FEATURE: The Hyundai Mercury Prize 2017: The Best of British?

FEATURE:

 

The Hyundai Mercury Prize 2017:  

 The Best of British?

________

I shall keep this short but, seeing as the chatter regarding…

IN THIS PHOTO: Ed Sheeran (his album, %, drew criticism from many who felt it should not be on the Mercury shortlist)

this year’s Mercury Prize shortlist has died down; I wanted to examine it from both sides and ask the question as to why it has quietened down so readily. Last year, as I remember; people were talking about the nominations for a little while longer. Why has this year’s dozen artists not lingered in the attention as long as previous years?! Perhaps I am over-analysing because, as with every awards show; people are only going to be interested a short time – the actual awards are not for a while so it would be illogical being enthused for weeks on end. Many have been debating whether this year’s list of artists is the weakest we have seen in recent memory. Last year, we had the likes of David Bowie and Radiohead on the shortlist: this year, the impressive, but perhaps less-stellar nominations of Sampha and alt-J. I wondered why the panel decided to omit critical favourites such as Laura Marling, Sleaford Mods and Jane Weaver in favour of Ed Sheeran, Blossoms and alt-J – three artists whose most-recent albums were not as popular and well-received as the aforementioned? Someone I know on social media asked whether the Mercury Prize should be about brand-new artists and giving them a platform. To me, it should be a meritocracy: the finest British albums making the cut of twelve. In fact, I am starting to find myself siding with the friend. If we are going to have an award for British artists: should we be dedicating it to underground and hot-off-the-press acts? Sampha and J Hus are two-such artists who would fit the bill; in that sense, Blossoms would also fit – I argue we should substitute them with IDLES to make it more quality-driven. This year’s list of nominees is ethnically diverse and certainly covers a range of genres – from Sampha’s beautiful and soul-searching songs to the extraordinarily unique sounds of The Big Moon and Dinosaur.

In fact, The Big Moon – and their album, Love in the 4th Dimension – is a proper band-made record that gives me hope in Britain we have some of the finest groups around. Dinosaur might be seen as the rank-outsiders for 2017 – seeing as their album, Together, As One, is a Jazz record. The ‘J-word’ might bring about scowling in many but for me, who loves legends like Miles Davis and John Coltrane, can see the same majesty and depth that runs through a record like Kind of Blue (Miles Davis). The Laura Judd-led band might not win the Mercury but are a worthy inclusion. On the other side of the argument; there are lesser albums like Ed Sheeran’s Divide (or %) and Blossoms' eponymous debut. Both albums reflect mainstream sensibilities and seem to address a different market. In the past; the Mercury Prize has been about Indie music and bands: in recent years, there is a sonic and demographical shift to address the changing nature of modern music. I admire an award that recognises a broad demographic but one can argue the BRIT Awards has enough categories for artists like Ed Sheeran and Blossoms: are they encroaching on foreign territory and taking too much focus away from other artists?! I feel there need to be limits when it comes to award ceremonies and the likes of the Mercury Prize. You could say there should be no limits imposed when it comes to celebrating music – if it is good then it deserves to be credited and acclaimed as much as possible. The panel of the Mercury Prize has, especially in the last couple of years, started to recognise Urban acts – those who are more fiery, charged and fast-flowing than their peers. Skepta scooped the award last year for Konnichiwa: this year, we have Stormzy’s incredible debut, Gang Signs & Prayer vying for the gong – it is already tipped as one of the favourites. I love the fact black artists are being given nods: last year, Kano and Michael Kiwanuka were on the list; this year, Sampha and Loyle Carner join Stormzy in that respect. It is clear the organisers and bosses are making positive shifts when it comes to racial equality and recognising genres like Hip-Hop, Rap and Grime.

IN THIS PHOTO: Loyle Carner (his debut album, Yesterday's Gone, is one of the favourites for the prize)/PHOTO CREDIT: Sonny Malhotra 

Is it, therefore, hypocritical criticising a more Pop-driven motive if we are going to celebrate the resurgence and recognition of Urban acts?! That is a fair point because I think, more than anything, the Mercury Prize should not be stifled, homogenised and rigid. Looking at the twelve artists; there are very few women nominated – Kate Tempest, The Big Moon and Dinosaur are overcrowded by a largely male dozen – and that is something that needs to be addressed. If we get it back to new artists and recognising them: is it causing issues cramming mainstream artists and upcoming talent in the same award list? I think an award that limits to a single list of twelve is going to cause splits when you include everyone from British music. Should we, then, make the Mercury Prize solely about the best-established artists are limit it to debut acts and underground musicians? I think there should be an award ceremony that has various categories that is exclusively for unsigned and new acts. I see so many great bands and artists come through the underground: they do not have their own award show and it seems rather strange. Many would say the point of a music award is to celebrate an artist that reaches a certain level/audience. Does that refined assumption mean we are deliberately overlooking artists who, despite their tender experience, are superior to the so-called ‘best’? It is thorny and complicated but we need to establish another award show that goes away from the mainstream and recognises new and unsigned acts. I feel the likes of the BRIT Awards are too focused on the mainstream and less-effecting artists – niche awards like Q, Kerrang! and MOBO caters to certain tastes but are confined to a certain taste/genre. I am aghast BBC Radio 6 Music does not have an award show as they, with their wide remit, would probably cure the malady. Taking it back to quality and, whatever your viewpoint, the Mercury Prize should ONLY represent the twelve BEST British albums of the year. It is not solely about new artists or mainstream; it is not about making things diverse and overhauling old practices. Like film awards; music ceremonies should reflect quality and the absolute finest of the sector.

IN THIS PHOTO: Blossoms (their eponymous album is one of the twelve that has been nominated this year)

The Oscars have been accused of racism and ignoring the best black actors around. Music, in a way, suffers racism and sexism but, as we can see from the list of nominations for the Mercury Awards – the last few years, especially – we are making strides, at the very least (bigger than the Oscars, that is for sure!). I feel the Mercury Awards should solely reflect the very finest British albums of the year. We want to showcase a prestigious award that promotes the absolute pinnacle of British music. Whether that is new musicians (unsigned acts) or mainstream stars: it should be about the sheer quality and critical acclaim. I admire the need to diversify and expand the Mercury nominations and give nods to lesser-known artists. If it weren’t for the Mercury Prize; would the likes of The Big Moon, J Hus and Dinosaur get acclaim and recognition anywhere else? Kate Tempest would do alright elsewhere but one feels she would be overlooked by the looks of the BRIT Awards and other ceremonies. We can create a shortlist that reflects diversity and genre-mix; included a fair balance of black-male-female artists and a sprinkle of bigger albums and underground treasures. If you take British albums in terms of quality/critical acclaim alone, then three albums that should be on the list are Paul Weller’s A Kinder Revolution; Laura Marling’s Semper Femina and Sleaford Mods’ English Tapas. Take away the less-than-effusive reviews accrued for Ed Sheeran, Blossoms and alt-J and, not only would you still keep the genre-spread clean and solid, but would bring in an older artist, a female performer and a consistent duo – not only improving the quality but adding diversity into the mix (the all-male artists all playing mainstream-ready sounds as opposed to the trio that would take their place). Even those small changes would placate the critics of this year’s list and ensure the Mercury Awards recognise the very best British albums – that revised list, surely, would be the absolute cream of the crop?!

In fact, one could remove J Hus (sorry!) and have IDLES take his place. It might be a step too far but it would show we are making cuts based on quality and no other factors. Maybe I am overthinking things but I take music seriously – and feel British music is the very finest in the world. Given the fact there are only a dozen spots on the Mercury shortlist; could we ever please everyone and make it perfect?! Perhaps not but I feel there is, in an attempt to broaden the nominations (genre and sound) a danger it is becoming too broad and less focused. It is clear this year’s shortlisted artists have provoked conversation and debate. There were some definite notable omissions which make me wonder what the criteria was for this year’s line-up. I know the race will come down to Sampha, Kate Tempest and Loyle Carner: it is clear people favour artists who write their own stuff and have a diverse and astonishing palette – not songs with endless credits on them; sallow and generic sounds. I shall leave it there but wonder whether, next year, we need to implement some guidelines or review – ensure the Mercury Award retains its reputation as one of the finest (if not the very best) awards of the music calendar. Whoever wins the award on 14th September – the fact the official site for the Mercury Prize does not mention when it is happening or where it is taking place is quite poor! – should be commended. Put all the arguments and nitpicking aside and this year’s Mercury Prize is going to be…

A hugely memorable evening.

FEATURE: The Marshall Mathers LP: Time for Reinvestigation?

FEATURE:

 

The Marshall Mathers LP:  

 Time for Reinvestigation?

________

IT might not be the album of his that gets the fond recollections….

of The Slim Shady LP but, in terms of its stature and legacy; I feel The Marshall Mathers LP is a superior listen. Whatever you think of Eminem; you cannot deny what a talent he is. In February 1999, we received The Slim Shady LP and, from its violent and distrusting cover; one knew they were not going to experience an ordinary album. Trailer-park trash and over-the-top violence were all included in this theatrical piece from ‘Slim Shady’ – the alter-ego of Eminem (which, in turn, is the alter ego of Marshall Mathers III). Critics reacted with a mix of mock-horror and genuine amazement: others went for revilement and moral outrage. That album separated and divided critics but, putting retrospective acclaim into the mix, that L.P. was a huge triumph. The lyrics concentrated on domestic violence, anger felt by Eminem and fighting against poverty – the man behind Slim Shady grew up in poorer climbs and had to work his way to success. It is understandable Eminem would spit and rally against an older life – the fact he reserved so much venom for women was baffling to many. At the time, Eminem claimed not to hate women at all – he was angry at them sometimes but it was all part of his persona. Anyone who looks at the album’s reception could see critics reacting to the quality and confidence of the lyrics: the controversy and alarm of the subjects addressed.  Regardless of any negative reactions; The Slim Shady LP has been placed on many critics’ ‘Top 100 Albums Ever’ lists and, at the time, did very well on the end-of-year lists (1999). Standout hit My Name Is won Best Rap Solo Performance at Grammy Awards; the album sold 283,000 copies in its first week – debuting at number two on the Billboard 200 charts (behind TLC’s FanMail). The disaffected youth felt the album articulated their sense of frustration and confusion.

Eminem, through Slim Shady, represented an anti-hero unafraid to vocalise his inner-demons and violent fantasies. Eminem ended the 1990s with a stunning album that created a huge stir and marked him as one of music’s leading lights. Whether you agreed with his attitude and songs; there was no denying how talented he was – and is to this very day. He leapt into the '00s with his record, The Marshall Mathers LP. If Eminem’s earliest albums was the artist known as ‘Eminem’ projecting one persona – and Slim Shady being a cartoonish and exaggerated form of Eminem – then Marshall Mathers was the eponymous album in many ways. Take away the ‘III’ in his name and it is the twenty-seven-year-old Missouri artist at his most personal and electrifying. Two months ago; the album marked its seventeenth anniversary: it seems amazing it was released that long ago. The reason I wanted to write this piece is that Eminem is taking to the stage at Reading and Leeds very soon. He will, no doubt, perform songs from across his career but one wonders how many of The Marshal Mathers LP’s songs will be included. To me, it is the height of Eminem’s career and a record we need to hear more of in this day – THAT is, perhaps, the real reason for creating this feature. Rather than being retrograde and conceding: the American artist strove forward and released an album ever more venomous and urgent than its predecessor. It might seem foolhardy celebrating an album that has so many burdens and issues. One could say The Slim Shady LP was a fictionalised version of Eminem – not someone who would ever realistically espouse the same questionable values of his alter-ego. If that is the case – shady logic from Slim Shady – then how could one rationalise and pardon The Marshall Mathers LP?! In fact, me not doing the maths right, this was Eminem’s third album. One could argue he had not really decided on an identity at that point – three different monikers in as many records. That seems symbolic and appropriate for a young man who, one suspected, as recent as a few years before was moving between towns and homes. If The Slim Shady LP was the promising rapper focused out and attacking: The Marshall Mathews LP was more introspective and investigative.

Having had fame thrust upon him; many would forgive him for creating and creating a ‘safe’ and mainstream album. How could an album that garnered a lot of criticism from certain reviewers have connected so much with the public?! The record sold nearly two-million copies in the U.S. (in the first week) and was, at that point, the fastest-selling studio album by any artist in American history. The album won Best Rap Album at the 2001 Grammy Awards and lost out on the biggest prize to Steely Dan’s Two Against Nature – two more-different albums one cannot possibly imagine! The Marshall Mathers LP has sold over 10 million copies in the U.S. – over 32 million around the world. The second part of The Marshall Mathers LP was released in 2013 and did not perform as well as its 2000 predecessor. What attracts me about The Marshall Mathers LP is its sheer scope and quality. I will address the controversy surrounding the album but the songs themselves are extraordinary. I listen to a song like Kim – a track about his then-girlfriend, Kim – that ends with Marshall Mathers strangling his lover. They argue and shout. Eminem screams throughout and launches a tirade of abuse against her – feeling they would be together forever but knowing she was going to leave him. It is one of the most intense and shocking songs in music history. One can only imagine how Eminem got into the mindset to perform the song in the studio. It would have taken immense mental preparation and rest – the sheer physicality of the track would flaw most singers. Dr. Dre produced most of the album’s first-half. One can hear his touch and guidance on songs like Kill You and Stan. The songs came together through creative binges: Eminem embarked on a two-month-long residency in a studio where he blocked out the rest of the world – keen not to be distracted and feeding off the isolation of the studio.

Songs would often sprout from overheard conversations and chance moments – Kill You was penned when Eminem, heard the track playing in the background as Dre was on the phone; Eminem went away and wrote the lyrics as the two joined to finish the song. Stan is that brilliant story of an obsessed young fan who does not hear back from his idol. Badgering and belittling the star for ignoring his fans and leading him on – a brief nod or conversation warranting harassment, it seemed – that leads to the troubled fan driving his girlfriend into a river. Eminem/Slim Shady was, as he explains, busy, but replies to the fan’s letter. The opening-half is the narrative from the fan as he chides and scorns the singer. That is switched after as Eminem takes to the microphone and offers caution to the fan – who seems suicidal, homicidal and unnervingly attached. It is a brilliantly written and realised song that went to number one in eleven countries. That famous sample of from Dido’s song, Thank You, gives the song its edge and uniqueness. One expects that exert to lead to the chorus of Thank You – thankfully, it is a beautiful bridge between verses. That said; the two work well together despite the fact, one suspects, they were never in the studio together. Skits like Steve Berman sees the artist hauled into a record boss’ office to be eviscerated for the album’s content – and the fact nobody is going to buy the record. The Way I Am and The Real Slim Shady look at identity and authenticity. The former is an unapologetic explanation of Eminem’s raw and untamed vocals; the fact he courts controversy and seen as a pariah among some critics. The latter calls out those who imitate the American rapper – harking back to his previous incarnation – and weak imitations. It was another huge hit and incredible highlight from the album.

Amityville, with its refrain “Mentally ill from Amityville…”, is a hypnotic track which features form the input of the Bass Brothers. Those Trip-Hop beats give the track a real swagger and danger; Eminem’s vocal commanding and astonishing throughout – the lyrics consistently impressive and memorable. The entire album is the commingling and peak of Eminem’s powers. The compositions are inventive and kaleidoscopic: ranging between genres and putting samples in; heavy beats and guitar riffs sitting with more traditional Hip-Hop/Rap sounds. It is an infectious and peerless work from an artist who was venting his frustrations and creating a work of art in the process. Many would say, on the flip-side, how can anyone admire an album that seems to promote violence against women?! On The Marshall Mathers LP; one discovers tales of murder, rape and threats. Nearly every song features some form of brutalism and criminality. It is a stark and black album that spews blood and guts from every verse. One could overlook the weaponry and murder rages – aimed at critics and contemporaries. Hip-Hop has always been marked by a certain songwriting inspiration. It is not unusually discovering heavy and hard-hitting songs in this genre – often, artists would boast and brag about violence. That is a different issue but it is the seeming misogyny and attitude to women that repulsed many at the time. There is homophobia and racism and, in an album that is meant to inspire and represent Rap/Hip-Hop; should we really ignore the obvious flaws?! To exacerbate this; former Senate chairman Lynne Cheney decried the album and the degradation against women. She highlighted songs like Kill You as especially worrying and culpable. That number boasts about rape (against one’s own mother, no less) and murder. Cheney argued there should be an age limit on the album – so it does not find its way into the hands of young and impressionable listener.

That song gathered more approbation as Eminem was scheduled to perform in Canada in 2000. He was banned because of his attitudes to women and advocating violence against women – other suggested he should be allowed to perform and arrested for hate-crime offences. Eminem argued he was being persecuted and merely exercising his right to free speech. Perhaps the morals and tolerance levels differed between the U.S. and Canada – the more polite and moral-heavy nation finding little merit in Eminem’s brand of music. A 2001 and 2004 study by Edward Armstrong discovered the majority of songs on The Marshall Mathers LP contained violent and/or misogynistic values/lyrics. Throat-slitting, drowning and rape; murder, shooting and beating. Maybe, in order to top the competition, Eminem felt it necessary to go full-throttle – never had an album of this kind contained so much hate, violence and bloodshed. Eminem predicted some of the furore that would be generated in cuts like Paul – an exasperated friend leaves a message on Eminem’s answerphone to say he’d heard the album and, lost for words, hangs up – and he knew how it would be received. At a time when we sexism, racism and discrimination are as rife as ever: should we really be talking about an album like The Marshall Mathers LP in fond terms?! Retrospective reviews have heaped praise on the record and stripped some of the self-righteousness and hysteria experienced in 2000. Sure, there are questionable and loose morals throughout the record; the author could have toned down the cuss and disgust on some songs. The fact is that Eminem was not suggesting people go out there and kill. He was not sending subliminal messages and saying everything you hear on the album is his views. It is, like previous albums, a mix of fantasy and truth. Before the album was released – and the years after – Eminem did not commit murder and go out beating women on a nightly basis. He is, as you will see in interviews, quite humble, shy and reserved. A fiercely intelligent man; it is a stark contrast to the man we hear on the album. Albums made by Dr. Dre and his contemporaries, around the time, contained braggadocio and boast: the promotion of a lavish lifestyle and sporting bling. Dre is no more a reviled figure nor is he any less controversial (in person) than Eminem. Both artists are morally aware and conscientious but Eminem chose not to follow the standard path trod by peers at the time. He wanted to project something that reflected the anger he felt in the wake of The Slim Shady LP’s release – and the fame he accrued from that. Depending whether you agree with the lyrical content and themes contained on the album: few can deny what the album was going to sell big and get some great reviews. It has gone on to be one of the most influential records of the time and, according to many at the time, was the most important record of that era. Eminem has, in my view, not topped The Marshall Mathers LP.

It arrived at a time when the young rapper was finding his sound and having to live under the constant scrutiny of the media. Because of that, he either had to step-up or take a step back. Attacking the problem and spewing through the microphone; it is an incredible response from Marshall Mathers III. It is an album I go back to time again and feel we should hear more of today. Aside from artists like Kendrick Lamar and Beyoncé; there are few artists that can throw so much into an album and keep their messages on-point and inspiring. So much of today’s Rap and Hip-Hop is defined by lazy lyricism, clichés and old messages – the boasting and arrogance; bragging about wealth and success. Few albums stand out. Aside from Kendrick Lamar’s DAMN.: I have not heard an album this year that really goes for the throat. The world is in a more perilous and confusing time than ever. We need someone like Eminem to step up and get both barrels out. When he takes to the Reading and Leeds stage next month; it will be interesting to see how many of The Marshall Mathers LP’s songs make it into the sets. Whether Eminem makes another album will be another fascinating consideration. He will never reach the heights he did on his 2000 masterpiece so, because of that, we need to preserve the record and realise what an accomplishment it was. The recurring homophobia and misogyny still causes criticism but, strip away lyrics that certainly were not endorsed by the man behind the album – who is, as we know, not someone who beats women and has, since the album’s release, has stated he is not homophobic – and you have one of the finest albums of the past twenty years. Its sheer range and quality is deserving of a new audience and fresh ears. If one is impressionable enough they will hear the album and follow it to the letter – they should not be let near music and out in the world. The Marshall Mathers LP is a mesmeric album from a man who ensconced himself in the studio and wanted to create something worthy of his hype. He certainly did that but, with it, went on to release one of the most-talked-about and important albums…

IN the history of music.

TRACK REVIEW: Robyn Cage - Slow the Devil

TRACK REVIEW:

 

Robyn Cage 

PHOTO CREDIT: Bryce Johnson (for the Slow the Devil video)

 Slow the Devil

9.5/10

Slow the Devil is available at:

https://www.youtube.com/watch?v=W4Oe2PGKCqE

GENRES:

Alternative-Rock; Alternative-Pop

ORIGIN:

Utah, U.S.A.

