly brave woman who realises the relationship is ready for disposal (“All our love is all dried up”). Looking at Brown’s voice and one hears quivers and soulful touches emerge. In terms of her influence, there seems to be a blend of U.S. R&B/Pop with British Alternative/Pop. On the one hand, she has a sultry and luscious tongue with an imperious and unyielding confidence. It means Parallel sounds natural and distinct but has some familiar sounds creeping in. This will mark Sasha Brown as an artist to be reckoned with but, one feels, give her an advantage when it comes to getting the song into the wider market. There is no shortage of honesty in the song. The heroine knows things have dried and there is no real way back. It is a song that will resonate with a wider sector of the population – not just the teen/pre-teen market or females. Parallel is a rewarding song that demands repeated plays: new insights and joys can be exposed every time you hear it. Among the seriousness and potent emotion is a sense of fun, frivolity and dance-ability – this is true of the composition that is adaptable enough to rule in the clubs but primed for various radio stations and locations around the world.

PHOTO CREDIT: Anne Laymond (1883 Magazine)

I will finish this up but, before I do, look back at some of the things I addressed in the introduction. Before then, a look ahead at Sasha Brown’s year and what it holds. We are past the halfway mark of 2017 and, so far, it has been a great one for music. Some of the best albums of the last few years have been produced in the first few months of the year. This is having a knock-on effect on new musicians who are providing the world some stunning music. Brown is among that pack determined to have the same chances and platform as the big artists. Parallel is a strong and intent declaration from a young artist who could easily fall into clichés and pigeonholes. She is young and beautiful and has brought out a song about relationships. Look at the mainstream and there are plenty of people doing that. What separates Brown from the clan of empty-eyed Pop artists is the personality behind the ‘looks’. On the surface, yes, she could be labelled as an average and everyday Pop artist. Discover more about Sasha Brown and one bonds with a bright, vivacious and fascinating young woman. Parallel is no ordinary song and tackles love in a new way - I will return to this later. What I want to see if London opening its doors to Sasha Brown and providing her some chances to shine. There are so many venues close by that would eat up her music. Maybe Brown will wait until there are more songs in the ether - but I am sure she has some cover versions in her repertoire. I do not know but am sure there will be more songs/an E.P. further down the line. There is a definite passion in Sasha Brown: a need to capitalise on the affection Parallel is receiving and keep that momentum going. Whether she will put an E.P. out before the end of the year I am not certain but it would seem likely. Then, she will have more songs to take around London and rock the best venues we have. Brown will play Secret Garden Party at 12 P.M. on Saturday, 22nd July, so make sure you catch her there!

PHOTO CREDIT: @nastassjathompson 

Almost finished but, before I leave, a revisit of some things I talked about earlier – London and its importance; artists who are strong, original and multifaceted; female artists and getting them promoted (something I overlooked in the introduction). London continues to impress, awe and amaze. It is a city that is at the forefront of modern music and produces some of the finest acts in the world. Not only do we have the best venues here but the most diverse and fascinating sounds around. Maybe I am biased but, the fact so many international and nationwide artists are coming here, proves my point to an extent. It remains that natural calling for those resigned to towns and villages. The same way New York provided a sanctuary and new life for people years ago: London is the Mecca and perfect location for the musical immigration. The situations are not the same but London is synonymous with its musical heritage and attractive qualities. I know there are downsides to the city – like any, in fact – but the benefits and allure outweigh any negatives. I bemoaned the fact some people I know have moved into an idyllic place in London very recently – and the fact I have a very London-centric ‘dream life’ mapped out. One cannot refute the seduction of the capital: that is especially true when it comes to music. I am determined to get there but Sasha Brown is already there. Working for Hoxton Radio, she is in the enviable position of getting to see some of the capital’s best and most eager artist come through. Against the feculent belch of the mainstream’s worst; Brown is being exposed to artists who have the chance to make positive changes in music. She is among them and in the best city to exploit her talents and determination. I looked at how effective Brown’s promotion is and that is something one cannot overlook. Too many rest on their laurels and assume a P.R. company/label will do all the hard work.

PHOTO CREDIT: Anne Laymond (1883 Magazine)

What strikes me about Sasha Brown is her many talents and how that can lead to a long career. She is a saxophonist and, in a strange way, gives her more options than you’d imagine. In terms of genres; Parallel is not pure Pop and suggests Brown will be experimenting with new sounds very soon. In any case; she is someone who can play music and more at her disposal than most of her peers. As a singer, she has a definite blend of colours and emotions that stick in the mind. Her music appeals to the heart, soul and bones. One hears a song like Parallel and gets their body moving but stops and thinks. It digs deep and makes one think about their life/relationships and the complexities of love. The music, production and vocals all shine and project so much energy, curiosity and passion. These are components that, when mixed with the enthusiasm and talent of Sasha Brown, creates a wonderful music concoction.

Brown is not someone who needs a cavalcade of people putting her music together. There is a singularity and determination that one would like to continue. I am excited to see how Brown develops and evolves as an artist – whether her new songs will tread the same path or take in new inspiration. I feel female artists have to prove themselves these days. There are fewer big chances for female artists - which is an injustice that needs to be redressed. I am unsure whether it is ingrained practices or stubborn prejudices that are prohibiting some incredible artists progressing as fast as they should. I do worry whether there will be any quick changes or easy answers but I am hopeful something will happen in years to come. In the meantime, one looks at an artist like Sasha Brown and whether she will reach the mainstream as quickly as she deserves. Sheer talent and work rate will go a long way but she warrants as much affection and backing as possible. I have run out of time, in a sense, so will leave things as they are. Parallel is a curious revelation that looks at love in a different way. Two people who seem like they are moving in the same direction but are not as in-sync and fully-formed as they should be. There is little anger and accusation: a young woman who wants to get to the bottom of the imbalance and find some artists. It is a big and stunning number from a singer-songwriter who has a lot of years ahead of her. Parallel is the start of things but, one suspects, Sasha Brown has…

PHOTO CREDIT: @charlicohen

MANY more songs to come.

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