RELEASE DATE:

18th July, 2017

SONG:
Written by Robyn Cage and STOLAR
Music Produced by COAV
Mixed by Brenden Bytheway and COAV
Lead Vocals and Keys: Robyn Cage
Vocal Harmonies: Callie Crofts
Drums: Zac Bryant
Viola: Ammon Chung
Synths: Caleb Loveless
VIDEO TEAM
Directed, Filmed & Edited by Bryce Johnson www.GoBigFilms.com
Set Photographer: Darryl Dobson
Hair & Makeup: Amy DeVore
Wardrobe & Styling: Mask Costume
Production Assistant: Laura Johnson
Craft Services: Nan Kemp
Featured extras: Melody Gonzalez, Katie Marie Pollard, Natalie Jones, Nan Kemp, Tabitha Dunn, Kathryn Dunn, Liam Dunn
Read the story behind the video on Robyn's blog: http://www.robyncage.com/blog

The album, Slow the Devil, will be released shortly

_______

THIS review seems very timely and apt as…

PHOTO CREDIT: Bryce Johnson

Robyn Cage has passed a milestone in regards the crowdfunding for her album, Slow the Devil. I will come to that later but, running up to that, I want to talk about American artists and the diversity of the landscape; the political climate how that inspires artists; flame-haired artists and those that stand in the mind; evoking certain singer-songwriters and fantastic imagery/videos; unity and strength at a time of dislocation and, as promised, a bit about Cage’s Kickstarter campaign. I am excited to talk about Robyn Cage’s new track – from the album of the same name – but it is interesting looking at America, tying in topics of geographical diversity, and how compelling its landscape can be. Robyn Cage is based in Utah and has the mountains and views at her door. It might seem, for an ambitious and stunning songwriter, there would be a lure and attraction of the city. In her career, she has played Boston’s Symphony Hall – thousands at outdoor festivals – and toured the prestigious singer-songwriter circuit in N.Y.C. One would feel those areas would be a natural base for Cage but, when one hears her music, it seems to take from all of America. It is important she has that experience and C.V. but these times have moulded who she is now. I do not feel we have the same range and wonder in the U.K. – when it comes to the cities and contracts. A nation like America promises panoramic cities and the history of various cities; the deserts and hot climates and the beauty and stillness of the mountains. Robyn Cage has that background touring cities and has been inspired by the people and places she has visited. To me, it is where she is now that is most instrumental.

PHOTO CREDIT: Carla Boecklin Photography

I am not sure whether there was a single moment - or series of realisations – that led the red-headed singer-songwriter to Utah. Talking about the state and, easily defined, one can distil it to this (taken from Wikipedia):

“Utah is a western U.S. state defined by its vast expanses of desert and the Wasatch Range mountains. Salt Lake City, the capital, is centered around Temple Square, headquarters of the Mormon Church and site of its majestic temple and tabernacle, with its massive dome and renowned choir. The Great Salt Lake’s buoyant waters attract swimmers and sunbathers, especially at Antelope Island State Park”.

One can see the sites and splendours of the state: no wonder Robyn Cage would have been seduced and pulled to Utah. She is based in the Park City area and has National Parks like Zion, Arches and Bryce Canyon not too far away. One need only look at her promotional shots and videos to know she has a real affinity and connection to natural and beauty. That is why America fascinates me: there are so many contradictions and polemic sides that give one songwriting influence. What interests me about America’s artists, as opposed to ours in the U.K., is how they connect with their surroundings and produce the best music in the world. I have changed my mind slightly regarding the nation that produces the best music. We, here, have some extraordinary history but, when it comes to the contemporary artists defining 2017; that seems to be reserved to the U.S. Maybe it is the political climate – I will expand on that soon – or an innate affiliation with their history, climate and people. Robyn Cage has an almost-spiritual bond to the earth and the mystique, beauty and stun. One detects these components and themes on her previous material but, when listening to Slow the Devil; there is a direct nod to political figures and the need for people to come together. American artists are rawer and more striking, when it comes to addressing politics and the need for unity, than we are here.

PHOTO CREDIT: Carla Boecklin Photography

Perhaps the stakes are higher there – and the suppression and repression more severe – but the musicians in America are articulating a frustration and malaise that is, one hopes, leading to a revolution. Returning to Utah, for a bit, and the Western state is the thirteenth most-populous of the U.S. and has three-quarters of its population living along the Wasatch Front – centering on the state capital, Salt Lake City. It has Colorado, Wyoming and Idaho around it; Arizona and Nevada close at hand. There is a big Mormon population but, away from that, Utah is a modern and growing state that has high-earning businesses and a great economy – one burgeoning and growing by the year. Utah, interestingly grated women the vote not long after Wyoming – the first states to make that important decision. Despite the fact the state is largely a Republican battleground; they have an open-minded approach to same-sex marriages and women’s rights. There is a definite sense of contrast when it comes to political and social rights – a state that wants equality and is very modern; still holding to a political party that longs for the past. Maybe its religious population yearns for a more together and unified population: it seems to be attracted to an ideal of Trump’s America, too. I shall return to that point but Utah, to me, seems like a state that is a lot more forward-thinking and together than other parts of the U.S. I feel a lot of those wise decisions stem from the landscape and physical beauty of the place. Those mountain views and deserts create a sense of reflection and calm. The likes of Jon Bon Jovi, The Killers and Demi Lovato have exploited the serenity and atmosphere of Utah. It is a part of America that, to the outsider, seems old-world and simplistic. When one researches and investigates more; there is a tangible and evident modernity and evolution. It is a state as synonymous with technology and youth than it is the vintage and rustic – the state has reputable universities and a vibrant young populous.

PHOTO CREDIT: Darryl Dobson Photography

Robyn Cage, one knows, will vibe and take from the state and all the colours it offers. Fellow Utah musicians like Parlor Hawk, The Moth & the Flame and The Blue Aces are showing what variation and quality there is in the state. The latter, in fact, are natives of Provo have the directness and evocativeness of Alabama Shakes but are an original and highly effective. Desert Noises, coming out of Provo, have Southern-fried magic and create music that, not only speaks to Utah residents, but has resonate across the U.S.A. Jay William Henderson is a local hero and has a set of sophisticated arrangements that perfectly accompany his heartfelt and striking voice. Koala Temple, in contradistinction, see themselves as ‘Gloom-fi’ but, has a sense of nostalgia and vivacious that belies that rather moody and off-putting tag. 

L’anarchiste recalls the likes of Grizzly Bear and Foals and provide progressive Folk of the highest order. Lush and fulsome production gets the songs into the brain and seeps into the imagination. That is merely a nod to the variety of artists performing and succeeding in Utah. The state is, like many in America, a productive and eclectic market that stretches beyond the confines of the inhabitants. Robyn Cage, even in a state that has a range and musical treasure chest as vivid as the surrounding landscape, seems to stand out – but she takes from her contemporaries in a lot of ways. I will come back to that in my conclusion but it seems like Utah has a very hospitable and supportive music network. I want to return to Utah but, looking at Robyn Cage, I want to discuss her musical motives and inspiration points. On her bio (on the official website), she starts my offering this insight:

“Last Spring, I spent a week alone camping in the remote red rock desert of Southern Utah. No internet, no cell phone service, and not a soul for miles,” she shares. “It was magical. Songs poured out of me, starting with this optimistic ukulele tune called “Flying Machine.””

Then…

PHOTO CREDIT: @carlaboecklin

“…one morning, she woke up with a song in her head. “Slow The Devil” was “a gift from the songwriting gods, and the closest thing I’ve ever written to a protest song,” she says. “I realized that music was helping me through these dark times.”
While Born in the Desert is an ode to self-expression and loving what makes you different, Slow The Devil is a call for Unity and loving what makes others different. “I don’t believe that ‘Unity’ means we should all be the same. For me, unity is about celebrating diversity,” Robyn shares.

Cage retreated to an idyllic and detached are where modern appliances and the distraction of social media held no appeal – keen for people to connect with the land and not be obsessed with the Internet. A perfect chance for reflection and inspiration: returning home and a more modern surrounding; she noticed how her country had changed. One spring, when looking around her, she noticed the climate and feeling in the country had changed. Whether it was a pre-Obama thing – or started when Trump came to The White House – something had altered for the worst. The people had become colder and more distant. One can look at this separation as a gift from the Trump administration but, looking at the racial tensions and gun violence that was percolating in the U.S. – perhaps a sign of growing fears and a need for something different in the country. I would not suggest Trump’s victory is a result of confusion and a need for a radical change in America – feeling the country was being taken over by outside forces and ‘spoiled’ by foreign people – but, against that time of balkanisation and trouble; the people made a rather worrying decision. Few could ignore what was happening around them and not address it. Robyn Cage is an artist who has always taken from events happening around her so, seeing a nation become cold and cracked compelled her to put her pen to paper. Slow the Devil, in a way, is broader than a judgement against people like Trump. It is that feeling (the nation) is beholden to dark forces and an evil that has no place in a country that promulgates unity, liberty and freedom. I mentioned how America is leading the way when it comes to urgent and socially aware music – more strident and enflamed than the British variety. The Triple-X Bourbon America gives the world makes our paler and alcohol-free brew seem rather weedy. What I mean is artists like Beyoncé and Kendrick Lamar, in Lemonade and DAMN., have produced albums that perfectly document the struggles and troubles in America.

PHOTO CREDIT: Carla Boecklin Photography

Robyn Cage, by comparison, is less inflammatory and angered than many of her peers but is eager to confront the splits running down the spine of the country. Politics is a rather risky side of things to get into: many artists can get it wrong and it’s difficult writing a song that makes you think. In a lot of ways, a song like Slow the Devil, and many songs that will be on the same-titled album look at people, love and the self. It is not only about the state of U.S. politics – but, there is a determination to examine why the people are on different plains and reading from different hymn books. With Cage, there is this sense of loving and ecumenical that gives her music an almost religious ideology. I am not sure whether Cage has faith – and, like a large percentage of Utah’s people is a Mormon – but one does not need to have religion to find faith. Cage does not sermonise not hector: her music is a hugely romantic, emotional and spiritual sound that needs not pontificate, judge nor discriminate. Her music has a conscientiousness and is keen to examine why her nation is feeling strained. There is something alluring and tempting about Robyn Cage. Not in a sexual way, you see – well there IS; but that is not where I was headed – when one sees her. The flame-haired songwriter is striking and eye-catching. Without hearing a note, she projects a sense of authority and mystery. Her promotional shots and videos utilise the beauty of her surroundings and show she is someone to be taken rather seriously. It may seem odd me looking at red-headed artists but, in a weird way, there seems to be a colour connection between Robyn Cage and her idols. Maybe it is the fact red-headed artists are rarer (than brunettes or blondes) or it may not to a sense of romance and allure – there is something about artists like Robyn Cage that stands in the mind longer than you might think. She is someone that makes the heart skip but, when hearing her songs, that spreads around the body and lingers in the mind.

PHOTO CREDIT: Carla Boecklin Photography

Artists like Tori Amos and Florence Welch are two artists Cage has been compared with – both are red-headed, strong and unique songwriters. Whilst there is a generational gap between Amos and Welch: both are defined by their beguiling music and powerful deliveries. The fact they are both red-headed makes me curious – whether the flame hair, in some way, ignites the music. It might be coincidental but it is interesting Robyn Cage finds inspiration from Tori Amos and Florence Welch. Those songwriters are established and legendary and, the fact Robyn Cage stands alongside them, is testament to her strong and nuanced music. It is not only her hair and extraordinary music that lingers in the imagination – there is a professionalism and determination that sets Cage out for long-term stardom. I have already mentioned her Kickstarter campaign – and will come back to it – but it has, as of last night, closed. Over two-hundred people contributes and $20,000 has been generated. Cage has supplemented the donations online with house concerts and performances. This means, not only will her album be able to spread its wings, but that money can be used on promotion and videos. Just look at her photos and there is a high-quality standard that few of her peers uphold. One sees these wonderful images and looks at her official website – full of information and links. One of my biggest peeves is when artists approach me and have very little to recommend. Their music might be fantastic but, if I am reviewing or interviewing, there needs to be photos and information. If I have an interview with a few grainy images – and a paucity of biography – then that reflects badly on me. It shows, more than that, the artist is not taking things are seriously as they should. There is an inherent link between exposure/fullness and the intent of a musician. It is not good enough – something I hear endlessly – for music to do the talking. Music, today, is a competitive and highly professional industry that does not want its artists untucking their shirts and slacking off with regards the household chores.

PHOTO CREDIT: Carla Boecklin Photography

It wants them to be a free spirit but dress with sartorial elegance and ensure their housekeeping is assiduous and diligent. Robyn Cage ensures her social media is updated and there are loads of great images for her fans. Many will argue the visual is not as important as the sonic: if you are a musician who wants to attract reviews and supporters; it is paramount you take every aspect of the industry seriously. Going back to Robyn Cage’s Kickstarter and, having passed a milestone (and closed its door); it shows there is a great bond between the songwriter and her fans. Cage, as she says herself, is someone who knows music is free and available these days – it does not mean it needs to be devalued at all. The fact so many have thrown their weight behind her album shows there is a demand to foster musicians and ensure they receive adequate support and equity. Wrapping everything up and it seems, when one looks at Robyn Cage’s music and output, she is someone who takes music very seriously. Her Kickstarter campaign has ended but there is a legacy and lesson that has come from it. I have been amazed by how many people have backed Cage’s campaign but it’s clear there is a lot of affection for her.  When speculating as to the reason why so many people have supported the album drive, it can be broken down to the personality, music and professionalism. The videos and images how Cage is someone who looks for beauty and the memorable in everything she does. Her photoshoots and campaigns are well thought-out and beautiful. The videos are filmic and seem to have the ability to transfer into longer pieces. It seems Cage is a professional musician who could make it as an actor – as she has a theatric and dramatic talent that few musicians possess. The music itself is among the most original and astonishing I have heard. The vocals are immensely griping and affecting; the lyrics mix personal and universal whilst the compositions are busy, diverse and accomplished. Throw that together with a woman who is bright and lovable; friendly and open. All of this has resulted in a huge wave of affection from her supporters. This should act as guidance for any musician who wonders what it takes to get people to back their music – and gain success and longevity in the music industry.

PHOTO CREDIT: Bryce Johnson

Anyone who wants a song they can instantly bond with should direct themselves towards Slow the Devil. As a representation of Robyn Cage’s album – this, as its title track – it is a wonderful revelation and realisation. The opening shots of the song’s video (directed by Bryce Jonson) take us over icy mountains and a cascading waterfall – looking more like the depths of Iceland rather than Utah. The opening notes of Cage’s voice are as striking and evocative as the setting. A view-rich, physical sound that sees the heroine viewing the Devil in his Sunday best. Her soul and body are unassigned and departed: a sense of emptiness and surrender rushes from the first verse. One hears definite embers of Florence Welch in terms of the pronunciation and punctuation of the words. It is a flourishing and bellicose delivery that manages to steal focus from the lush and gorgeous vistas. The heroine is in the forefront and enraptured by the situation she finds herself in. There is a wicked dance unfolding – the entwine of Hell’s Tango – as Cage starts to slip away. Of course, the words are a virtual and spiritual representation of a pain that is as personal as it is common. Maybe the state of the nation – people on different plains and in different minds – is causing her strain but it appears there is a personal aspect to the song. Perhaps there are burdens of love and thought: unable to reconcile the state of her life compared to that of her country; feeling unsettled and foreign around people who seemed familiar and family beforehand. One feels, based in Utah, there might be some separation from the real compaction and explosion in the country – a slight geographical distance from the political arguments and the President’s agenda. There is a division, for sure: Robyn Cage wants to create a community and neighbourhood of like-minded souls. Tarnished and harrowed by the seismic shifts and rumble of turbulence; the vocal, for the most part, remains dignified and restrained. There is a gorgeous Country-like twang and hold that has a fluidity and smoothness. It mixes with a clarity and crystal tenderness that puts me in mind of Kate Bush – whether that is someone who inspires Robyn Cage.

In terms of the composition; there are beating percussion notes and strings lingering. It is kept quite light but manages to elicit a vibrancy and ominous quality. Robyn Cage’s songs are defined by their fullness and compositional intelligence. Here, in these early stages, that need to let the voice have its say is evident. One hears some intriguing undercurrents but is drawn to the heroine. Slow the Devil is as much a prayer and supplication as it is an exposure of fear and torment. It is hard seeing your people on different sides of the fence: fighting and arguing; conflicted and conflated; burning and judgemental. I have stated how Trump’s ascension might have influenced the song but the origin and story of Slow the Devil seem to hark back even further. There has been unrest in America for years. Many have felt the level of gun violence is unacceptable: the President unable to get a hold on it and compromise. It is hard saying just how wide Cage’s influence runs but it clearly has a lot of relevance in the current climate. America is still very unruly and not able to unify its people. One hears a mix of Synth. and Country mix with Alternative and Indie. On the one hand; there is a bubbling electronic sound that sticks in the mind. It seems to represent confusion and a physical release impending. The beats remain strong but become more pressing as the song progresses. The mood gets more intense and probing; there are yearning strings and something romantic working underneath. All of this put together – backed by COAV’s intuitive and assured production – means the song really strikes hard. STOLAR co-wrote the song and brings his voice and talent to the mix. It is a combination of talents that could have failed but does not. Cage’s voice gets more heated and passionate as the words indicate a sense of helplessness.

PHOTO CREDIT: Carla Boecklin Photography

“Every morning, feel you when I wake” so goes the second verse: “Wash myself of your sins and shame” provokes religious images but it seems less righteous. It is a very real way of washing away a sense of disgust and dirt – that has been accumulated by the rising tides in America. There are bloodied eyes and pointed lies – maybe it is someone personal or a political figure?! My mind is split between the two possibilities. In a way, Slow the Devil can only really be about someone who wields power and uses it to further their remorseless and questionable desires – almost an allure and sensuality to the way Cage renounces their spiked tongue. The pointed-tail Overlord is moving in a merry fashion: the need to be together and of one mind is enforced. I cannot get over how passionate and emotional the vocal display is. There is so much in the delivery that it is hard to get a handle on. As Cage lets her voice rise and swoon; the beats and electronics build up like an army. It is an evocative and compelling sound but not one that becomes too intense or intruding.  It seems the heroine is not willing to relinquish her soul to this cruel figure. Many people around her are being tempted to a darker side: this is not going to happen to someone who wants to see her country and people returned to their former best. Given the relevance of the song; Slow the Devil will resonate with many and create something. It affected me in terms of the lyrics and vocal. Cage takes her voice to new heights and seems engrossed in every single moment. The lyrics have simplicity but, in a sense, it reads like poetic prose. One envisages scenes and possibilities; all manner of dark and staggering possibilities. By the end, you are exhausted and moved by the song. It is a stunning release from one of America’s finest emerging songwriters. Small wonder so many (including myself) backed Robyn Cage’s Kickstarter campaign – given the strength of her music and how different it is.

PHOTO CREDIT: Carla Boecklin Photography

I will end this now but, before I come back to the earlier themes, want to see where Robyn Cage is heading. I know she has new music – single-wise – very soon but I was keen to look at Slow the Devil’s title track – seeing as the video was revealed a week ago. It seems Park City provides ample opportunity for the young American. Looking at her tour diary and one sees the Montage Vista Longue (tonight) begin a run of dates that takes in Prime Piano Bar and Riverhorse of Main. It seems she splits her time between Montage Vista Lounge and Prime Piano Bar. Whether she has residency there or feels more settled among its people – valuable bookings and chances for Cage to spread the word and bring her music to the people. I am not sure whether there will be other U.S. dates this year – whether she has time to fit them all in – but the past twenty-four hours have been hugely important for Robyn Cage. If one wants a fuller sense of Robyn Cage, I urge them to take to her YouTube and Facebook pages. On Facebook, one can see Kickstarter updates and her speaking to fans. It is great seeing those clips of her providing updates and keeping fans abreast. Not only a window into her home (and soul) but a way of connecting with her fans – refreshing to see it in an industry where many are falling short of the mark. I’ll touch back on her Kickstarter campaign but I am so glad it has reached that $20,000 marker. It means all the music can be completed and produced to the highest standard. When the album is completed and out to the world; from there, Cage can think about new music videos and making her promotional shoots as professional and ambitious as she can. That money will also go to touring and getting out to as many people as possible. The U.S. is a vast nation and one that, in every state, provides plenty of spaces to perform in.

PHOTO CREDIT: Carla Boecklin Photography

I hope Robyn Cage comes to the U.K. at some point because there is a definite market for her over here. I looked at, among other things, red-haired artists and musicians like Florence Welch and Tori Amos. The Florence + the Machine lead has not released an album for a little bit and there seems to be a vacuum there. No artist like her is making music and one feels many would welcome her spirited and extraordinary music right now. Similarly, there is a real demand for Cage’s music. She cements a general feeling of unity and the need for change. Her lyrics look at the nation and how things have got tangled. The Devil is that embodiment of repression, struggle and negativity. Slowing that ill is something many are trying to do: the album’s title cut is a perfect distillation of feelings many of her country’s patrons share. I am not sure whether the track looks at the changeover between Barack Obama and Donald Trump and how the nation has transformed since the latter came to power. I know many supports Trump but it seems there is a lack of faith when it comes to his leadership. Those who support him are perpetrating ideals and values that seem to clash with those who favour progressivism, togetherness and equality. I have not seen America this divided in decades and it is a worrying time for the people there. We are in a similar situation in the U.K. Our Prime Minister is making foolhardy decisions and leading the country in a bad direction. The world is less assured and safe than it was so I can understand the need to profess a certain anger and annoyance. I am looking forward to seeing Robyn Cage’s album in the ether as it is a record of the times. Not only are there political and social concerns but plenty of emotion and personal revelations.

PHOTO CREDIT: Carla Boecklin Photography

I will bring this to close but want to end by returning to Utah, Kickstarter and Cage as an enigma and beauty. Her album campaign ended and reached an incredible mark. It shows platforms like this are crucial: crowd-sourcing is a great way of artists being able to fund their music and ensure the songs are brought to a wider audience. Many artists are struggling in the current climate given the fact music is (largely) free. It is a strained economy that finds so many having to gig relentlessly and break their backs. There is no easy way to overturn this and ensure there is a sense of structure and fairness. Robyn Cage knows music can be free but she knows it should not be devalued and taken for granted. Fans agree and, as such, she has ensured her Slow the Devil camping gas fruited and grown into something beautiful. Many have got behind it and want to see the music out there to the masses. I have mooted whether she will come to the U.K. but there is enough of America waiting for her. Utah is a magnificent state but one that is close enough to areas like Nevada and, it seems, The Beehive State is close enough to the West Coast. Cage could tour in California and find popularity there. I am not sure whether she is tempted to play out there and feel her music would connect with the people. I speculated Robyn Cage’s music took a lot from the diverse landscape of Utah. Those huge mountains and vast deserts; the contrast between the built-up areas the wide-open sweeps. Atmosphere, passion and calm feed into the music but there is evocative and fiery intensity that one cannot overlook. Here is an artist who has the potential to carve out a large chunk of the U.S. and find success throughout the nation – come to Europe and get her music to the people here. Looking at Utah and, aside from the spots Cage performs at, there are many others she might find favour in.

PHOTO CREDIT: Todd Cole

Look at Robyn Cage’s Kickstarter site to see how much the donations mean to her. This affection and appreciation, one hopes, will parlay into some gigs around Utah. A lot of the more popular spaces are situated in Salt Lake City but Kilby Court is somewhere that would be set-up for Cage. It is a hole-in-the-wall venue that has attracted the likes of The National, Vampire Weekend and Bowerbirds. The venue finds unique talent and is a great stop-off for rising artists seeking a wonderful, unexpected treat. The Depot features small Rock performances but they do switch genres here and there. Michael McDonald and Alice in Chains have performed here and (the venue) draws an eclectic crowd. Head to 400 West South Temple and one might encounter a great new artist in this trouble-free space. The Urban Longue is one is the best venues in Utah and has hosted artists like Sleigh Bells and Unknown Mortal Orchestra. I could see Robyn Cage performing there but, in reality, she might be too busy with the gigs she has – and getting the album out there and completed. With the Kickstarter success fresh in her heart; it will be a busy next few months for the young talent. There is something arresting and heart-breaking about Robyn Cage. In a time where the looks of female artists – men finding them more valuable than the music – are put under the microscope; it feels rather shameful highlighting Cage’s natural beauty. Not that this will ever take prominence (for me) over her music but it is hard to ignore the immense beauty and allure of Cage. This beauty is reflected in music that mixes calls-for-unity, strident anthems and huge anthems. The flame-haired musician is one of the most mystifying and staggering in the music world and someone who is in my mind. I have been stunned by the incredible potency of Slow the Devil – a tantalising insight into what the album will possess. There is a lot of love for Robyn Cage that extend beyond the U.S. When her album is made public; it will find her getting attention from stations over here like BBC Radio 6 Music. I will do my best to bring her to their attention because we need to have her over here. It is a great and prosperous time for a musician whose glory and success…

HAS only just begun.

_______

Follow Robyn Cage

PHOTO CREDIT: Carla Boecklin Photography 

Official:

http://www.robyncage.com/

Twitter:

https://twitter.com/robyncagemusic

Instagram:

https://www.instagram.com/robyncagemusic/

Facebook:

https://www.facebook.com/robyncagemusic/

SoundCloud:

https://soundcloud.com/robyncage

YouTube:

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INTERVIEW: Bella Barton

INTERVIEW: 

 Bella Barton

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DAUGHTER is a sensational and unique song…

I urge one to stream and investigate - Buy/Stream: https://bellabarton.lnk.to/Daughter; Listen on Spotify: http://sptfy.com/1q7N. Not only it is a confident and original song from seventeen-year-old Bella Barton but it is so different to anything out there. One would think, looking at a singer of Barton’s age, she would be producing commercial Pop or machine-suffocated Electronic jams – designed for the meat-and-sweat of the club floors. Perhaps I am being terribly stereotyping and prejudicial: Bella Barton is, refreshingly, a musician who mixes soulful Jazz of, say, Tony Bennett - with sumptuous, romantic Pop elements of (1965/'66-era) The Beatles.

Barton talks about Daughter’s story and what one can discover from her upcoming album, 10 Songs – and which of the tracks hit her the hardest. She talks about the BRIT School – where she is studying – and the three albums that mean the most to her; where she will be performing and (sage) words of advice for any artists coming through at the moment.

________

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

Hi.

I'm about to go to France for a couple of intimate gigs which will be nice - so I’m feeling great, thanks!

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

Well.

I’m a seventeen-year-old singer-songwriter - and I go to the BRIT School; where I studied music for two years. I'm continuing to study there for another year.

I'm releasing my first album very soon - which I'm really looking forward to. My music is mainly acoustic with Jazz/Blues themes throughout.

Daughter is your new single. Can you tell me about what compelled the song and what the track is all about?

Ironically, Daughter is the most-recent song I wrote for the album - but one that I've wanted to write for, probably, two years. When I was fourteen, I realised how often it was: that men would cat-call and hit on me in the street. It was, basically, every day – middle-aged men would follow me and harass me etc.

So, about a year later, I went on Radio 4's The Listening Project to discuss the effects this had on me - and all of my female friends - and how vulnerable it makes young girls feel. Then, I was invited to Parliament to a select-committee to talk about this topic - and I remember realising that we are never taught how to cope with it or how to get out of the situation.

My passion (in this) compelled me to write a song from my own perspective.

Listening to the song, and it has Jazz elements and, oddly, reminds one of a smoke-hued, mystica night-time walk through Paris. It is classic-sounding and has a coolness and suave swagger. Was it quite easy putting the song together or did it go through various versions?

Thank you!

I knew that I wanted a fast-paced Motown beat with a Jazz feel, and so, from there, I found it quite easy to write lyrics to the groove of it. I played around with the conversational outro for a while - because I didn't know how much scatting I wanted.

Who are the musicians you grew up listening to and inspired your career in music?

I remember seeing Ed Sheeran at a festival - when + had just been released - and it definitely inspired me to learn how to play the guitar and start writing my own songs.

Amy Winehouse, on the other hand, got me into Jazz and I've always aspired to create music as distinct and beautiful as hers.

I also saw Tony Bennett in concert recently: he's a massive icon of mine…I loved it!

10 Songs is your upcoming album. How does it feel having it completed and are you excited seeing what reaction it gets?

It feels great to have it done as I spent almost a year on it - so it's nice to be able to finally put it out there.

My friends are definitely getting me hyped-up about it because they're all very supportive and excited to hear it...so I can't wait!

Which of the ten songs, would you say, is dearest to your heart?

I Want You is very dear to me because I feel that it depicts the pain I was feeling a while ago and, when I sing it, even now, it brings back the emotions I felt then.

Serenity, on the other hand, is my favourite - I love the trumpet solo!

I believe the record tackles issues like misogyny and sexual advances. Is this approach been motivated by personal experiences and was it important, to you, distancing from predictable love songs and obvious themes?

As I was saying before: it was definitely motivated by personal experiences - but also from many of my friends who have also been verbally harassed. I did feel that it was an interesting topic for a song: especially the contrast between such a fast-paced and happy tone with quite dark lyrics.

But, most of my album has other, more emotional songs about relationships and emotions.

As a young new artist, you could have created something commercial and chart-based – Daughter is the opposite of it. Do you feel having your own sound is more important and inspiring than penning something generic and mass-produced?

Having my own sound is important to me because I would love to have a very distinct style - so that my music is noticeable.

I write from the heart and I feel like I have to write honestly.

You are, hard to believe, still in your teens. How do you balance academia and growing up with the demands of music?! Are there times when you want to disconnect and have some ‘me-time’?

Well, for the past two years or so I have been practising Mahayana Buddhism - which definitely helps me to feel at peace with myself and not get too stressed out with exams; also, creating an album at the same time.

The actual act of writing and playing comforts me, too.

The BRIT School is somewhere you have cut your teeth and won awards at. How important is what you learned there (and still do) to your own music and creative process?

BRIT has been great.

I've had help with my singing techniques and just learned a lot about creating music. The main thing for me, though, is that the people there are so supportive and lovely. The laid-back atmosphere at BRIT has really helped me to come out of my shell over the last few years – and actually record these songs.

What sort of gigs do you have coming up? Where can we see you come and play?

I'm doing some gigs in the South of France and (doing a gig) next month at The Star and Garter pub in Putney Bridge on 25th August.

I'm hoping to also perform at the Lost Rivers Elephant, soon.

IN THIS PHOTO: Frankie Cosmos

Are there any new artists you recommend we check out?

Frankie Cosmos is an act who I've just started listening to - and I love her raw acoustic vibes. My favourite song of hers is Outside with the Cuties.

My backing singer and oldest friend, Sylvie Holder - who also goes to BRIT - is really talented, too.

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

+ by Ed Sheeran

It means a lot to me because of his influence on me at a very early age. His lyric-writing in this album, for me, is so personal and distinct that it doesn't seem cliché at all.

It's so hard for me to pick only one album by The Beatle but I would have to say Revolver

It is one of my favourites because it was at a period in their career where they still had a live gigging vibe - before it became very studio-based and experimental (which I love, too).

The last one would have to be Frank by Amy Winehouse

Because it is what made me fall in love with her - as well as Jazz.

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

I'd say to have confidence in themselves and just go for it because, for years, I was embarrassed to share my music with people.

But, once I grew in confidence and began doing gigs, I realised how important this was...

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

I Left My Heart in San Francisco by Tony Bennett

Because it's my favourite Jazz standard.

Thanks!

________

Follow Bella Barton

Official:

https://www.bellabartonmusic.com/

Twitter:

https://twitter.com/BellaBarton_

Facebook:

https://www.facebook.com/bellabartonmusic

Instagram:

https://www.instagram.com/bellabartonmusic/

INTERVIEW: Anna Tosh

INTERVIEW: 

Anna Tosh

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ANYONE who has a love and passion for Talking Heads is…

alright by me but, with Anna Tosh, there is so much more. I talk to her about her single, Weightless, and what, in her words, it means. She talks about her sound and putting music together; what we can expect from her E.P., One Big Fire, and what will lead from that.

Tosh discusses her influences and how much came to her life; the importance of London and picking up the guitar as a teen. I understand about Anna Tosh’s gig schedule and the relevance of love when it comes to song-inspiration – and whether bands like Talking Heads are pivotal in her success and sound.

________

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

Hey!

My week has gone swimmingly. We have been in the studio mixing tracks for my E.P., One Big Fire.

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

I’m a singer/guitarist and songwriter from London. I have recently gone solo and am putting the finishing touches on the E.P. - which will be released in October.

I am intrigued by your new single, Weightless. Can you tell me how the song came together and what it concerns?

The song was written by me and a long-term collaborator, Herman Stephens. We started it in the final days of a previous band we had together several years ago (Shotgun Venus). It languished half-finished on a hard drive until last year - when we started working together again on this project.

It’s about a recurrent dream I had, of walking across a beach and into the sea, drifting underwater and ending up in the Land of the Dead.

It is the first single from the E.P., One Big Fire. What can reveal about the title’s significance and the sort of sounds/themes addressed?

One Big Fire is about relationships and the journeys we go through with other people: trying to discover who we are ourselves.

Based in London, you must take a lot from the people and surroundings. How influential is the city as a source of inspiration?

The funny thing is that, even though I am born and bred in London - and spend 90% of my time here - I have to get out of town to connect with what it inspires in me.

I usually need to leave the city to get enough perspective to write about what I have experienced here. It’s too intense otherwise.

IMAGE CREDIT: Paul Rowson

I start most of my songs holed up in the countryside somewhere, trying to decompress from London. I constantly encounter the most diverse range of people I could ever hope to meet… I am lucky to live here.

As a teen, you learnt your guitar skills to a number of bands/musicians. Was it a valuable experience and when did you decide you needed to go solo?

I have had so many priceless experiences and I still play with (and collaborate with) other people on their projects. I love it and am constantly learning - But, last year, I knew that it was time to stick my neck out.

There’s less risk involved when you are sharing responsibility for a project. It can be easier but life is not about always taking the safe option.

Plus..I got sick of compromising!

How important were relationships – fractured and fraught – to you stepping out and getting your voice out there?

Integral.

Every relationship is a mirror to myself: a constant education and source of inspiration.

Can you tell me about your musical roots? It seems like you are compelled by a range of genres. What kind of artists and sounds did you grow up listening to?

As a kid and teenager, I was listening to a combination of ’60s Pop music, Heavy Metal and ’90s Indie. I had a cool older brother who influenced my musical tastes pretty hard.

I was most interested in Nick Cave, Sonic Youth; The Jesus and Mary Chain, Mike Patton; The Beatles, Ben Folds Five; Sheryl Crow, PJ Harvey; Guns N’ Roses, The Doors; The White Stripes…

I hear elements of Talking Heads in Weightless – with some Punk edge. Are they a band you are driven by and do you think they deserve more attention/exposure in the current age?

I got into Talking Heads about ten years ago: someone made me a mi-tape of them while I was sick. I think, in my feverish state, they wormed their way into my brain instantly.

They are the epitome of an ‘Art Band’ to me - more so than Sonic Youth, even. David Byrne has reasons why he does everything and never stays still.

I think they have the legendary status they deserve.

How far ahead are you planning? Will there be new songs later in the year?

I’m planning another E.P. next year and am about to go away for a couple of weeks to start writing it. New songs are coming all the time: I try to get at least one brand new one in the set every time we play.

Can we expect any tour dates to coincide? Where can we see you play?

One Big Fire will be released in early October and we’re having a launch party at Servant Jazz Quarters (in Dalston) to celebrate (10th Oct).

As for a tour… I’m up for it if you are!

PHOTO CREDIT: Youyang Yu

How do you spend your time away from music? Do you have time to explore the city?

Music is never far away.

There’s not a time where I clock off from thinking, planning; getting inspired… but if it’s doing my head in and I need a break, I’ll flight-mode my phone and try to get lost on Hampstead Heath - near where I live in North London.

Are there any new artists you recommend we check out?

VITO CAMARO, Black Hay and Wildhood.

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

David Bowie - The Rise and Fall of Ziggy Stardust

The (most) perfect story ever told in Rock ‘n’ Roll.

PJ Harvey - Let England Shake

Sad, beautiful; intelligent, ambitious; melodic–as-hell: I hear something new every time I listen.

Iggy & the Stooges - Raw Power

If I ever need to be reminded why I chose a life in music; I listen to this.

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

Do it only if you know you can do nothing else...

Don’t be afraid of what you thought was amazing when you were seventeen. The Internet is the greatest tool invented in the last century but it will never replace real-life experience.

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).

Cool!

Let’s stick with the Talking Heads theme: This Must Be the Place (I don’t mind if it’s the live version or the studio version).

________

Follow Anna Tosh

 Twitter:

https://twitter.com/annatoshmusic

Facebook:

https://www.facebook.com/annatoshmusic/

SoundCloud:

https://soundcloud.com/annatoshmusic

FEATURE: The Open Diary of a Music Journalist, Aged Thirty-Four-and-a-Sixth

FEATURE: 

PHOTO CREDIT: Sam Liddicott

The Open Diary of a Music Journalist, Aged Thirty-Four-and-a-Sixth

________

THIS piece is a way of updating people on my…

PHOTO CREDIT: Sam Liddicott

approaching articles (or procrastinations) and a little bit of guidance to any fellow/upcoming journalists. In the approaching weeks, I will be putting out a fair few pieces and reviews. I shall update you regarding reviews and interviews when they come back to me – suffice to say; they cover various genres and nations. It is the features that are, perhaps, the most intriguing. At the weekend, I want to come back to the Mercury Prize – having just put a piece out about the shortlisted artists – and whether it has the cachet and true spirit to represent the best of new and established British music. Many are divided over the nominated artists this year and wonder whether the emerging artists included are being overshadowed by the ho-hum ‘more-established’ acts – if you are including bigger acts; the quality needs to be up there and firm. It seems there is a polemic argument and desire to, in a sense, redefine and rebuild the foundations on which the Mercury Prize was built. Also, and perhaps, more controversially – if that is at all possible – I will talk about Eminem’s career-defining (in my view), The Marshall Mathers LP. As Eminem has a prestigious spot at Reading and Leeds very soon: I wanted to evaluate this album and whether, in a way, it is a record that needs to be replicated – given the energy, genius lyrics and huge command. It has controversy: homophobia, misogyny and domestic violence; a terrifying thrill-ride of guys, blood and spit; a chasm of dark and shafts of light – wit, jokes and impressions all throw in. Merely backing and providing laudatory support to such a record will provoke criticism and disapproval – that, in a way, is what Eminem wanted to happen. The album has grown into a teenager and, given the seventeen years since its creation; I argue whether any modern act has reached it dizzying and dangerous heights.

PHOTO CREDIT: Sam Liddicott

Alongside the intense and deeper pieces will be some light and less provocative. It has been a hectic and whirlwind past few months for me. The last weeks, especially, have been really dizzying and rushing. I have put up more articles in this time period than any other time – the productivity rate is huge and the fingers are getting sore! Long-term, I want to develop my Jeff Buckley documentary and start getting that kicked-off. I will launch a Kickstarter campaign and ensure people are recruited – get production staff hired and begin planning. From there, I want to spend time developing my long-planned music website and making that a reality. It will a huge undertaking but one, when done, that draws decades of sensational music to one site; all the software, streaming services and social media a music-lover/musician could want and endless options and avenues. I am pumped imagining it so will ensure there is something more tangible on the plate before too long. Alongside this, time-willing, getting my interview series going, too. It is a filmed series, Acoustic Vinyl, that puts me into a space (I hope to book the Nightjar bar in London) with various artists, music people – D.J.s/producers/writers and creative talent – and launch a relaxed, unique series that digs deeper but has a lot of fun and relaxed vibes in it. These all seem like lofty and expensive realisations and, in a lot of ways, they are. It will take a fair bit of revenue ensuring these visions are made physical: I am prepared to work for it and, where needed, crowd-source and hope the people will assist. I want to write a lot and keep those features, interviews and reviews flowing…

PHOTO CREDIT: Unsplash

The ambition, going forward, it to ensure this work ethic and commitment leads to something. I want to – he says; with his head in the clouds – work as a producer/music news journalist for BBC Radio 6 Music, one day. I think that is the ideal for any self-respecting music-lover. To work for an esteemed and reputable station: one that delivers the hottest new artists and best-quality older sounds has a lure and attraction that one cannot resist. I’d love to balance that with my blog duties – expanding the site and having more filmed/elements; getting a YouTube channel together and looking more into the business side of things. Going back to BBC Radio 6 Music and who wouldn’t want a weekly show there – like Jarvis Cocker’s Sunday Service, perhaps?! This, yeah, is pretty far-off but I feel I am more qualified than I was a couple of years back – maybe a few months ago, in fact! Essentially, London is the first place I want to move to – that need to get to the city and its wonderful, finer humans, is more nagging and desperate than ever! Manchester is attractive and, if I could commute and work in both cities, that would be bliss. Many might scoff and say it is all pie-in-the-sky-thinking and someone with their head somewhere less fragrant and open-aired as the clouds. I have been writing on my blog for almost six years so this has not come overnight! I would urge anyone with an interest in music to start a blog and get something started. Music is one of those industries whose growth will never slow. Unlike ‘normal’ sectors; the employment rate, as it was, will rise without abatement and discipline. More and more folk are coming into music: all of them will need a review and feature at some point!

PHOTO CREDIT: Bigstock

Music journalism is not lucrative and it might take a long time before you can monetise your work. I will touch on this over the weekend – I am writing a piece about money in music and whether survival is guaranteed for musicians/writers – but would always encourage wannabe writers to get a blog started. If you are an aspiring writer; get a blog on WordPress or wherever and start contacting bands/artists you like. It might only be as simple as conducting a small interview – I send questions and type my interviews; which makes it easier and more flexible for me – and that is a good start. You share that on social media and people see it. The musicians’ followers and contemporaries find your work and will, if you are lucky, contact you. I cannot tell you the buzz I get from seeing my inbox full of interview/review requests. Sure, it is a lot of work – and my hands are pretty sore most of the time (joking aside: it is not that bad) – but the rewards outweigh any aches. Bit-by-bit, the reputation builds and you get bigger names coming your way. It may be a while before I ascend the stairs to a desk at BBC Radio 6 Music but I feel, the more work I put out, the more likely something like that will crystallise and focus. You have to start small but that is where I came from: I am not ‘big’ yet but feel I am growing and becoming more confident with every month that passes. I may not get the same rush a musician gets when they are on the stage: conversely; I do not get the same stress when it comes to finding money and sustainability. Journalism is a vital part of music. Without it, musicians could not exist and get their music shared; they would struggle to promote themselves. Making that connection – and building those relationships – is a wonderful thing and can lead to some wonderful opportunities. It has enriched my life and I am sure, anyone who wants to go down the same path, come my way and I can advise. Making a small step is important and, the sooner you do that, the sooner…

PHOTO CREDIT: Unsplash

A wonderful career will begin.

INTERVIEW: Fond of Rudy

INTERVIEW: 

 PHOTO CREDIT: GG Photography 

Fond of Rudy

________

DIVIDING their professional existence between…

Brighton and London; the exciting, fertile and stunning quartet, Fond of Rudy have provided us with their latest single, LOVE. Fond of the upper-case-pride (OMG! was their last) – they must know I am not a big fan of it! – the boys make up for it with an interview in which they discuss London and Brighton; what the story behind their new song it – and their band name – and how it evolves from OMG!

I was eager to discover how they unwind and more about their music; the elements that go into their vibrant, summer sounds and how Matt – who provides the answers, for the most part – creates a slow-jam-style smoothness with the vocals.

The band are primed for future success: a pleasure chatting with the guys - and learning more about their songs.

________

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

We are well!

This week has been hectic. Just got back from a micro-tour of the North…great fun, however, energy levels are sapped now!

Ha.

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

We are Fond of Rudy: a Brighton/London-based Indie-Alt-Pop four-piece band.

Can you tell me – apologies if you have been asked, endlessly – where the band name, ‘Fond of Rudy’, comes from?

Haha…only a couple!

Our music, essentially, tries to encapsulate the feelings of being in and out of love; and the pursuit of it. ‘Fond of’ generally means really liking and being drawn to something - but the ‘Rudy’ part; you can consider as a blank space… you fill it in.

What is the story behind the new single, LOVE?

The track represents our take on a modern slow-jam. It's packed full of lust and emotion; tuning into that persona of missing opportunities out of fear.

It follows from OMG! and seems like, with every release, you are becoming more confident. Did you notice any differences, in terms of writing and recording, between the two songs?

Every track is carefully crafted and planned: a lot of time is spent in pre-production; making sure every element is perfect before we think about releasing it.

We just want to keep grinding out track-after-track!

Is LOVE going to feature on an E.P. at some point? Anything in the pipeline?

LOVE belongs to an E.P. titled, TWO.

Watch this space in the future - we are always putting out little clues.

Can you tell me how you all got together and how those early days were?

The band, itself, has been going for a couple of years: developing and experimenting with various styles and members. It was only last year that all the groundwork laid down - previously equated to make this formation.

Brighton is your base. How important is the city and its mix of people to your music and creativity? What is the music scene like there at the moment?

We feel like we have two home: one in Brighton and the other in London. There are some great bands in both cities.

With Brighton you can see more bands coming to fruition recently - long may it continue!

PHOTO CREDIT: MJB

You have drawn comparisons to the likes of The 1975 and Blood Orange. Are these bands you admire or do you think it is more important proving yourself on your own terms?

Both The 1975 and Blood Orange are incredible artists; we love their music. Equally as important we want to be our own entity and get audiences to long for our creations.

In describing your music, you have described it is as a sort-of South East version of Calypso-Pop. What kind of artists and sounds were you all raised on?

Being in any band, you are all bound to bring different influences and sounds to the table. On our road trips, we’ve created a playlist roulette-type game: we take turns in selecting a song throughout the journey.

The artists played range from Pop to R&B to ’80s’ Classic-Rock etc.…so many weird and wonderful sounds (too many to name!)

Fond of Rudy have a string of live dates in the next month. Which dates are you most looking forward to?

We are playing at Carfest North this coming Sunday (in Chester) and have been selected as the stage highlight for the day - so that should be pretty epic!

Also, we (always) love playing to an intimate audience in London, too.

What do you guys like to do away from music? Do you get much chance to distance yourselves from the music life?

We all work the day-shift, keep fit in the gym; running or playing sports so we are constantly busy. However, music is always on our minds when we are distanced from it.

It’s a hard to get too far away for a long period of time as we all love doing it.

Are there any new artists you recommend we check out?

Good question…hmm.

We’ve all been digging a bit of LANY recently - those guys are creating tunes.

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

Another good question - which, I’m sure, we would have different answers to!

For me, personally, (Matt) it would be Fleetwood Mac – Rumours

Why? Because it’s THE GOAT.

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

I’ll pass on the advice that I have received many times: keep, keep (keep) writing.

The more songs you make, the better the quality will become - practice makes perfect, as they say!

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

Not one of our own songs…?! Damn. We would have obviously picked our new single, LOVE. Ha!

Alright…we’ll all go for Spice Girls - Too Much

No explanation needed!

________

Follow Fond of Rudy

PHOTO CREDIT: GG Photography

Official:

http://www.fondofrudy.com/

Twitter:

https://twitter.com/fondofrudy

Facebook:

https://www.facebook.com/Fondofrudy/

YouTube:

https://www.youtube.com/thezapshow

Instagram:

https://www.instagram.com/fondofrudy/

SoundCloud:

https://soundcloud.com/fondofrudy

YouTube:

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

FEATURE: The Hyundai Mercury Prize 2017: The Shortlist

FEATURE:

 

The Hyundai Mercury Prize 2017: 

IN THIS PHOTO: Kate Tempest 

 The Shortlist

________

THIS morning, the shortlist for this year’s Mercury Prize was…

IN THIS PHOTO: The Big Moon

announced on BBC Radio 6 Music – I will drop the ‘Hyundai’ part as the idea of sponsoring music awards makes me want to barf blood. It is an incredible list and one that, as one would expect, is eclectic and unexpected. I include all the albums that have been shortlisted; the odds they have been given and will end with my favourite from the rundown – the one I feel will scoop the prize on the night.

IN THIS PHOTO: Stormzy

The twelve 2017 Hyundai Mercury Prize judges are: Phil Alexander - Editor-in-Chief, Mojo and Q; Clara Amfo - Broadcaster; Jamie Cullum - Musician and Broadcaster; Ella Eyre - Musician and Songwriter; Harriet Gibsone - Music News Editor, The Guardian/TheGuardian.com; Lianne La Havas - Musician and Songwriter; Will Hodgkinson - Chief Rock & Pop Critic The Times; MistaJam - DJ & Broadcaster; Marcus Mumford - Musician and Songwriter; Jeff Smith - Head of Music, 6 Music and Radio 2; Jessie Ware - Musician and Songwriter; and Mike Walsh - Head of Music, Radio X. The Chair of the judging panel is the music executive, Tony Wadsworth CBE.

The Awards Show will be held at the Eventim Apollo, Hammersmith on Thursday, 14th September, 2017.

_________

alt-J – RELAXER

What the Critics Said:

The Daily Telegraph:

"The inscrutability of lyricists is nothing new in rock culture, though it can be especially frustrating when songs offer tantalising glimpses of meaning obscured by references so abstract they could only resonate with the author. It is this aspect of wilful obscurity that still makes Alt J an intriguing band rather than an essential one. Relaxer dazzles and delights the ears yet still feels like the work of a band who might have something to say, if they weren’t too precious to actually come out and say it".

Current Odds (Ladbrokes): 8/1

Blossoms – Blossoms

What the Critics Said:

CLASH:

"Blossoms have a sound that brings garage rock and pop together, and their debut is worth filing alongside Temples, The 1975 and Catfish and the Bottlemen.

Not every track on the record would make as strong a single as ‘Charlemagne’ but with an album that flows so well, its nice to have moments that break up the lively nature of the album. Blossoms have produced an album of perfectly structured songs accompanied by strong lyrics that tell many tales to the large cult they seem to have already acquired".

Current Odds: 16/1

Dinosaur – Together, As One

What the Critics Said:

Evening Standard:

"This debut band album features her longstanding quartet, a supergroup of sorts featuring keyboardist Elliot Galvin, bassist Conor Chaplin and Corrie Dick, a revelation on driving, West African-flavoured kit drums.

Ideas and moods jostle through eight originals including the ambient Awakening, the multiple keyboarddriven Steadily Sinking and Extinct, a simmering nine-minute excursion that finds Jurd revelling in her knack for improvisation, deft use of space and elegant, melodic lines".

Current Odds: 22/1

Ed Sheeran - % (Divide)

What the Critics Said:

NME:

"There’s nothing here with the incongruous sex appeal of ‘Sing’, everyman Ed’s saucy 2014 collaboration with Pharrell Williams, and the rap verses on ‘Eraser’ indicate Suffolk’s finest has less than wicked flow. But his latest album is as likeable as he seems in interviews: assured but unassuming and sometimes hard to fathom. There’s probably a mathematical formula to Ed Sheeran’s success, but he’s the only one who can crunch the numbers".

Current Odds: 14/1

Glass Animals – How to Be a Human Being

What the Critics Said:

The 405:

"The painstaking planning of this album reminds me of the work process of Guillermo Del Toro, who illustrates storyboards, characters, and scenes before any pre-production. Through this consideration, he creates worlds within cinema much in a way Zaba became a musical universe. There's a reason there is no sequel to Pan's Labyrinth much in the way How to Be a Human Being is not an extension of its predecessor more so an original entity altogether. Although elements remain, the core of humanity and character drive this collection to an equally intriguing effect and leaves a far more immediate impression".

Current Odds: 12/1

J Hus – Common Sense

What the Critics Said:

The Guardian:

"While Common Sense finds the Stratford singer/rapper going indulgently long at 17 tracks, the quality is undoubtedly consistent – be it the richly produced Bouf Daddy, the dancehall-inflected, hazy Fisherman or the sun-drenched Good Time, featuring Burna Boy. J Hus imbues an admirable introspection to his bangers, as likely to bring in his Ghanaian heritage or consider his past illicit behaviours as he is to spit wry bars on smoking and partying. This is 2017’s zeitgeist Notting Hill carnival soundtrack".

Current Odds: 9/1

Kate Tempest – Let Them Eat Chaos

What the Critics Said:

The Guardian:

"Her musical restlessness underpins that message, constantly changing tempo and tone, with the feeling that one could be plunged from a lullaby to a piece of savagely fast-paced satire; a clever reference to Bob Dylan’s A Hard Rain’s a-Gonna Fall, a brilliantly downbeat sampling of Sister Sledge’s Thinking of You. But perhaps Tempest’s greatest achievement is not to fall prey to the pressure for unnecessary revolution; her work sits more comfortably in the tradition of perfecting the groove, not changing it. That perfection might be illusion, but its pursuit can produce wonderful work, as it has right here.".

Current Odds: 6/1

Loyle Carner – Yesterday’s Gone

What the Critics Said:

DIY:

"‘Yesterday’s Gone’ might be a humble record, but Loyle Carner doesn’t hold back on quick-smart wit either. “They ask why every fucking song the fucking same,” Loyle quips in ‘Ain’t Nothing Changed’ before turning his focus towards a cutting analysis of stagnation and loneliness. In truth, Loyle’s endlessly inventive…The universe of ‘Yesterday’s Gone’ might be a small one, but Loyle Carner’s scope is far from a tight-knit bunch of arbitrary themes. Letting endless threads unravel, in vivid detail, this album might creep up on you at first, but make no mistake, its creativity and poetry will floor you".

Current Odds: 8/1

Stormzy – Gang Signs & Prayer

What the Critics Said:

The Independent:

"‘Overall, Gang Signs & Prayer is a daring debut. Stormzy could have played it safe with this album, but rather challenged himself with gospel. A key factor about this album is the complexities to Stormzy’s character—displaying a multi-dimensional black British man who goes against a simplified image that’s usually portrayed. Balance makes this album beautiful, as Stormzy worships on "Blinded by Your Grace Pt 1 & 2," falls in love on "Velvet" and raps his socks off on "Cold." Gang Signs & Prayer is a multi-faceted masterpiece and a testament to Stormzy’s talent that warrants his phenomenal rise to the top".

Current Odds: 7/2 (Favourite)

The Big Moon - Love in the 4th Dimension

 What the Critics Said:

The Guardian:

"As if recorded on a grotty Camden bar crawl, the quartet’s debut crashes and careens, as romantic as it is ramshackle, with Pixies-style quiet/loud contrasts a staple structure of their songs. Hopeless love story Cupid is a cross between early Libertines and Freakin’ Out-era Graham Coxon, its lyrics berating the sugary-drink-fuelled braggadocio of a misguided lothario (“He said, ‘I’m gonna make the Earth shake tonight’ / Pineapple juice, tropical Rubicon courage!”). There’s a rudimental rock’n’roll quality to its composition, and the soporific vocal style of Juliette Jackson – which recalls Sleeper’s Louise Wener at times – weaves a wry, stoic narrative throughout the chaos. Nostalgia for noughties and Britpop guitar hits echoes throughout – but played by a gang of twentysomethings, its wide-eyed conviction amplifies the emotional carnage".

Current Odds: 18/1 

The xx – I See You

What the Critics Said:

NME:

"A blast of synthetic horns gives way to a Burial-esque beat and Oli Sim and Romy harmonising on a shuffling chorus straight from a ’90s garage rave, “You are dangerous but I don’t care/I’m going to pretend that I’m not scared.” The vibrancy continues. ‘Say Something’ is lush and glowing. ‘A Violet Noise’ is Oli singing over a Euro-house backbone and the Hall & Oates sampling lead single ‘Hold On’, come summer, will sound huge in the festival fields…They find a balance with the old xx though. Fragility and self-doubt are still themes. Indeed, the highlight is Romy’s pensive, vulnerable ballad ‘Performance’. “I’ll put on a performance/I’ll put on a brave face,” she confesses, accompanied by a single, guitar and scurrying violins. ‘I See You’ is not simply an album then, but a moment of realisation. The moment where The xx stop glancing shyly at their reflection and confront themselves in the mirror. What they discover is infectious".

Current Odds: 7/1 

MY PERSONAL CHOICE:

Sampha – Process

What the Critics Said:

The Guardian:

"There is no such thing as a shoo-in for the Mercury prize, an award whose breadth of reference is admirably erratic. But you can’t help but feel that the debut album by Sampha Sisay, Process, might be the record to beat this year. Distinctly British, sonically restless and emotionally action-packed, Process starts with a bleep and a squawk, and ends with Sampha beating himself up for not visiting his brother. “It’s not all about me,” he mutters mournfully on What Shouldn’t I Be?. He beats himself up fairly regularly. On Timmy’s Prayer it’s a lost love. “I’m on the floor trying to dress my wounds/ Address the fact it was mine to lose…”…Elsewhere, Sampha mourns his mother, who died in 2015 after enduring cancer.(No One Knows Me) Like the Piano is the album’s big ballad, depicting the introverted, youngest child of five who became himself through the instrument. If Sampha’s process sounds like one big downer, it isn’t. Every listen throws up some new, previously unnoticed innovation.".

Current Odds: 4/1 

 IN THIS PHOTO: Laura Marling

I am glad the list includes my favourites – Loyle Carner, Kate Tempest and Sampha – but there are, as many have alluded to, some notable omissions. I was certain, not only would Laura Marling be on the list – there was a good chance she would win it. I am shocked Semper Femina is not there as it is a wonderful Folk record that has no real comparisons on the Mercury list – albums that have a similar flavour. It is a gap that needed to be represented and, in sheer terms of quality, Marling’s latest record was worthy of a spot. Jane Weaver, similarly, is someone everyone felt would make the cut – one of our finest songwriters and most solid talents. IDLES, perhaps, one of the very few genuine and promising new bands of the moment did not see their L.P., Brutalism, represented – many feel this is an attempt to ignore the underground and new acts. I am glad there are bands in the nominations – alt-J and Blossoms – but, in my mind, neither produced an album that gained widespread acclaim – neither solid or memorable enough to warrant a prestigious. My feelings towards Ed Sheeran’s music are well known – the fact his album, %/Divide, made the list has shocked many. It seems the voting panel was trying to reflect a more mainstream and Pop-inclusive tone this year. Dinosaur and The Big Moon are this year’s typical outsider/quirky choices: I feel the latter has a good chance of winning the thing; maybe the former, for that matter...

IN THIS PHOTO: IDLES

In a year when political and social anger has fuelled Mercury nominations – Kate Tempest, Stormzy and Loyle Carner – one would feel there’d be space for the critical hit of English Tapas - from the ever-reliable Sleaford Mods. Their album resonated and connected with critics but perhaps a line needed to be drawn. Marika Hackman is another name that could have made the grade – sad she was not mentioned. I suppose we have some genuine stars and achievers on the list; albums that have helped define British music. I want Sampha to win but feel Kate Tempest and Loyle Carner are both worthy winners. Encouraging to see previous include-es like Tempest and alt-J on the rundown; the newcomers like Loyle Carner and Stormzy being given a boost. Maybe the ignored will draw bigger reactions than those who have actually made the shortlist. If an outside-bet like Ed Sheeran or Blossoms wins the awards: maybe a bookies’ favourite like Sampha will come through – you can never tell with the Mercury Prize. It is going to be fascinating to see who walks away with the gong on 14th September. One thing we do know is that, with the Mercury Prize, one can never guess…

WHAT will happen on the night.

FEATURE: 1987

FEATURE:

IN THIS PHOTO: Pixies (1987) 

1987

________

ONE might ask why the year 1987 should…

IN THIS PHOTO: Aretha Franklin

happen into my consciousness. Well...for one thing; it is thirty years in the past so, in a rather arbitrary way, deserves a commendation – on account of the fact it has reached its thirtieth anniversary. More than that, I want to celebrate the best albums of a decade that, to many, was rather insignificant and cheesy...

In this year, Aretha Franklin became the first women to be inducted into the Rock and Roll Hall of Fame; Bon Jovi’s Livin’ on a Prayer storms the world and Beastie Boys get themselves censored! Throw in the fact The Beatles’ first five albums were released onto C.D.; Fugazi played their first live show and Cher returned to music (following a five-year gap) and it was pretty damned eventful!

More than that; there were some sensational albums that have inspired and endured this far down the lines. I will be featuring the Mercury Prize-nominated acts/albums tomorrow and, one feels, were the Prize around in 1987 – the panel would have a bloody hard choice choosing a shortlist from this rundown (if they included international albums - before you get all smart-arse!)...

________

Michael Jackson – Bad

Release date: 31st August

Genres: Pop; Rock; Funk; Dance

Standout track: Leave Me Alone

Prince – Sign o’ the Times

Release date: 30th March

Genres: R&B; Rock; Funk; Psychedelia; Soul

Standout track: If I Was Your Girlfriend

The Smiths – Strangeways, Here We Come

Release date: 28th September

Genres: Alternative-Rock; Indie-Pop

Standout track: Last Night I Dreamt That Somebody Loved Me

Whitney – Whitney

Release date: 2nd June

Genres: Pop; Dance; R&B

Standout track: So Emotional

U2 – The Joshua Tree

Release date: 9th March

Genre: Rock

Standout track: Where the Streets Have No Name

Guns N’ Roses – Appetite for Destruction

Release date: 21st July

Genres: Hard-Rock; Heavy-Metal

Standout track: Sweet Child o’ Mine

George Michael – Faith

Release date: 30th October

Genres: Pop; Funk; R&B; Soul

Standout track: Faith

Dinosaur Jr. – You’re Living All Over Me

Release date: 14th December  

Genres: Alternative-Rock; Noise-Rock

Standout track: Kracked

Midnight Oil – Diesel and Dust

Release date: August  

Genre: Alternative-Rock

Standout track: Beds Are Burning

Public Enemy – Yo! Bum Rush the Show

Release date: 10th February

Genres: East Coast Hip-Hop; Hip-Hop

Standout track: Public Enemy No. 1

R.E.M. – Document

Release date: 1st September  

Genre: Alternative-Rock

Standout track: The One I Love

10,000 Maniacs – In My Tribe

Release date: 27th July  

Genres: Alternative-Rock; Folk-Rock

Standout track: What’s the Matter Here?

Pixies – Come On Pilgrim

Release date: 28th September   

Genre: Alternative-Rock

Standout track: Caribou

The Housemartins – The People Who Grinned Themselves to Death

Release date: September   

Genre: Indie-Rock

Standout track: Five Get Over Excited

The Wedding Present – George Best

Release date: 12th October

Genre: Jangle-Pop

Standout track: A Million Miles

Beastie Boys – Licensed to Ill

Release date: 15th November

Genres: Rap-Rock; Hip-Hop

Standout track: (You Gotta) Fight for Your Right (to Party!)

Sonic Youth – Sister

Release date: June

Genres: Noise-Pop; Art-Rock

Standout track: Stereo Sanctity

INTERVIEW: Zap

INTERVIEW:

PHOTO CREDIT: Davey Woodhouse    

Zap

________

THERE are few people who distills the essence of Zap better…

PHOTO CREDIT: Joris Felix

than the trio themselves. They are, in their own words, defined by this riddle/answer:

“What do you get when you throw a washboard, mini megaphone, ukulele, rubber chicken, some tap shoes, a trumpet, 2 kangaroos and some tzatziki into a blender? Zap grew in the artistic playground of Berlin, blossoming from a craigslist add for swing music lovers, some special feelings and generally nice times. Drawing inspiration from Bob Fosse, Louis Prima, skiffle music and ancient laundry practices, Zap creates much more than just tunes that get your feet and vocal chords loose... It's gonna be a wild physical show to lighten your load and bubble your bath!”.

I talk to the guys about their music and how they came together – sourcing members from Greece and Australia – and how Berlin, their adopted home, is suiting them. They talk about musical plans and artists they recommend; what their music consists and ‘personality quirks’ of each member.

________

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

Great!

We had Will’s 30th birthday - and Gabrielle has been performing at ImPulsTanz festival in Vienna!

Petro’s walking around Berlin and taking energy!

PHOTO CREDIT: Joris Felix

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

We are Zap.

A three-(and often, also, four)-piece Swing/Taps/Honks group living in Berlin - but originating from Australia and Greece.

We are a theatrical show brimming with smiles and finger workouts!

PHOTO CREDIT: @beboptaranto

You are based in Berlin - but you have two Australians and one Greek in the trio. How did you all come together and why choose Berlin for your base?

Gabrielle moved to Berlin to study physical Theatre; Will chased her, here, penniless after six months - and created an advertisement on craigslist looking for "fellow Swing-heads".

Petros was first to reply, and after about three weeks, we could communicate without the use of Google Translate - and strongly through music. We took it to the streets and markets around Berlin and ended up touring and playing festivals throughout Europe, Asia and Australia for the last three years!

What is the vibe like in the German capital? I can imagine it has a very different scene to Australian cities like Melbourne and Sydney?!

It has been an incredible change from the tight laws and money/time-driven cities of Australia. We have really enjoyed the everyday freedom immensely and met a lot of kindred souls from all parts of the world - searching for the open, liberated and relaxed vibes of Berlin.

Gabrielle. I guess, most of us in the U.K., know you from the Trivago adverts. Does that sort of recognition humble you or can it get quite repetitive? How do they react when you explain you’re a musician?

We mostly perform in countries where my Trivago ads are not aired, so, for now, I am remaining inconspicuous.

What are Zap working on the moment? Any fulsome, multi-coloured stompers currently gestating?! Maybe an E.P. down the line?

We have an E.P. in the oven.

We are going to lay it out in September and put a bit more love and time into than the last two. We’re excited!

We are always making fun clips of our new music and travels.

We have upcoming tours to Italy, the U.K.; Thailand and Australia.

I know you share a love of Bob Fosse and artists of that ilk. In terms of other artists/bands, do you have similar taste or are you forever trying to ‘convert’ members to the acts you like?

Petros and I both have a background and love for Latin music; Gabrielle and Petros love cheesy old Jazz numbers.

The weather is pretty shocking in the U.K. Any chance you guys are coming over here at some point to give us sunshine and a serotonin boost?!

I love it that you slipped in the ultimate British line!

We are heading over for a wedding in September - but haven’t planned a tour there yet. Perhaps, if we get into Glastonbury next year, we will come with a couple of sets of gumboots.

Everbreaking Heart was released last year. What was the reaction like to the E.P./mini-album and tell me a bit about the clip you shared on social media – of Zap in the Philippines?

We released the E.P. for something fresh to sell on our two-month East Coast of Australia tour. We haven’t had any hate-mail - and a lot of people let us know they play it a lot.

Our Unbuccen Lucky clip went off like a frog in a sock. We were lucky enough to have such beautiful and generous friends on the Island of Boracay – so, making it was fun and simple!

It has had the furthest reach thanks to a lot of Pilipino crew sharing it around!

Each trio/band has members with various ‘quirks’ and personality traits. Is there a messy member or the one who falls asleep and snores loudly? Any dirt to dish?!

Will can sometimes have a bit tad too much to drink and gets silly and in his own world on stage. It’s hard for the rest of us to keep up!

Gabrielle can sometimes get a bit grumpy on stage.

Petros snores like an elephant with pneumonia.

Are there any new artists you recommend we check out?

For sure!

Kane Muir

Facebook.com/kanemuirmusic

J.Lamotta すずめ

Facebook.com/jlamottasuzume/

IN THIS PHOTO: J.Lamotta すずめ/PHOTO CREDIT: Helen Mari Mare.

Yvy Maraey

Facebook.com/Yvy-Maraey-1683528038557488/

Harvey

Facebook.com/musicharvey

IN THIS PHOTO: Harvey/PHOTO CREDIT: Lucy Alcorn

The Milkshakes

Facebook.com/themilkshakesmusic

Los Monos Flamenco

Facebook.com/losmonosflame nco

IN THIS PHOTO: Hektisch Kunst

Hektisch Kunst

Facebook.com/hektischkunst

James Chatburn

Facebook.com/jameschatburn

IN THIS PHOTO: James Chatburn/PHOTO CREDIT: Aleksandar Jason Photography

Noah Slee

Facebook.com/noahsleemusic

Malibeau

Facebook.com/malibeauband

The Lips

Facebook.com/thelipsblues

PHOTO CREDIT: @joris.felix

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

Will: Probably Fat Freddy’s Drop - Based on a True Story.

It encapsulates a whole lot of love: life sketches and beautiful relaxed moments that remind me of the last ten years

Gab: Sergei Prokofiev - Peter and the Wolf

This L.P. accompanied my entire childhood.

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

Busk; sell C.D.s; figure out your tricks that set you apart. Write music and create stuff as much as you can - and co-create with as many new art heads as possible.

Dream big and stay true to your heart.

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

Fat Freddy’s Drop – Seconds

________

Follow Zap

Official:

http://www.thezapshow.com/

Facebook:

https://www.facebook.com/thezapshow/

YouTube:

https://www.youtube.com/thezapshow

Instagram:

https://www.instagram.com/thezapshow/

INTERVIEW: Ben Pryer

INTERVIEW: 

PHOTO CREDIT: Jas Poole Photography    

Ben Pryer

________

IT only takes a glance of Ben Pryer to know he is not someone…

PHOTO CREDIT: Jas Poole Photography

who follows the crowd. The music industry has a fluidity and diversity that encourages variation and progression. Ben Pryer, in many ways, alludes to a golden age and style of music one does not encounter too much in 2017. Call it Rockabilly or Rock ‘n’ Roll: it is a fun, toe-provoking and captivating breath of air in an industry that suffers commercial blandness and overly-precise songs. I talk to the West Sussex-raised artist about the music of the 1950s and its influence on him.

He talks about his eponymous debut album and what we can expect from it; the relevance of artists like Elvis Presley and how, with thousands of fans behind him, it feels to be a unique and eye-catching artist – someone who not only captures the heart but plays music to get the body shaking!

________

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

Hi! I’m great!

My week has been so busy: but that’s a good sign, I think; seeing as I’m releasing my debut album!

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

Of course!

My name Is Ben Pryer. I’m a twenty-one-year-old Rock & Roll singer/songwriter from West Sussex, England - with a huge passion for all things music!

PHOTO CREDIT: Jas Poole Photography

Your eponymous album is out. What has the writing and recording experience been like? Have you learnt a lot from it?

Yes!

Well, the writing of the album was probably the longest part, as I really wanted to focus on creating something I knew I would be really proud of. I think the writing taught me quite a lot about myself; not only as a songwriter but also as a person. I found the purest form of expression and wielded it like a tool - to create an exact musical representation of my mind at that time.

As for the recording; that’s always fun. It’s, quite literally, the icing on the cake: the coming together of your vision.

One track that stands out to me is Heartbreak Town. Can you tell me the story behind that one?

For sure.

Heartbreak Town is, probably, the most personal song on the record. It’s how I perceive my love life, all in under four minutes - which is (also) how long most relationships seem for me. Haha.

But, it’s also how I thought a lot of other people might experience love and lust - which is where the metaphor of this literal ‘Town’ came in: a place where all the lost and lonely would be between relationships - almost like a stopover.

I really liked that idea of creating a real place for a state of mind.

How much of the music is taken from personal experience; how much is fictionalised would you say?

I think most of it is taken from personal experience, with Young J.C. being the exception - which is a fictional story I made up about what I believe it would have been like for a young man to go away to war in the 1940s.

I’ve always liked war stories so I wanted to express my interest for that, also.

Looking at you, as a twenty-one-year-old, you seem to be a man from another time. It is rare to see a Rock ‘n’ Roll/Rockabilly artist in this age. Is that the sort of music you spend your childhood listening to?

 Yes!

I understand it’s not the norm. for a twenty-one-year old to be playing this sort of music, but I think we all need a little change right now. I did spend a large amount of my childhood listening to early 1950s-to-late-'60s music.

Thanks to my grandad, who introduced me to many of the artists who inspire me today - and did back then. He used to play me old records of his and we’d sit there and be in total awe.

What is it about Rockabilly that speaks to you? To me, it lacks critical pressures and seems freeing and expressive. What do you get from it?

I love Rockabilly/Rock & Roll because it’s fun.

It makes you go a little bit crazy and want to get up and dance -that’s what’s always stood out to me. Nothing else really did that for me.

Elvis Presley died, more-or-less forty years ago, now. Is he someone you idolise and emulate, in a sense?

I think, most artists of the last forty years have all been inspired by Elvis, in some form - whether they know it or not! He changed music forever. There’s nothing more inspiring than that.

I’ve always idolised Presley: he was a true hero for many. In a way, Rock ‘n’ Roll has this reputation as being legendry – but best left in the past.

Are you trying to bring it back and give it a cool, contemporary edge?

I don’t think I’m consciously trying to bring anything back.

Don’t get me wrong; it’d be amazing if I were able to do that. I’m just playing my own songs in the style that I love - and hoping that people also like it as much as I do.

But, wouldn’t it be cool to see everyone dancing in polka-dot dresses and Teddy Boy suits? Haha.

What is your view on modern music and the charts? Is being a mainstream artist something you aspire to or do you think you’d have to compromise your sound too much?

I think there’s lots of great music out there: I listen to a lot of new bands, also. I’m a big fan of Mumford and Sons. I love what they’re doing.

What sort of gigs do you have coming up? Where can we see you come and play?

I’m headlining the Radweb stage at Victorious Festival in Southsea with my live band, which should be really fun. We love it over there.

We also have some exciting shows in the pipeline for my fans to get ready for!

PHOTO CREDIT: Jas Poole Photography  

How does your music go down in the live setting? What kind of response have you been getting?

I think people are really taking to it!

I think they find it quite refreshing and different. I mean, everyone’s different, but even the grumpiest of guys can’t help but tap his foot!

Are there any new artists you recommend we check out?

I heard this guy on the radio the other day, Louis Berry.

He seems like a really cool guy and his songs are wicked.

IN THIS PHOTO: Louis Berry

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

I’d have to start with The Sun Sessions from Jerry Lee Lewis

I think that compilation album is really what started me off on Rock & Roll – so, I owe a lot to it.

Secondly, Elvis’ Golden Records

It was another that really inspired me to play the guitar. I loved how diverse it was as an album.

PHOTO CREDIT: Jas Poole Photography

Lastly, John Mayer’s Born and Raised

I think it’s truly one of the most beautiful albums of the last ten years.

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

Never stop practising - and never give up!

If you truly believe you have something different, you should never let that go.

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

Could you play Don’t Be Cruel (by Elvis), please?

________

Follow Ben Pryer

PHOTO CREDIT: Jas Poole Photography  

Official:

https://www.benpryer.com/

Twitter:

https://twitter.com/BenDavidPryer

Facebook:

https://www.facebook.com/BenPryerMusicOfficial/

SoundCloud:

https://soundcloud.com/benjaminpryer

YouTube:

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

Instagram:

https://www.instagram.com/benjaminpryer/

INTERVIEW: Marina Avetisian

INTERVIEW: 

  Marina Avetisian

________

I have been finding out about U.K.-based singer-songwriter…

Marina Avetisian and her new single, Shivers. It is from her E.P., All Shades of Blue (out on Friday), and, to me, has shades of Joni and Norah Jones – a hard blend to articulate and easily cohabitate together. She explains how she arrived from Russia (where she is born) and the role of Jazz, Classic and Folk in her early life; what it was like working with Nathan Britton and Brando Walker at EC1 Studios – and the story behind her latest single.

I find out more about her London life and what she has planned; what music means to her; a new artist we recommend we check out – and where she is heading in the coming days.

________

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

Hi. It’s been really good, thanks.

Getting ready to travel to Greece; the E.P. is out on Friday - so all is just great.

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

I'm a singer and songwriter, born in Russia. I have lived in the U.K. for the past fifteen years. I have many different influences from different folk traditions and my diverse cultural backgrounds - which I take a lot of inspiration from.

My new E.P., All Shades of Blue, is coming out on the 28.07 and it's very exciting. I'm hoping it will tell you a bit more about me.  

Shivers is your new track. It lives up to its title and has romance, lust and purity at its heart. Was there a relationship/person that inspired the song? What would you say the song represents?

It started from just one line someone said to me and a very easy, light; free and beautiful feeling around it - and I think that is the mood of the song.

But, then, the song also evolved into something that has a deeper meaning for me. Shivers is a very romantic song but it is (also) a metaphor for other aspects of relationships - like relationships with life, soul; freedom, yourself and everything.

That is also the main theme for the E.P.

It has embers of modern Soul greats like Norah Jones. Were genres like Soul and Jazz prominent when you were growing up or do you take a lot from modern artists like Jones?

Thank you for such a reference.

I love Norah Jones. I went to see her in Somerset House a few weeks ago and it was stunning. She is definitely an inspiration. 

All Shades of Blue is the new E.P. What kind of memories, events and emotions influenced the songwriting? 

Songwriting is always different...

It can be some emotion, feeling or just a moment; sometimes, a very small moment or feeling that might seem insignificant and then it becomes a song. Sometimes, it's a whole song that just comes like it was always there - and I just had to catch it. Sometimes, it's several stories in one song.

But, it always comes from the heart-rhythm. 

All Shades of Blue has a lot of romance as it’s always inspiring - but it also reflects on many other things like sense of freedom; following dreams, letting things go; connections with ourselves and each other.

I like using metaphors in songs - so it's not always straightforward. 

Nathan Britton and Brando Walker feature. It was captured at EC1 Studios. What was it about those musicians, and that space, that really spoke to you?

I am really lucky to meet Nathan and Brando and work with them. They are just amazing!

I felt they really got me: my music and mood and this connection is precious. They helped me to create the natural, organic sound. They are absolutely incredible musicians - ‘sound ninjas’ - and wonderful people! We had a lot of fun recording All Shades of Blue.

Also, EC1 Studios is a great space; relaxed and focused, which is perfect for recording. It is really well-equipped and, of course, the most important thing is people who work there. They are all very professional and lovely.

There were two other musicians recording with us: Yelfris Valdes played Trumpet for Campervan Blues. He is such a great trumpet player.

Andrea Callarelli recorded Guitar for all four tracks. Me and Andrea have been playing together for few years. He just moved back to Italy and I miss him - and our good times creating music together. 

You were born in Russian and have Armenian-British roots. How does the music scene differ in this country – compared to countries like Russia? How important is your heritage and upbringing to your music?

I was playing piano as a child. Then, I played in my first band when I was fifteen. It was a girls’ band. We played Jazz standards and I played bass, there. Then, I sang in a Funk band but then I moved to U.K. – so, I didn't get to experience music scene there for very long.

But, I know some wonderful musicians out there and I know that there are many very interesting things happening. I think all my backgrounds and the diversity of cultural upbringing are integrated in my music. 

What kind of music were you listening to in Russia? Was it more mainstream Western sounds or did local artists make an impression?

I grew up, mostly, on Classical music as my grandmum was a classical pianist; some Beatles and Rolling Stones (as my dad loved them); some Russian and Armenian Folk - as that what was around.

I used to love one Russian band when I was a teen but then I discovered Jazz, Blues and Soul - and realised I loved that band cause they had many Blues elements in their music.

There were few other artists I remember that influenced me a lot. I still remember hearing Nina Simone and Stevie Wonder for the first time.

I also remember my friend went to U.K. for summer-school and brought me a tape with OK Computer by Radiohead. I was blown away. This album is still one of my favourite.

My dad used to take me to different gigs when I was a child and I remember Sting, Ray Charles; Tina Turner and James Brown. It was very inspiring to see them live. 

It seems, when you came to London to study, you fell in love and never looked back. What was it about the city that hooked you in?

I love the diversity here and it never gets boring...

There is always something new to discover in London. It is always moving and changing. I love the fact you can meet anyone from absolutely any corner of the Earth and connect.

Of course, London's art and music scene is just mind-blowing. 

Do you ever get to go back home or does life here keep you pretty busy?

Unfortunately, I don’t go home very often but I see my family and my childhood friends around in Europe.

I should try and go more often. 

Can you define what music means to you? Is it freedom or a sense of unique expression, would you say? 

Music is a journey: it's constant discoveries; it's a connection with everything: a romance between soul and matter. 

What kind of live dates do you have coming up?

I'm off travelling to Greek islands and will be playing around there. Live gigs in London will be set for the end of August/September.

Are there any new artists you recommend we check out?

Thundercat.

It's probably not that new - but I (have) just discovered him a few weeks ago and I love it. 

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

Let It Die by Feist

I just love her: she has been one of my favourite for a long time. I love every single song on this album. 

Shadow Theate by Tigran Hamasyan

It's unique and complex: a beautiful fusion of Jazz and Armenian tradition.

Play by Bob McFerrin and Chick Corea

Just because it's perfect in every single way. 

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

Always be your authentic self - because there is no one exactly like you.

Always listen to your heart and do what feels right to you and, regardless what anyone says, never give up - and follow your biggest and wildest dream. 

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

Lines by The Hics. It’s pretty magical. 

________

Follow Marina Avetisian

 Official:

http://marinaavetisian.com/

Twitter:

https://twitter.com/marinavetisian?lang=en

Facebook:

https://www.facebook.com/marinaavetisiansinger

SoundCloud:

https://soundcloud.com/marinaavetisian

YouTube:

https://www.youtube.com/channel/UCsGJKw3mxGrMREgHZuSQhKQ

Instagram:

https://www.instagram.com/boatsinthemarina/

INTERVIEW: Matt Koelsch

INTERVIEW: 

 Matt Koelsch

________

IT is, after a chat with a North London musician…

over to America and the L.A.-based Indie-Folk singer-songwriter, Matt Koelsch. He is, as I discovered, an artist hard to define and rationalise – in the sense his music takes in many different textures and influences. I was scheduled to promote the single, Incomplete, which he talks about but, in the days after I sent the questions, the new song, Thinking of You, has been released. Koelsch talks about Incomplete but discusses the E.P., Thinking of You – and how, invariably, the title song will fit in.

He lets me know about his early life in New England and some dates he has approaching; the albums that have inspired him and what advice he would offer any new songwriters.

________

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

I’m very well. Thank you for the interview!

I am playing a string of shows on the East Coast - and then heading to L.A.

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

I’m an L.A.-based singer-songwriter - originally from New England. My music is in the Alternative-Folk genre – although, my latest record has a bit of an Electro. vibe. 

Thinking of You and Incomplete are your new singles. Talk to me about Incomplete. What can you tell me about the song and how it came together? 

Incomplete is about falling just outside someone’s radar. 

You really enjoy being around them but they are off-limits. I co-wrote the song with one of my music friends, Alfa Bieselin.

We worked on it in person for two sessions and then passed it back and forth through the Internet for a few months.

The catchy vocals and warm cello sounds go together nicely. Was it quite hard getting the sound right or was it instinctual?

I waited about a year to record the song with the full arrangement so I had several pre-production recordings of my performance of Incomplete.

 This gave us more time to sit with the song and weave in the complementary instrumentation.

Thinking of You is your latest E.P. What has the reaction to it been like? What kind of experiences and influences went into it?

I’ve heard people react to each song claiming it is their favorite.

It’s hard to tell which one is the crowd favorite since it is available on so many different digital outlets - so there is a different one on the top of each of those lists. It seems like people like it; I don’t really know.

Ahah.

Thinking of You is inspired by leaving the comforts of home and building a new network thousands of miles away in a new environment. There is more time and space to explore and discover when you are in a completely new and foreign setting: removed from the comforts of your close network of relationships. The relationships that formed and/or dissolved during this chapter of my life were woven into the writing of this record.

Are you looking at making more music this year?

I’m always looking to make more music but my budget for recording is exhausted for the foreseeable future.

PHOTO CREDIT: Edward Baida 

I know you grew up in New England. What was it like there for a young and aspiring songwriter? Is it a part of the U.S. that has a thriving music scene?

The Boston area has a myriad of colleges and universities: it’s a great place to study music, experiment a bit and get your feet wet in a modest but sincere music scene. There are several places you can branch off to and tour within a four-hour drive: Brooklyn, Burlington, Portland; Providence and North Hampton.

I think the talent level is high and there are great musicians in New England: although, I see a lot of them moving because the opportunities in other music hubs are greater, more diverse - and they’re looking to make connections with the media, management firms and labels. 

PHOTO CREDIT: Peter Zuehlke

What kind of artists were you listening to during this time?

I listened to Classic Rock: Led Zeppelin, Guns n’ Roses and Motown.

Later, in high school, I listened to Jack Johnson, Ben Howard; John Mayer, David Gray and Dave Matthews Band.

In college, I listened to more Electronic/House music and Hip-Hop.

Can you remember the moment you gave up your job in finance to pursue music? What emotions were going through you when you quit?

I had recently been accepted into a general business cover band in Boston while (also) working my desk-job in Finance.

I was busy building client relationships, learning new songs every week - and I was overwhelmed. I was in the Boston Commons on my lunch break wearing a three-piece suit and just sat on the end of a park bench with my head in my hand.

I came to the conclusion that I needed to make a change. I did not feel completely comfortable in either setting - the stage or conference room - but something was telling me to give music more of a shot.

I had a few exit-interviews and, also, met with all of my colleagues individually to break the news first. We were part of an extensive training program and worked hard together and partied quite a bit as well; so I wanted the team to hear it from me instead of our managers that I would be moving on. 

PHOTO CREDIT: Peter Zuehlke

How easy was it moving and transitioning to music? Do you still miss New England or are you settled in L.A.? 

It was a long and windy transition.

I worked for a great music-tech company called Cakewalk which eventually led me to the engineers and musicians who helped me create my first record in 2010.

I miss New England, so I tour there a few times each year and play in New York as well.

I try to stick to locations I can get back to every six-twelve months. 

What is the music scene like in L.A.? Is it quite tough getting gigs or are there enough opportunities for young artists?

I like the music scene in L.A.

My friends are pretty involved and people work hard to keep things fresh. For the past year, there has been a mansion in Brentwood along with a staff of volunteers called SunSeshLA - hosting weekly concerts for artists and their invited guests.

The shows were always free; B.Y.O.B - and the theater fits about seventy people. There are places like this in the Hollywood Hills, too. There are tech and film home-owners who want to create a unique experience and support the arts community.

Like any city, there are plenty of places to play for young musicians to break into; but you have to look beyond the expected areas. A lot of the venues on the Sunset Strip are pay-to-play - so we usually don't spend a lot of time over there.

Most of my best opportunities and experiences have been at non-traditional venues or events. 

On that note; what dates do you have in the diary? Any plans to come to the U.K., perhaps?

I’m performing on the East Coast until August, and then, I am planning on touring more in the fall. I would love to come to the U.K. and I am open to recommendations for venues.

Camden was a lot of fun the last time I was in London.

PHOTO CREDIT: Myke Wilken 

Thinking of You is an E.P. that looks at everything from Wall Street to romance. Do you think that big move and career transition has made you a broader and more diverse songwriter? 

I think I have just opened up more as a person and the diverse array of people I have met have influenced my life and writing.

I am grateful for the journey and I think it helped me break some of the patterns I was in.

Over the course of your career, you have sold thousands of C.D.s are sharing the stage with (members of) R.E.M. What has been the highlight and biggest high?

I think some of the biggest moments happen when I am collaborating with other people on stage or in the studio - and everything just clicks into place. It really is magic. It’s so hard to describe the unifying force of a group of people playing music together.

It feels like you are all on some mission and you’re creating the soundtrack to a chapter of life.

IN THIS PHOTO: Porter Robinson

Are there any new artists you recommend we check out?

Lately, I’ve been listening to more Electro-inspired music: SOHN, ODESZA; Bob Moses, Poolside and Porter Robinson.

Also, check out my friend Alfa’s new record, Spark & Fury. I co-wrote Incomplete with her. She’s doing well: she recently toured the Philippines and just opened for Shawn Mendes.

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

Led Zeppelin - IV

Dave Matthews and Tim Reynolds - Live at Luther College 

Fugees - The Score

I listened to these records on repeat growing up. I was fascinated by them and I would just listen to them over and over and think about them.

Sometimes, a certain record just hits you in a way that is really impactful and shapes the way you appreciate music. I think these were a few records that steered me in the direction of becoming an artist.

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

Keep exploring ways to learn new styles; whether it is through other musicians: one-on-one teaching, classroom style; videos, articles; online or books. Try not to limit yourself to the method through which the information is being transmitted to you. One way may work better than others when studying and/or writing music.

Stay involved and collaborate: try not to isolate yourself for too long.

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).

It would be cool if you could play Alfa’s Incomplete. It’s a nice contrast and produced well. 

Thank you for the interview; have a wonderful summer!

________

Follow Matt Koelsch

 Official:

http://www.mattkoelschmusic.com/

Twitter:

https://twitter.com/MattKoelsch

Facebook:

https://www.facebook.com/MattKoelschMusic/

SoundCloud:

https://soundcloud.com/mattkoelsch

YouTube:

https://www.youtube.com/channel/UC8CmjnUP3cYAzeWjmwcPPsA

Instagram:

https://www.instagram.com/mattkoelsch/

INTERVIEW: Alex Francis

INTERVIEW: 

 Alex Francis

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FEW people have as much drive and passion for music…

PHOTO CREDIT: JPBoardman

as Alex Francis. He has a series of festivals and dates throughout August – including one at Camden Assembly on 1st – and is showcasing his new single, The Last Time. I talk to him about his new track and what it is about; the E.P., These Words, and the origins and moments that went into it. Alex Francis has travelled and played across the U.S. and big British gigs like the Isle of Wight Festival.

I ask him about his music background and how he came to meet his live band; what dates he is especially looking forward to playing – and the albums that have defined and guided him as a person.

________

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

Great, thanks - busy!

Prepping for next weekend’s festival show and I’ve got two friends’ weddings to fit in between those, too.

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

I’m Alex Francis; originally from Hertfordshire - and now residing in North London.

The Last Time is your newest track. What inspired the track and was it quite an easy one to write?

The Last Time was conceived a (some) time ago after a relationship that I had come out of; but my co-writer and I felt the theme for it was universal, so we analysed it again.

It follows the idea that it isn’t as easy as simply letting go of somebody once you’ve called it quits - even if you really want to.

Its video sees you travelling and playing around America. Which cities/areas did you film it and what was the experience in the U.S. like?

The U.S. footage in the video is from the time I spent in Brooklyn, New York - back in June. It was the second time I’d been over for music rather than leisure! (Although time was made for leisure).

It was a great trip and we got a whole load done. I’m back in Brooklyn in the autumn.

There is, in that video, clips of you playing the Isle of Wight Festival. What was that like? Is it a career highlight, so far, would you say?

Definitely a career highlight!

My live agent curates the festival so getting to perform on the bill this year was a massive treat. We couldn’t believe how well the set went down - and it was an amazing experience to perform two shows over the weekend in two pretty different settings.

The Last Time is from the E.P., These Words. How would you define the E.P. and were the songs inspired by relationships and friendships? What kind of aspects and people go into the music?

The songs are all inspired from experiences of my own; born out of themes that I feel are personal but also relatable.

I wanted the sound of things to give the listener an introduction to how I write and arrange my music - something more than just a demo. but not a fully-blown production either. The time will come around for that.

I love the idea of there being a genesis of each release. I feel as though I can take listeners along with me that way.

How did you come to meet the band you play with on the road? Do you bring in new musicians or keep the same players?

I’ve been with my core-band now for just over a year. Lucky logistics and a bunch of super passionate, incredibly talented people have meant we have been able to make it work for that long! I’m in a lucky position to have a bunch of guys working alongside me who are as invested in these songs as I am.

From time to time, things do clash and I do have a bank of like-minded individuals that I can call upon (which is a bonus in itself). However, now I have my guys and I’m so pleased with the way it’s going.

Come see a show!

You have dates in Hampshire and Hertfordshire coming up - Standon Calling (28th) among them. How excited are you about that gig – it seems like a pretty big one!

Can’t wait for Standon!

It’ll be awesome to come back to a festival in Hertfordshire: something that I haven’t done for a couple of years. We’ve got two shows on the Friday at Standon Calling - the first on the main stage at 14:00; then the BBC Introducing Stage at 17:50.

Starting life in Hitchin; you moved to Brighton and now live in North London. What was the reason for leaving Brighton and coming to London?

I was a student in Brighton at BIMM: an academy that has now expanded outward all over the U.K. and beyond.

Life got in the way after I finished studying and I actually went back home to Hertfordshire for eighteen months. It was during that time that I began to travel to London more and more often and I began collaborations with new songwriters.

Thankfully, home at the time wasn’t too far away - so I could make a regular thing out of that quickly.

Eventually, I got myself to a place where making a home out of London was the natural and logical next step for me and my career.

How influential is the city when it comes to your music and ambitions?

There are so many different things to draw upon from living in a city: life lessons, new experiences or tiny everyday details that stimulate the creative psyche. I love the diversity - it keeps me creative and motivated knowing that there are so many like-minded folks here all chasing stability and success in their own right.

It fuels me to know that a lot of the opportunities I used to fantasise about exist in the city I live in.  

Do you feel the music you grew up listening has moulded the musician you are today? Can you remember your favourite artists and albums as a youngster?

Absolutely.

I think that almost everybody’s love for music is sewn-in at a young age. Every music-lover I know says the same thing about their youth and how they knew pretty early on that music was going to be a feature in their life.

I grew up on a pretty contrasting diet of Rock and Soul music - very different, at times, but always with the same thing in common: real music that moved me in ways that I still can’t clearly describe.

What kind of live dates do you have coming up?

We’ve got a bunch more festival performances to see out - including one more show in Hertfordshire on 25th August at Goatfest; then a spot up-North (near Newcastle) in Gateshead on 26th August at Chase Park Festival.

I’ve also (just) announced another headline show in London at the Camden Assembly on 1st August partnering Oxjam - all proceeds on the night going to Oxfam!

Are there any new artists you recommend we check out?

I’m really into the current Leif Vollebekk album, Twin Solitude. He’s totally his own thing but the album has got great little subtleties that remind me of Bob Dylan’s Blood on the Tracks - which is one of my favourites ever.

Leif does so much with very little and that’s real power in songwriting as far as I’m concerned. He lets the space sing, too.

I’m also really enjoying Lianne La Havas’ Blood (Solo) E.P. - which is a selection of cuts from her latest album, Blood, performed stripped back with her electric guita.

She’s pretty mystical when she goes it alone.

IN THIS PHOTO: Lianne La Havas

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

Ray LaMontagne - Trouble (2004)

This album doesn’t have any particular sentiment for me more than the fact that it’s just so beautifully crafted in every measure.

I’m into so many artists that channel the organic and the soulful vibe. Not many deliver the kind of conviction and sincerity like Ray does on this album. Beautiful production from Ethan Johns.

The Rolling Stones - Exile on Main Street (1972)

My friends and I were completely obsessed with The Rolling Stones in our first couple of bands – totally immersed with everything from the music to the bravado. This is a particularly long album in general - eighteen tracks, I think.

It got A LOT of spin – mostly because it would survive most gig drives without us having to argue about the next thing to play! You can literally SMELL the damp in Keith’s basement studio when you listen to these songs.

Apparently, Jagger doesn’t dig the production on this record but I absolutely love it. It’s The Rolling Stones at their possible best - with every nuance of their amazing songwriting craft present on this record; whether it’s big ballads or total Rock ‘n’ Roll wrapped up in this ‘rough-and-ready’, sometimes-demo-sounding collection. It’s so visceral to me now - I’ll never stop listening to it.

It’s a great example of bottling up the magic you can get from the live recording: something that will never be fully recreated artificially.

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

I think; try and be as involved in everything as possible - definitely to begin with and even after you’ve begun to gather your team around you.

Everything from the performing to the digital marketing to the networking is as important as each other, I have discovered. There’s so much to grasp so quickly - whether or not you are professional - and I think it’s important to keep yourself aware of the mechanics of this industry so you can position - what it is you do best with the very best chance at every opportunity.

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

Better go out on the raddest 'Stones tune you’ve never heard: Can’t You Hear Me Knocking!

 ________

Follow Alex Francis

 Twitter:

https://twitter.com/afrancismusic

Facebook:

https://www.facebook.com/alexfrancismusic/

SoundCloud:

https://soundcloud.com/alexfrancismusic

YouTube:

https://www.youtube.com/channel/UCy8c0VhJJGeoisg-EIzA3WA

Instagram:

https://www.instagram.com/alexfrancismusic/

INTERVIEW: Crooked Teeth

INTERVIEW: 

 Crooked Teeth

________

THE germ of Crooked Teeth spread from Glasgow…

where Rob and Jo met – having played the circuit in their bands, For Abel and Evol. A couple of years down the tracks they moved to London where, following a chance meeting, they were back in each other’s lives. That is the moment Crooked Teeth formed and, after discussions and compromise, headed into the studio with their friend Sam – wielding the guitar. The trio fuse synth-propelled sounds with lyrics that address issues in society - and deeper issues few artists document.

I talk to the guys about their current single, Mirrors, and what it represents. With its LCD Soundsystem vibe; I was curious to know about the song and how it came together. The chaps discuss their beloved home of London and its merits; the differences to Glasgow and what they have in store for the remainder of the year.

________

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

Crooked Teeth: Jo, Rob and Sam.

How are you enjoying the weather right now? Any chance to hang out in the sun or too busy right now?

Always busy!

But, yes, managed to catch a bit.

Can you tell me about new single, Mirrors, and what the song is all about?

J: Mirrors is a celebration of individuality in a metropolis that’s becoming increasingly homogenised.

It’s, at once, a greyscale and psychedelic-technicolour love-letter to the city of London.

I know the song is a reflection on London’s increasing homogenisation. How do you think this gentrification is affecting the spirit and soul of the city?

S: Well, the joy of London is really the diversity of experiences; that’s it. Once that’s gone, it’s not the same city.

In terms of making art; there’s still loads going on but these days it costs so much to live here - there isn’t the breathing space for many people to put time and energy into projects just for the love of it.

Every square-meter is potential ‘luxury apartment’ - so don’t get too attached because you’ll soon be moving on.

All of us have moved here from somewhere else, though, so I’m a bit hesitant to make sweeping statements about gentrification.

How have you guys reacted to the recent incident at Grenfell and the fact Labour are becoming more popular and desired by the people of the capital?

Grenfell was horrific and totally avoidable so the reaction to that is a mixture of despair and anger, really. As well as being a terrible incident in itself, I guess a lot of people feel it as confirmation of something they were already feeling - about the way Londoners that aren’t rich are almost treated as an inconvenience.

Regarding the election: it’s encouraging. There’s been a long period of government shrugging off responsibilities with very little publicised opposition. People are seeing and feeling the results and it feels like those questions are finally being asked.

I nearly wrote an essay reply to this but decided to keep it short! 

Rob and Jo. I believe you met in Glasgow and were playing the circuit there as part of other bands. How long did it take to realise you should start your own band – and recruit Sam into the fold?

J: Rob moved to London a while before I did.

We’d never worked together in Glasgow (save for one gig where I stood in as drummer in his band (For Abel) and, when Rob found out that I’d moved here, he instantly talked about starting a new project. I suggested, much to Rob’s initial bewilderment, that we make it synth.-based - instead of the usual Rock outfits we’d grown accustomed to in Glasgow.

Rob Invited Sam along to the first jam with his guitar and pedals and we all hit it off straight away.

How does the music scene of Glasgow compare to London, would you say? Does Glasgow offer the individuality and authenticity London is losing?

It’s more constructive, in my opinion, to refer to Hackney’s music scene and the other boroughs individually - rather than an all-encompassing ‘London scene’. Hackney feels a lot like Glasgow: similar grubby little venues; not to mention a friendly sense of community among local groups and promoters/sound engineers.

There is a definite ‘Glasgow sound’ that is absent in London and likewise, but, in terms of scale and breadth of individuality, I’d say Rob and I feel just as at home here.

What are your future plans regarding music? Any E.P. or album approaching?

Yep.

We’ve got a fair bit of material recorded - or nearly there - so you’ll hear some of that soon in one form or another. 

The music is produced in Jo’s warehouse studio in Manor House. How important is that space and is it a great place to record in?

S: That space was vital in the early days.

It meant we could write and rehearse without having to shell out for studio time. For recording, it was very much a D.I.Y. effort - and the warehouse was the space we had available.

Jo knows his stuff and did a fantastic job using limited gear. It just meant we had the time to record and mix the songs how we wanted - not that we spent ages on it - but there’s no way we could have got as much done if we hadn’t had our own space.

J: Warehouse living seems to be fading out with the wave of gentrification.

It was a useful space, but with the current state of music recording technology, you can make great recordings no matter what room you’re in.

As Crooked Teeth; you play Noise-Pop and have your own style and sound. Are there any particular artists who have been influential to you guys?

S: It’s funny, because someone asked this, not long after we started, and we all came out with bands that don’t sound anything like each other.

So, maybe C.T. sounds different to all of us. We didn’t really talk about influences at all before we rehearsed.

J: It feels like we’ve brought several different elements to the table which seem to have amalgamated into something beyond our control, and so, we’re continually surprised what the comparisons people make.

What tour dates are coming up? Where can we see you play?

Our next show is supporting All the People at The Finsbury on Saturday, 26th August. We’re playing with MUX at Paper Dress Vintage on 9th Sep.

IN THIS PHOTO: AT/ALL

Are there any new artists you recommend we check out?

S: I’ve been listening non-stop to a record that came out about this time last year by an Australian band called AT/ALL (Sun Dog).

It’s super-good. 

J: South London-based Mx World is soon to drop her first E.P.

Her chaotic, colourful synth.-scapes are some of the most exciting music I’ve heard in years

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

S: That’s impossible!

I’ll change my mind in an hour or so but I’ll say No Pocky for Kitty by Superchunk – first, listen to my all-time-favourite band.

J: None of this would have happened if it weren’t for Portishead – Third

It shook me violently out of a creative lull and pushed me into buying some analog gear. It changed everything for me, musically.

R: I just want to choose my favourite album by my favourite band, Guerrilla, by Super Furry Animals

I love how they push the boundaries whilst using a classic songwriting formula. I probably listen to Some Things Come from Nothing every other day.

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

S: I don’t know if I’m in any position to offer advice but I guess I’d say don’t wait around for the next bit of gear or perfect opportunity: just play and record and you’ll learn and find out what works a lot quicker anyway.

Trusting your band-mates is important: being open to seeing where they take your ideas, but also, all feeling free to say when you don’t think something works.

That’s where the magic is for me.

J: You’re a band, so be in a band. Don’t be a leader: be in a band.

Appreciate your creative team and let it grow organically.

A MacBook will never, ever replace human musicians.

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

S: Young Shields by Casiotone for the Painfully Alone, please

J: Eclipse Total by Aries

Discovered her earlier this year at Primavera Sound. She’s wonderful.

R: STRaiGHT eDGe by Gablè

Short and simple, but I love it and all the different samples they cram into it.

_________

Follow Crooked Teeth

 Twitter:

https://twitter.com/crookedteethuk

Facebook:

https://www.facebook.com/crookedteethuk/

SoundCloud:

https://soundcloud.com/crooked_teeth_uk

Instagram:

https://www.instagram.com/crookedteethuk/

INTERVIEW: The Hyena Kill

INTERVIEW: 

 The Hyena Kill

________

THIS is my second Manchester-based interview of the day…

but The Hyena Kill differ greatly to Sukh. The two-piece have shades of Queens of the Stone Age and Deftones; they rally against the ineptitude and corruption of the current government. RED is their most confident and assured track to date – the best work they have created to date. I talk to Steve and ask him how RED differs from their album, Atomised, and what he makes of the government’s handling of the Grenfell tragedy – and whether it was cathartic funnelling anger through music.

He suggests some musicians that are worth following and what it was like working with Tom Peters at Grand Studios and what the mood in camp is right now - and ripe and productive the Manchester music scene is.

________

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

Hey. It’s been awesome.

Putting the finishing touches to our next single.

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

We are Manchester-based two-piece (noise bastards), The Hyena Kill.

I’m Steve and play guitar and shout.

Lorna couldn’t do the interview but her job is to basically smash the sh*t out the drums - which she does really well.

RED is the current single from The Hyena Kill. What can you tell me about its origins?

It came out of nowhere, really.

I was in our rehearsal room quite late one night working on another song and just got fed up of not being able to finish it - and just lay on the floor with my guitar. I just came up with the main riff and just kept playing it over. That’s all I had really.

I played it to Lorna the next day and we just jammed it out. It came together really fast.

It sounds like it was a very personal and challenging song to put out. Does it feel quite cathartic now it is released?

Yeah.

Lyrically, it was definitely good to get that down - although it does feel a bit more cryptic when I listen back. I don’t think the subject is that obvious - which I kinda like looking back at.

It was recorded and mixed by Tom Peters at Grand Studios. What was it like working with Tom in Clitheroe?

We did our debut album with Tom as well as a few other recordings. We are really used to how Tom works and he just makes the sessions really relaxed - without losing any work ethic.

He’s always forthcoming with ideas and advice on how the track should sound. We love working with him.

RED is the first new material since your album, Atomised, was released (earlier in the year). Can we expect any more material later this year?

Yeah.

We have just finished another single that we have done at The Nave Studios in Leeds with Andy Hawkins. We are really proud of this one: it sounds amazing.

We feel it’s one of the best things we have ever laid down.

It seems RED signifies a definite turning up of the wick. Do you think this is your most assertive and focused track? Do you feel more together and solid a duo since your earliest work?

Personally, I think RED is just a hint at what we have been working on. Our next album will definitely be a ramp-up from Atomised - I think we have learned a lot more about ourselves as musicians since the last album. 

With such a limited set-up, you really have to push yourself to keep things interesting.

PHOTO CREDIT: Gunnar Mallon

A lot of your songs deal with addiction, self-medication and thrill-seeking. Do you guys have any political anger inside? What has been your reaction to what has happened in London (Grenfell and the terrorist attacks) and Manchester (terrorist attack there)?

The level of corruption and deceit in this country makes me so angry and frustrated. People everywhere are dying just to line pockets. I truly hope we find out the truth about what happened at Grenfell - but I fear there will be a lot of effort going in to covering up the blatant disregard for people’s lives.

This government is a complete shower of sh*t that only work to serve themselves and their rich friends. Fu*king stinks!

What is the music vibe like in Manchester? Is it the perfect place to breed music of all varieties and shapes?

It’s absolutely class!

There is so much quality and variety. It seems to just get better every year. The amount of awesome bands in our rehearsal rooms alone is mind-blowing.

I hear bits of Deftones and Queens of the Stone Age in your music. Are there particular bands you take inspiration from when creating your music?

I, without a doubt, am influenced by Rock and Punk guitarists - I’m a sucker for a filthy riff. 

Warpaint have been on heavy rotation on my stereo for a long time now as well. You can hear bits creeping into our music every now and again.

I know Lorna’s influences range anywhere from cheesy Pop to Hip-Hop. If it has a sweet beat, she’s all over it.

Do you guys have much time to chill away from music? What do you like getting up to?

We spend a lot of time in the rehearsal room, which, basically eats up all of our spare time.

When I’m not playing music: I like to just get smashed with my friends and let off some steam.

 IN THIS PHOTO: False Advertising

Are there any new artists you recommend we check out?

Our good friends - and fellow Mancs - False Advertising and The Empty Page.

Also, Pearl Harts from London.

We love them bands

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

It has to be White Pony by Deftones.

In my opinion, it’s a masterpiece. I still love it with the same amount of passion now as I did when I was fourteen.

The songs have all aged really well.

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

Practice and gig as much as possible - and don’t be a d*ck.

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

God Damn - Dead to Me

(I’ll choose for Lorna - Steve)  Warpaint - Undertow

_________

Follow The Hyena Kill

 Official:

http://thehyenakill.com/

Twitter:

https://twitter.com/thehyenakill

Facebook:

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

SoundCloud:

https://soundcloud.com/the-hyena-kill

YouTube:

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

INTERVIEW: Sukh

INTERVIEW: 

 Sukh

________

A doctor by day; pioneering musician by night…

sounds like the start of a should-be-on-the-silver-screen pitch. In actuality, it is the reality for Manchester-based Sukh - he is a sometimes-doctor and writes at all times but that is a bit clunky to fit into a single line! Since releasing his eponymous debut L.P. in 2013; the young musician has been busy bringing his Chamber-Folk and lupine vocals to the general populous. Thriving in a city as compelling and cosmopolitan as Manchester; he is making big strides and creating some of his finest-ever work. I ask him about the new track, Flight, and how important Manchester is to him.

I get an idea of the music that drives him and what his background is; what it was like working with John Simm (Cleft) and the Manchester String Quartet on his latest single and gig plans that lie ahead.

________

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

Hi, yeah.

It’s been a busy one. It’s been good.

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

Sure. I’m Sukh: a singer-songwriter - and sometimes a doctor - based here in Manchester.

Flight is your new single. What can you tell me about its story and origin?

Flight is a mix of old and new ideas. I had a few ideas for it. It started with the chorus and slowly developed from there. It’s a song about the transience of things both good and bad.

For the ending, I wanted to make the listener feel like they are flying.

 

John Simm (Cleft) and the Manchester String Quartet appear on the song. How did you come to meet them and what do they bring to the music?

I met John way back in a pub - after talking online for a bit - and he’s (just) an overall great musician to work with. I’ve worked with the Manchester String Quartet before and John Purton (another John) helped with the arrangements as well.

They are great to work with and deciphering the ideas I pursue.

It is taken from the forthcoming, Galactic Love Machine. I have to ask where that title comes from...

It was taken from the stars. Haha.

The true story about it is that my friend Rob came up with it when thinking of band names - and I liked it a bit too much.

What kind of themes and ideas do you look at in the album?

The themes in this album are quite simple and direct: love, acceptance; gratitude, and being a dreamer - to name a few.

Firstly, I had to decide on a sonic palate - and I wanted to create something earthy and, at times, a bit '80s. There’s quite a mix of different styles and genres on the album.

I’ll let you decide what they are.

Based in Manchester, you must be aware of how the city is changing. What is the music like there and how instrumental are the people there to your creative drive?

I love Manchester.

It’s a great place and it has a thriving city. It has introduced me to my band and to Fred - who co-produced this record. All of them shape the content in one way or the other.

Some have compared (aspects of) your music to Coldplay. Is that a band you are inspired by? What kind of artists influences you?

My influences are broad.

Can’t say Coldplay is a direct influence. I liked their Rush of Blood to the Head era, I suppose.

Artists that influence me currently on an ever-changing list include The National, Jason Isbell; Sigur Rós, B.B. King; Alabama Shakes, Beach Boys and Phoenix.

Over the years, you have resided in other cities and tackled the open mic. scene. Was there any particular country/city that had a big effect on you – in terms of the people and music?

London and Manchester have both been instrumental.

I used to go to open mics nearly every day when I first started out in Manchester - and my time in London showed me there are so many talented musicians out there looking for their little piece of something.

Had some great nights there.

How important are authors like Tolstoy and psychologists such as Lyubomirsky? Does literature compel a lot of your music?

The psychologists influence me and Tolstoy was a master of people.

In some ways, the album is about following some of the evidence they lay out about what makes a man happy.

What kind of live dates do you have coming up? Any you are particularly looking forward to?

Kendal Calling is next week and really looking forward to it.

More to be announced soon...

After that, any plans for more music? What are you hoping to achieve over the next few months?

Gonna get the album out first and then we’ll talk more. But yes lots more coming. Still deciding whether to release another single first or whether to get the album out.

Stay tuned.

Are there any new artists you recommend we check out?

Most new artists aren’t new. Haha.

Some people that are worth a mention are people I have encountered on my circuit - including bands like Ivan Campo (extremely charming trio) and The Little Unsaid - who never ceases to amaze me with his musical prowess.

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

It’s impossible to choose...but here are a few:

Bob Dylan - Blood on the Tracks

I remember the first time I listened to it and I (just) thought it was perfect.

Sigur Rós- Takk…

Seeing them on their tour of Takk… was a phenomenal experience. I was a teenager (just) discovering music.

Laura Veirs - July Flame

I have a musical crush on her.

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

It’s a long road ahead of you - and make sure you’re doing it for the music and nothing else. It won’t pay at first and it means lots of work; not just musically but in terms of almost of being a business and an enterprise.

Be passionate and keep on keeping on. 

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).

Tilted - Christine and the Queens

 _________

Follow Sukh

 Official:

http://www.iamsukh.com/

Twitter:

https://twitter.com/sukhsmusic

Facebook:

https://www.facebook.com/sukhsmusic/

 SoundCloud:

https://soundcloud.com/sukhsmusic

YouTube:

https://www.youtube.com/channel/UCftpkhFtxN_dPI3ie7kan5A

LIVE REVIEW: LITM vs. Musicmusingsandsuch: Kiera Court, Lewis Fieldhouse and Pillow Queens

LIVE REVIEW: 

IN THIS PHOTO: Pillow Queens

LITM vs. Musicmusingsandsuch: Kiera Court, Lewis Fieldhouse and Pillow Queens

________

THE signs looked ominous as the rain decided…

IN THIS PHOTO: Lewis Fieldhouse/PHOTO CREDIT: Juliette Carton

to royally cack itself all over Harringay (and other parts of the country, for that matter – it isn’t that selective) and the, predictably, unstable British weather had a bit of a paddy. Another wet Sunday and what better place to be than under the roof of The Finsbury – there are others but it seems rude to mention them in a feature about the place! In any case, it was a pleasure returning to the bar and one of the best small live venues in the capital. Not having met any of the three acts that were due to perform last night; I was curious how they would all blend – and whether there was going to be any clashes in sound; a bit of an imbalance.

Before that, and it seemed like things would go pretty well. Meeting the acts before the gig took place – and offering a few of my 'free beer/cider can' tokens (I was driving so had to be ‘good’) - it was interesting seeing their reaction to the place. Going through the sound-checks; I got a chance to see the acts for the first time. Everything went smoothly and it seemed, just before the punters started to roll in, everyone was happy.

It was, then, down to the act of performing….
 

Kiera Court

PHOTO CREDIT: Julien Lallouette

One of the most charming and unique artists on the night; there was something captivating about Kiera Court. She is only twenty – it was mentioned a few times on stage – but that made the set all-that-more-remarkable as she handled the impressive-sided crowd with confidence. It was, away from the songs, the rapport and conversation that gathered laughs and smiles. Many performers rattle through songs and do not engage with the crowd: Kiera was eager to chat and explain the songs and their origins. It seems, for most of the tracks, a particular guy was the inspiration. Whilst pretty cracking to look at – her words; not mine – it seems, as is the case with a lot of relationships, his morals and loyalty didn’t match his looks. Getting that background – mixed with humorous and vivid backstory – provided us exposition and depth. The songs, as such, meant a bit more than, say, they were delivered with nobody knowing anything about them. It was clear, even before a note was played, Kiera has a stage presence and personality that draws you in. The audience was charmed and were enraptured by the performance. The sparsest set on the night – just Kiera and a guitar – it was a brave and seamless set that saw the likes of Hot Mess, Cinnamon and London Town delivered. Cinnamon’s title was added later in the creative process – Kiera was, as you’ve guessed, eating cinnamon when searching for a title – and showcased the purity, range and beauty of her voice. Hot Mess, one of the jumpier and more energised moments, was first out - and got a great reaction.

PHOTO CREDIT: @allison__stoddard

Joanna, dedicated to and about her friend, was a tender and exceptional song. Among the other songs she delivered; it seemed any pre-gig doubts were unwarranted. It was a great start to the night and, long after the performance was over, people were talking about it. Kiera recently released her E.P., Angry Face & Boat Shoes and has dates in London on 31st (The Social) and Apples and Pears Bar (on 9th August). Look at her Facebook page (below) to keep up - but I would thoroughly recommend seeking her out. She is an assured, memorable and compelling performer whose performance/songwriting talent belies her years – someone who is barely out of their teens should not be that good! In any case: Kiera is moving to London very shortly – not too far from The Finsbury, in fact – and will give her centrality and convenience. She has other London gigs approaching but I can imagine, on the strength of the performance at the likes of The Finsbury, she will be getting many more requests. I caught shades of Lucy Rose and This Is the Kit in Kiera’s vocals and a nod to classic artists – someone whose tones, lovable personality and huge talents will see the people flock to her gigs.

Facebook:

https://www.facebook.com/KieraCourtMusic/

Twitter:

https://twitter.com/kieracourtt

Spotify:

https://open.spotify.com/artist/0YSleRTSH8zTOGabR0mWKl

Lewis Fieldhouse

PHOTO CREDIT: Ray Roberts

If Kiera Court’s performance was the most unadorned and uncomplicated; Lewis Fieldhouse’s was the most eye-opening. Not only because of a rather natty and awesome shirt – the sunshine well and truly brought to N4 – but the stories behind his songs. Kiera’s tales concerned moving to London and friendship; a jerk of a boy that, despite his prettiness, left his marks. That seems normal for a teen/twenty-year-old but, for someone slightly older, one might not expect the kind of inspiration that Lewis explained. Accompanied by two fine fellas – whose voices thickened the harmonies; the keys/strings backing heightening the drama, beauty and rawness – Lewis provided the crowd with revelation. Theodore Washington and the Central Valley had its heart in a U.S. trip Lewis took back in 2013 (apologies if I got the year wrong). At the time, his mum was diagnosed with cancer and, rather cruelly, he was dumped six days into the trip. The American voyage was a chance to reflect, discover and detach. Whilst there, as one can hear from his album, there were bar-room dwellers and strange characters; some gorgeous scenery and the open road. Songs performed on the night – in their origin – included loose women, failed love and stark realisations. Fell in Love, F*cked It Up, opening the set, boasted a chorus that, by the second time around, was in the head and being sung by members of the crowd. Live So Fast, Kiss So Slow, a sprite and body-moving slink; Istanbul (based on a trip Lewis and his at-the-time-girlfriend were going to take before they split - the bitch!) more emotional and introspective; He Hath Made You Rich a highlight and crowd favourite. It is a song that has energy, addictiveness and memorability – one of those big choruses that, despite the self-flagellating and harsh subject matter, is one that embeds in the mind.

PHOTO CREDIT: Ray Roberts

The performances (from all three, in fact) were wonderful and it was the vocal blends that provided some of the highlights. In a lot of ways, the harmonies put me in mind of Fleet Foxes. One got the same lustrous and cascading tranquillity; the heady rushes and sweet-scented perfumes. Lewis, like Kiera, is another performer who has that ability to banter, connect and charm. Among the between-songs chat; we learned that his mum is doing well (kicking the cancer) and things are getting back onto an equal footing – he laughed that, although he was hanging with some luminous characters in the U.S., his love-life is pretty good now. As a singer; Lewis showed he was able to produce those graceful, spine-tingling high notes and the growled and lower contrasts. A full and gorgeous voice that added dimensions and physicality to the performances – another performer I would recommend everyone check out. Lewis hung around after his set and was selling C.D.s and chatting to the audience. I would recommend, if you can, buy his album - and bond with a brilliant musician with a big future. Lewis has a gig coming up in October but you can get abreast of all his happenings on his social media platforms. Like Kiera, again; another performer who has many years ahead of them. I look forward to seeing how Lewis follows his current album and whether its inspirations will be as astonishing and rare as hedonism and transformation in America!

Official:

http://www.lewisfieldhouse.com/

Facebook:

https://www.facebook.com/lewisfieldhousemusic/

Twitter:

https://twitter.com/lewisfieldhouse

Spotify:

https://open.spotify.com/artist/3eizgAd2xiT4Cy7t9dFm3W

Pillow Queens

I was a bit worried, because the weather was a bit crap, I had brought Dublin’s Pillow Queens all the way to London and provided them damp meteorology. Fortunately, they have another gig in a few days (in London) so it was not a one-off trip. The fourth gig in the country – other dates included Nottingham and Exeter – the quintet – rocked up to The Finsbury and, before taking to the stage, sampled the pizzas, beer (and cider) and ambience of the live room. It is clear, from meeting them, they have a real accessibility, wit and connection. I am not sure how long they have been together but they have a huge affection for one another and unbreakable (sisterly) bond. This translates onto stage where, from the opening seconds, one knows they are in the presence of a mainstream-worthy band. The headline act on the night; they managed to draw a really healthy crowd – the numbers for all three acts were better than expected (even though the quality was very high; the fact it is Sunday, and the weather was hostile, could have driven many away). It seemed, as they joked, half of Ireland was there to see the girls storm the joint! That they did as, from the introduction notes, they were going to get a big reaction. Again, an act that can put the audience in their palm and get big laughs and reaction.

Throughout the set, we heard anecdotes and insight. Rats, right near the end, trying to follow it, was kinda-sorta influenced by Michael Jackson’s Ben – the vermin-related songs not exactly common; if you’re going to be inspired by anyone, Jackson is a good start. I am not sure whether it was the craic or, perhaps, the beer, but there were giggles, long-winded explanation and comedic story-telling. I am not sure whether the story is true – I bought it – but the girls were brought to teary laughter – I believe, as they say, this anecdote might be repeated for their next gig – but the song was a stormer on a night when Pillow Queens saw the poor weather and added thunder and lightning to the mix! Even from sound-check; it was obvious the noise would be something to shake the walls. The crowd were jumping and, even though many had not seen the band before, were singing back parts of the first song. They were amazed the music had that telekinetic quality.

The thing about Pillow Queens is the fact that, when you hear a chorus, you are compelled to chant it and provide it support. The songs seem to blend Pixies-like Punk genius with the vocal range and sweetness of someone like Waxahatchee. If one can think of a few names to tie to the Dublin group it is, in fact, their individuality that sets the tone. Switching instruments between songs – bass and guitar exchanged – they are one of those bands that are adaptable and multi-talented. By allowing inter-changeable lead vocals and guitar/bass leads; it afforded the set a variability and freshness that did not compromise fluidity and structure. Cathy, Pam; Rach and Sarah are musicians I am keen to hire/see again and, if we can tempt them back to London, it would be awesome to put them up. This was the first time in the capital and, considering that, the turnout was staggering. They joked – or with some seriousness, in fact – they needed petrol money so, if the audience liked what they heard, to donate and buy their music. It was their banter and humour that balanced out a fierce and passionate set. Many did not want them to leave the stage (me included) because they really got into the hearts of the crowds. Queens is their U.K. tour and, between songs making it to seven-inch and plans afoot, it will be a busy one for them. If you can catch them at New Cross Inn (London) In on Thursday, I recommend you do – a show you will not forget in a hurry!

Facebook:

https://www.facebook.com/pillowqueens/

Twitter:

https://twitter.com/PillowQueeens

Spotify:

https://open.spotify.com/artist/7BDvurihyagH0uSPNDJX7d

PHOTO CREDIT: @richard.burke

Apologies must go to the girls who, I am afraid, did not get a chance to say goodbye to – after their headline set; they had their fair share of admirers eager to chat. Having to catch the last train, it meant a dash across London but, I will see them very soon, and was so glad they were able to come. It was a felicitous, week-defining and marvellous event. Apologies to all the performers who, in spite of producing epic and fantastic sets, were marred and let down by a faction of the audience. Aside from the fact the live room is quite small – and has a door either side – people were coming and going and not showing good door etiquette - the constant to-and-froing must have been a distraction and unwanted noise. The worst was the chatter that, despite the fact people have been to gigs before, thought nothing of chatting during songs! It is this kind of behaviour I cannot tolerate and was reserved to the minority – a few drunk guys, especially during Pillow Queens' set, were chatting throughout songs and their conversation. It added a stain to the otherwise-stunning night and made me a bit cross. Idiots and ingrates aside; a host of positives and great memories from the event.

Thanks to Giedre (from Lost in the Manor) for making it happen (with Chris Sharpe) and being there; the staff at The Finsbury and, above all, the trio of artists who made a dreary and rain-cast Sunday evening…

PHOTO CREDIT: Ray Roberts

ONE to treasure!

TRACK REVIEW: Luke Edney - I’ve Been Waiting

TRACK REVIEW:

 

Luke Edney 

I’ve Been Waiting

9.3/10

 I’ve Been Waiting is available at:

https://www.youtube.com/watch?v=3IwA5ZlBNcQ&feature=youtu.be

GENRES:

Rock; Blues; Pop; Folk; Pop; Alternative

ORIGIN:

Surrey, U.K.

RELEASE DATE:

21st July, 2017

PHOTOS:

J. Law and L.Edney

_______

LATER today, I am heading off to Harringay…

and seeing three artists take to the stage there. The destination is a lovely pub, The Finsbury, that, not only keeping things quite literal, is a great and underrated space for artists. It is the third time I have visited the place – I am there later in the year – and I have been fascinated by the artists who have played there the last few months. The reason I raise this is that there are spots all over London that are hidden and underexposed. I will start at this point but, when talking of Luke Edney, I want to address Rock; song subjects and living locations; the proximity to London and how one gets into music; song subjects and getting an education, quite literally, in music. Edney is an artist who has a sound that can translate to various venues and appeal to a broad range of people. The Finsbury, and its attractive stage is someone I can see Luke Edney playing very soon. I am not sure what his touring schedule is like but he, like every artist, will want to get out there as much as possible. I think this is an aspect many artists overlook: getting out into the public sphere and ensuring your music is heard. That might sound exaggerated but few artists are being proactive and passionate about getting gigs. I know there is a lot of effort for the modern musician – recording and promoting your music; getting it exposed and keeping on top of things – but it seems, with Edney, there is that desire to have his songs heard by the masses. In terms of looks, one might lazily compare him to Ed Sheeran – the ginger and cool facial hair; the acoustic guitar – but, luckily, he only shares personality traits with Sheeran – the music is very different. There is something naturally cool and effortless about him that will attract a lot of people in.

I know how hard it is distinguishing yourself from the crowd – there are, literally, thousands of guitar-wielding solo artists in the Home Counties alone – and I get that. Back to my point about gigs and spaces; the artists who exploit the smaller venues will be able to clean up. We have all heard how fragile and hypoxic the smaller venues are and the fact the live music scene in the U.K. is dwindling. I am upset seeing cracks form but know, the only way we are going to see a resurgence is by encouraging people to get out there. The only way this will happen is promoting and supporting the best artists. There is something classical and contemporary about Edney. He has a natural confidence and looks that gets into the mind but his mannerism, back-story and music seem to connect with the past. Couple that with a passion and conviction and here is an artist who has the energy and work ethic to hit as many venues as he can. I feel places like The Finsbury would be perfect for him but, being so close to London, there is an array of venues he can play. Many might say that, given the competition, there will many hustling for the same opportunities. It is about reading the market and doing research. It is not good rocking up to a venue and asking to perform there – you need to know what music they host and the type of musician there are looking for. In terms of Luke Edney; he mixes Rock and Folk tones and, in my mind, is a lot more adaptable and promising than most. I would urge him, to promote his latest single, hit up London especially and those spaces that support similar artists. The independent cafes and coffee shops are a great starting place; supplement that with some cooler bars and build that foundation. From there, later in the year, launch another attack and other spaces in the capital. Great venues are always looking for top talent: stubbornly applying and proving oneself is a good way to stick in the memory and get the people in. I know Edney knows all this but, in London alone, he can compartmentalise the place into ‘North’, South’; ‘East’, ‘West’ and ‘Central’ and draw himself up a mini-tour hit-list. I hope he does consider it as, on the strength of his music so far, there is a lot of potential.

One of the reasons I am flaunting London like a ragged pink boa on a middle-aged drag queen is a sense of desperation and vicarious longing. I, like Edney, am based in Surrey and I, unlike Edney, hate the place. It is not a secret confession but it revolves around the people – shall not get too detailed and vicious. Suffice to say, for several reasons – attitudes, intelligence; politically and their overbearing self of entitlement – they get right under my skin and cause a lot of depression. Surrey is a big county and there are a lot of cool people there but there is, in certain parts of the county, a toxicity that is not exactly attracting the best young musicians. I am not sure how Addlestone is stocked for venues – and what the people are like there – but I know the county is struggling to retain its musicians. There are a lot of pubs around Surrey but few genuinely great and reputable venues. The cities will always be the places people gravitate towards and set up to accommodate musicians. In counties like Surrey; there are the odd places here and there but there are limits. Even though Edney plays a mix of Rock, Blues; some Country and Folk tied in; the music tastes in Surrey – certainly among the venues – seems a bit limited. There is going to be that zeal and leaning towards the mainstream and slightly less-interesting artist. If one, like Edney, wants to find longevity and a huge audience, the cities are the places he needs to consider. Looking at his promotional material and he seems to bond with the scenes and countryside of his home – I can appreciate how the solitude and beauty resonate in him. That must provoke inspiration and creative outpouring but, the other end of the process is getting the music out to the people. I wonder whether there is a varied and viable scene in areas like Addlestone.

He, in my view, speaks to a younger audience and those who know their music – not dilatants and those looking for chart acts of the future. Maybe the proximity to London means he gets the best of both worlds, in a way but, I feel, he is a man ready-made for the city. I go down to Brighton as much as I can and always find myself comfortable among the people and the way of life down there – so many good venues and spots for musicians to cut their teeth. I am not sure whether that is an option for Edney but, if not, there are two cities that seem to leap out: Manchester and London. I am not running an anti-Surrey campaign – even though I hate the place – but know so many young people finding few opportunities. It is not that exciting and, if you are ambitious, you move away and go where the people are more open-minded, considerate and youthful. The reason for my vitriol and promotional compunction is the fact, in Luke Edney, here is an artist who is close to the capital and has music that differs from everything out there. I have smacked Surrey down but it has a lot of local spots/venues that are a good starting-point for any musician. It is essential he gets that grassroots experience and builds a name in his hometown. Even though local radio/press is a bit naff; collecting as much kudos and support as you can impresses and builds the C.V. I am thankful; actually, he is based where he is because, if he was raised in the city, one feels his music would be a bit more cynical and different. The woodland, vistas and modesty of his surroundings provoke a palette that blends personal inspection and romance with an uncommon edginess and singular talent. Invariably, the young maestro will have to accept his music has that mass appeal and, even if he wants to project to niche audiences – those who exclusively like his style of music – the city will be the place to go. I have mentioned Manchester because it is a lot more chilled and ‘friendly’, I guess, than London. It certainly has a reputation for its music and the warmth (sometimes directness) of the people. Not only do the people inspire but there is a huge and buzzing scene here – same goes for London.

I will come back to this point later – in my ready-made role as Ambassador for London and Manchester – but, for now, let me move onto something more touching and bespoke. Yesterday, I was talking about two Australian artists with a great sound. One of them is based in Byron Bay; the other has a P.R. company based on Bondi Beach. The inspiration behind their song, Polar Eyes, is different; their back-stories interesting. Luke Edney, in terms of location, is worlds away but, linking them, it seems childhood is pivotal. When my grandparents all died, they left memories and good times – but few physical things. With Edney, his grandfather left him something precious: an acoustic guitar. Rather sadly, the late relative always hankered to play the instrument but never got around to it. In a way, it is a lesson for us all: do not leave those desires and dreams thirsty and longing – grab them and find a way to make them work. If his grandfather kept this musical secret; at least, by handing the instrument down to his grandson, it meant he would have the chance to fulfil his grandfather’s dream. Although he is not around now; I am sure he would be very proud to see his grandson performing and succeeding. From a child who acquired this old and relatively untouched instrument; to a bold and ambitious musician who evokes embers of Eric Clapton and Hendrix – that is quite a leap and progression. One wonders whether that moment – the grandfather bequeathing his guitar to the bright-eyed youngster – sparked a desire to play music and succeed. Without speaking to Edney; I get the sense he is trying to make his grandfather proud and help achieve his dream. That is touching and charming because so many people get into music for the wrong reasons. This is what I meant when I said Edney has that contradiction of modern and classic. On the one hand, he uses the technologies, pertinences and streaming services of the current climb: against that, an origin and backstory that seems timeless and rare.

Most of the artists I review get into music because they want to emulate their favourite artists and make it big. I know Edney has desires to achieve success and popularity but one suspects his motives are a lot more ethical and familial. Carrying on a legacy and annunciating his grandfather’s dreams – that allayed instrument being put to good use – the young man is coming into music for all the right reasons. Teaching himself at high school age; he met and bonded with like-minded musicians who helped foster his desire for music. Again, in terms of influence, I am impressed seeing Eric Clapton and Jimi Hendrix on the list. They are lofty and world-class idols but not as common as one might imagine. A great many of the acts I review have narrow and of-the-moment heroes. I guess, in a way, the younger generations are forced new music and rely on digital means. They are not burrowing through crates if vinyl and getting excited at a near-mint condition copy of Rumours. Edney, in the way he belies his years, seems to be the kind of fella who has that desire to preserve the memory and brilliance of older artists. Maybe it is me being wistful and nostalgic – a first, looking ahead and my city desires; harking back to my childhood – but I find myself supporting artists who pursue music under the correct moral codes and understand where music came from. Edney, from his school days, progressed to the Academy of Contemporary Music and, whilst it is not a school I go to discover the best new talent, can understand how the educational foundations – and the peers he would have bonded with – have been incredibly important. The issue I have with A.C.M. – not to bash Surrey with little mercy – is the first word: it is a contemporary and modern facility that, in a lot of ways, gears its artists for charts and the mainstream. I see buskers nearby and something inside me sinks.

Aside from the odd standout performer; there is a general banality and commercialism that, one suspects, is being actively instilled into students. From Luke Edney’s perspective, it seems like his tastes and personality has overpowered that temptation to conform and modernise. His music has an of-the-moment flavour but there is so much of himself that has not been neutered and deterred by academic proclivities. I know a lot of artists who go to music schools that learn a lot of useful skills and know how important it has been to Edney. The bare bones and technical nuts and bolts are the best things about music schools/academies. You get a curriculum and insight into the music industry and make some useful contacts. So long as you eschew the urge to become a chart act and play the lowest-common-denominator style of music – buskers who play predictable covers with forgettable and boring performances – then it can be a very influential and useful. That is the case with Edney who has developed a talent for music production and, after getting that education in music; he has put it to good use. Unable to find a vocalist for his as-yet-unrealised band; he stepped alone and began his solo career. Before I come onto my next point, and tying to that debate about the city, I would encourage Edney to balance his solo career with future academic pursuits. When I hear him play and sing, I hear a young man who has the talent to emulate some of his heroes. He seems to be unconcerned with fitting into the mainstream and seeing how many millions of Spotify streams he can notch up. There is an honesty and earnestness that gets into my heart. If he were to relocate to London or Manchester; I wonder whether he would consider taking Music Production courses or something in performance – getting new insight from professionals and strengthening his incredible talent. Maybe he feels he needs to learn and evolve via performing and writing but there would be no dishonesty balancing that with additional teaching and instruction. I will return to that later but, stepping away from P.R./management push, shall come to look at Rock, genres and – to end the section – song subjects.

Let’s look at genres and the issue of Rock. Let me back things up for a second because, going back to Edney’s band days and he did play with Andy Steadman and the Handsome Devils. He lent his guitar skills for two years and assisted the band for a while. He would have learnt a lot from those days but, I feel, the artists he grew up admiring have made more of an impact. Whilst I’ve Been Waiting, Edney’s latest single, puts me more in mind of Paul Weller rather than Jimi Hendrix, there is something in the song that carefully see-saws between accessible and rare. I have said how Edney is trying to avoid being a factory-formed chart act but, hearing the song, it does have the ability to transcend into the mainstream – adding a bit of class and originality without compromising its soul and politics. It is a fantastic song whose origins I will explore soon. The tempo changes and the pace quickens as the song progresses. Whilst one does yearn for an arpeggio or Clapton-esque solo somewhere towards the end; there is a lot in the song that puts me in mind of the legendary Rock gods. The genre has been undergoing a bit of change as of late. I have mentioned how the excitement and flair we used to associate with the genre has been diluted and temporised by a lot of current acts. It seems there are these arena ambitions and, as such, something generic and insipid if creeping into Rock. There are artists who keep the spirit and inventiveness of Rock alive but so many who are not doing enough to preserve and progress the form. Big releases from the likes of Royal Blood have been predictable and basic. It seems Queens of the Stone Age show greater promise but I wonder how much room Rock has to intrigue the masses.

Luke Edney need not worry as, despite the fact I hanker for some Hendrix electricity, is developing his sound and, at the moment, does not remind me too much of anyone else. I am interesting seeing whether he assimilates his idols more acutely and forensically – keeping the core sound but adding flourish, fireworks and Blues riffs into the mix. On his current single, one hears a young man who is mixing sub-genres into Rock to keep it fresh and fertile. In the early phases, one has some Pop and Folk acoustics; it grows into something with a Blues sensibility and laces in some 1970s-inspired Rock motifs. A general energy and drive that augments the song provokes urgency and memorability. I worry about Rock because I feel our current crop do not understand the desperate state it is in. Too many are writing songs that are fit for stadiums and have that huge sound and chunky riffs. That is a much-needed staple but there are few providing anything to push the genre forward. Given Edney’s love of Clapton and Hendrix; his current sound and future desires – there is a lot to get excited about. The survival and success of Rock will be built be artists who have a need to gain success and influence without pandering to the mainstream; add new dynamics to Rock and understand the importance of the small genres. This means having a core of physicality and stun – the hard and heaviness that has the promise of stadiums – but subtlety, variegation and emotion. One of the reasons I was disappointed by Royal Blood’s How Did We Get So Dark? was because it lacked the necessary broadness for an album that arrived three years after a simple and no-thrills debut. To me, acts like Royal Blood are perfect live acts. I am reading a recent review of one of their shows and they are clearly one of the best live acts around. There are few that have the same sort of bombast, electricity and sweat-inducing excitement – considering there is only two of them.

What we need are artists who can inspire from the studio. I will bring in The White Stripes and apply them to Luke Edney. He (Edney) is a solo artist so will not be able to project the same sensibilities and exhilaration as Brighton’s Royal Blood. That said, the compositional and lyrical diversity Detroit’s The White Stripes projected throughout their ten-year recording career (might be longer than that) is worth noting. They, to me, were one of the last true genuinely inspiring Rock acts that pushed the genre forward. Not only did Jack White’s immense shredding help but the fact an album could contain acoustic numbers, savage Blues smack-downs and jiving piano-led stompers. I feel Edney is going to be one of those artists, one hopes has the same sort of variation and allure as The White Stripes. He admits himself that his E.P., Bipolar Love, was a little bit rushed. He wanted to get the recording out and have something in the ether. Modern music is so packed and cut-throat artists are releasing material quickly – so they are at least heard and on the board. It is hard asking time to prepare material because there is that feeling, if you take too long, people will forget you. If you release something quick, the quality might not connect with people – and it can be hard to come back. That is why an act like Royal Blood – taking three years between albums – ran a risk of being forgotten. The fact they are an incredible live act is, perhaps, one of the reasons people were excited to see them back. New, unsigned acts like Edney do not have that luxury. I’ve Been Waiting is a single that has been in Edney’s mind for years and he is relieved to get it out there. It differs from Bipolar Love in terms of its sound. The production is more assured and clear – it is still homemade, I think, but seems less hurried than the E.P.

The first think that strikes me about I’ve Been Waiting is how professional and unexpected it sounds. Bipolar Love, befitting of its title, has quite a ragged and rebellious sound that was a bit underproduced but created a definite buzz and excitement. Here, the production is exceptional and polished. It does not whitewash the music and vocal but it sounds like it could have been cut in a high-end studio (not sure if it was but it sounds gorgeous). The introduction is finger-picked and pastoral but it is Edney’s voice that strikes me. One looks at him and might expect something young, high-pitched and petulant (not a personal slight but many of his peers are a bunch of whiny, whinging arse-bags). Edney, to my delight, has a whiskey-soaked, cigarette-ravaged voice that pitches him between Paul Weller, Paul Carrack and Paul Young. It is that soulful and half-husked hue that reminds me of a cocktail joint. I see Edney in a corner – on a velvet-stitched stool – with a drink in his hand – one imagines he is a regular that goes for something like this. There is almost a suave, crooner-like element to him. One gets view of Frank Sinatra and Ol’ Blue Eyes delighting the crowds. All these sensations come to the fore within seconds of Edney’s tongue clicking. The guitar, at this point, is a backdrop to the urgency and romance in the voice. In fact, there are strands of Country in Edney’s voice. One never gets a sense of charts, modern artists and commercialism: this is a song born from a man who loves his older music and knows the importance of originality. This is a pertinent takeaway as the Surrey man addresses how he has been pining to create and sing new songs. I’ve Been Waiting is the anthem of a man running up the flag and keen for people to feel his presence. There is an “old feeling” that has been brewing and imprisoned inside the heart.

Not wanting to play the same song and repeat himself could, in a way, stem from the rigid and over-defined inflexibility of education – where one has to master certain songs and not allowed to spread their wings too much. Maybe it alludes to his band days and that desire to step out-front. In any case, one hears the young man finding his feet and looking for answers. If one imagines a cocktail bar-dwelling young man drowning his sorrows; to me, there is a romance and yearning that provokes thoughts. In one way, the song is a personal plea and campaign about his musical past and need for credibility and success. In another way, one gets romantic longing and urges. Maybe there is, alongside music, an underlying passion that needs quenching. Maybe that is over-analytical but I get a sensation of Edney balancing music and lust. It seems his heart, gut and soul and entwined in a tangle and unable to extract and liberate. The heart longs for music and chances; the gut seems to hanker for a sense of fulfilment and nourishment; the soul pines for music but there is a romantic side that makes me wonder whether a girl is in the mind. The lyrics are simple and clear but have nuance to them so one can digress and interpret as they wish. The biggest transformation comes when the lyrics and music step up and rise. From musical longing: it seems there is a clear romantic ideal. Maybe it is a way of speaking about music through the prism of relationship lexicon but one assumes there is a person in the mind of the hero. Edney has been patient and it seems, right now, there is someone in his mind that he needs to get. I’ve Been Waiting is defined by pent-up desires and waiting for that right time. If music success and clarity has not been as quick and ready as one would imagine; it seems sexual fulfilment is just as repressed. That might be the wrong word but there is a definite frustration.

I keep getting pulled in by the voice which seems otherworldly and born of a different time. Given he grew up listening to Clapton; I wonder who his vocal role models were. It seems like Americana and Blues were as pivotal as British Rock and modern-day Pop. It is such a rich and exciting concoction that affords the song more emotion, quality and depth than one would imagine. Edney is waiting for that “one fine day” to come back around: capturing something that has been there all along. Maybe that is purely the heart of a girl; perhaps it is the chance to take music by the horns. Whatever the true derivation of those lyrics, they are delivered with such a soothing and comforting burr. Among the banter “way after dark”; there is a young man who has these desires that need to be satisfied. The more the song goes on; the harder I find it to separate the romantic with the musical. There is a need to win a girl, it seems but, more than that, a hankering to step on and get the career roaring. Maybe my mind is divided but that might be the purpose of the song – not being obvious and creating speculation. I’ve Been Waiting goes through stages and has a nice quiet-loud dynamic. From calmer and reflective stirrings to all-out rapture and exclamation – the song goes through the emotions and captures the full spectrum of longing and remembrance. It seems there was a time when he and the heroine made time to waste time; have those laughs and forget about things. Whatever your impression of the lyrics, one cannot deny the individual nature and strength of the song. It shows Luke Edney has developed as a songwriter and, by employ a new Muse and inspiration, has crafted a song that gets one thinking and conspiring. I am fascinated by it and a voice that has needs to be heard by more people. If Edney can transport himself from local gigs and get the music to the cities; that, I think, will make him.

Perusing Edney’s social media, and it seems there is a down-to-earth and charming young man waiting to be discovered. He seems to have that conflicting personality that makes me curious. One can imagine him sitting back and having a few beers; maybe a quick fag (or something more ‘herbal’) and living one’s impressions of a traditional Rock lifestyle. Maybe Surrey is not the most Rock ‘n’ Roll county on the planet – more on that in a second – but Edney does not want to be easily predicted or defined. He has that other side: a serious work ethic and very professional approach to music. There have been teaser clips around I’ve Been Waiting. A lyric video has just been released – I have plumped for the SoundCloud link instead – and, one hopes, maybe another video will arrive. Such is the strength of the song, I wonder whether there is money in his kitty to film something. Maybe he will stay local and shoot something in the wilds and country elements of his home; perhaps he will head into the city and film an after-dark eye-opener. I would urge Edney to rustle some contacts and film a video because the song is worthy of as much exploitation and affection as possible. There have been (and are) local gigs played and lots of chances for the young songwriter to play to the local crowds. I wonder whether I’ve Been Waiting is the gateway drug to an E.P. The alluring cannabis-cum-L.S.D. of his current single opening up to a bag of cocaine, heroin and…not sure why I am going down this route. Dispense with metaphors or uppers, narcotics and Class-A drugs and, in essence, one has a musician who has a lot of chances in front of him. I mentioned, jokingly, there is something of the Ed Sheeran about his looks and promotional photos – a red-headed man carrying an acoustic guitar. In fact, that is where the similarities end. Edney is as far from commercial as you’d get and owes more to his Rock idols – than the likes of Ed Sheeran and the modern mass of beige chart-hungry performers.

Before I bring this down, I will end with music education and the modern game; a little bit about small venues but I shall return to the city, for now. I shall stop bashing Surrey because it seems, for Edney, it is working out alright for him. He got his education here and had some great gigs too. At some point, there will be the desire (one hopes) to cut the music apron-strings and relocate. It takes an hour (by train) to get from Addlestone to London Waterloo which seems convenient but, for someone of his calibre, a short Tube hop would be more beneficial. I see a man who has the desire to play the bigger venues and get his music out to the capital. If he does move to a place like London, Brighton or Manchester, I suggest it is then he will get the attention he warrants. It is vital getting local exposure but the media is not as connected and promulgating as it should be. In fact, a lot of the local media is pretty shite so a review of Edney’s gig is unlikely to make its way far beyond the confines of the country. Word-of-mouth only goes some way and, as many artists know, getting into the city is a direct way of pushing the music to the most influential and trendy crowds. I use the word ‘trendy’ but really I mean young and cool. There are cool people in the Home Counties but there pale into comparison to the large mass of uncool young and the middle-aged. I worry, if artists remain in areas like that, their music starts to conform to the sounds of the local radio stations – something numbing, dull and forgettable. A song like I’ve Been Waiting suggests Luke Edney wants to play the big venues and get his songs played by the likes of BBC Radio 6 Music.

Maybe my profiling is off the mark but any artist who wants to succeed and remain needs to dispense with the worst traits of the Home Counties and embrace the best qualities of the city. In this case, Edney has the looks swagger and talent to make it big but, let’s hope, he does not confine himself to Addlestone and Surrey. It is vital playing near home and getting that experience but musicians cannot realistically survive outside of cities. It might not mean relocating but certainly hitting-up the promoters and venues bosses of London, Brighton (or wherever) is paramount. Maybe Edney is already planning that but, to capitalise on the heat of I’ve Been Waiting; he has a chance to clean up. I can see him fitting into the cafes and coffee shops of London – not the corporate chains but those boutiques and independent chains that exist (a few more in Brighton and Manchester might tempt him there). The way I see things – if Edney is planning to release a new E.P. – Edney could formulate this game-plan. Play gigs around Addlestone, Woking and Surrey; get some reaction from the crowds and see how the locals react to the music. It is like warm-up gigs before a comic takes their show to the Edinburgh Fringe. Once he has played, say, a half-dozen shows; from there, there needs to be a bigger ambition. Edney could get gigs in London and Brighton so that is where I’d suggest. I am in London today and Brighton tomorrow: both cities have incredible venues. Brighton has Green Door Store and Komedia. Wander through The Lanes and the seafront and there are some wonderful cafes and spaces that are waiting for musicians to come in. Given the demographic and people of Brighton – bohemian yet laid-back; vibrant and colourful; a great L.G.B.T.Q. populous – the folk there know great and promising music when they hear it. London, closer to Edney, as I said, has great spaces in every corner. If he contacted a couple of venues in South London (Brixton, Clapham and Wimbledon, let’s say) he will find places to perform – this link might help. He could call it the Compass Points Tour (bit crap but something to work on) and contact venues in the East. Here are some groovy, hyper-cool and beautiful-looking spaces he could play.

Another list might give guidance. Look at the North, West and central and one has options here; here and here. Between this list, and researching other spots, Edney could easily curate a mini-tour of ten venues around the capital. This would get his music to the most prominent labels, people and venues in the U.K. Not only will he catch the ear of radio stations and journalists in London – it will open doors for more regular spots and performances in cities like Manchester (and beyond). I see great London artists switching between slots at coffee shops and those reputable small venues. I will not labour on but it is food for thought. Edney, to me, symbolises someone with a lot of promise. Shots of him with a fag in mouth and a beanie on might suggest someone who is a bit of a slacker but, whether he knows it or not, he has transmogrified from a floppy-haired lad playing local festivals to someone whose jib is cut from the cloth of the city musician. He has coolness and ruggedness that will get women swooning and the fellow bands and lads wanting to have them support him.

I feel there is a big social and friendship network for the Surrey musician in the big cities. London might not be on his mind but, given his sound, it is a good starting point. Those Rock gods – Eric Clapton and Jimi Hendrix – might materialise more overtly in future recordings but I can hear their impact thus far. Edney’s music creates a cocktail of 1960s' and 1970s' Rock with Blues and Folk; modern Pop and Rock with something proprietary and unique. He has a level-headed and hard-working approach which, I know, will pay big very soon. I shall leave this but know there will be many talking about Luke Edney very soon. Maybe he will be tempted to study at one of London’s bigger academies/schools and learn more about his craft. He is an exceptional musician but, concerning guitar and production, courses available that means he can be mentored by professionals and, thus, apply this to his own music. I feel – thrashing this horse to death – Luke Edney, when he steps into the cities, will see his music go from local levels to the bosom of national radio and the biggest venues. It is a brave move but he is a talented songwriter and musician who does not want to remain a secret. I’ve Been Waiting seems, in its title, to define a longing and frustration to get music out there and have his name heard. In terms of where he is going, and concerning success and growth, the young artist will not have to…

WAIT much longer.

_______

Follow Luke Edney

 Official:

https://lukeedney.com/

Twitter:

https://twitter.com/lukeedneymusic

Instagram:

https://www.instagram.com/lukedney/

Facebook:

https://www.facebook.com/lukeedneymusic/

SoundCloud:

https://soundcloud.com/luke-edney

YouTube:

https://www.youtube.com/user/edaz92

FEATURE: Critic-Proof: The Near-Perfect Albums Hard to Fault

FEATURE:

 

Critic-Proof:

IMAGE CREDIT: Rosabelieve (Deviant Art)/IN THIS IMAGE: Kate Bush (Hounds of Love, 1985)

The Near-Perfect Albums Hard to Fault

________

BECAUSE Arcade Fire are about to unleash to the world…

IN THIS PHOTO: Eminem (The Marshall Mathers LP, 2000)

their already-critically-acclaimed album, Everything Now, it appears that record will get unanimous praise. I find it hard believing many will give it anything less than a five-star review. That is rare in an age when there are so many media sites – could an album ever get THAT much praise?! That sort of universal acclaim, I thought, was normally reserved for albums long ago. It is not that our tastes have changed or music has got worse – the classic, titanic albums rock-up very rarely.

That said, there are a few that, if one looked at Metacritic, would be in the high-nineties. I select a host of albums – from the 1950s to now – that have gained those lofty scores and got the thumbs-up from all (or most, at least) critics.

I take a selection through the decades and, in addition to providing the album itself, select the finest track from it – a chance to discover why that record received such a fantastic reception.

__________

1950s:

Elvis Presley – Elvis Presley (March 23rd, 1956)

 STANDOUT TRACK: Blue Suede Shoes

Miles Davis – Kind of Blue (17th August, 1959)

STANDOUT TRACK: Blue in Green

1960s:

Bob Dylan – Highway 61 Revisited (30th August, 1965)

STANDOUT TRACK: Like a Rolling Stone

The Beatles – Revolver (5th August 1966)

STANDOUT TRACK: Here, There and Everywhere

The Rolling Stones - Beggars Banquet (6th December, 1968)

STANDOUT TRACK: Sympathy for the Devil

1970s:

Carole King – Tapestry (10th February, 1971)

STANDOUT TRACK: It's Too Late

Joni Mitchell – Blue (22nd June, 1971)

STANDOUT TRACK: Carey

Stevie Wonder – Innervisions (3rd August, 1973)

STANDOUT TRACK: Higher Ground

Led Zeppelin – Physical Graffiti (24th February, 1975)

STANDOUT TRACK: Kashmir

Fleetwood Mac - Rumours (4th February, 1977)

STANDOUT TRACK: Go Your Own Way

Blondie – Parallel Lines (23rd September, 1978)

STANDOUT TRACK: One Way or Another

Michael Jackson – Off the Wall (10th August, 1979)

STANDOUT TRACK: Don't Stop 'Til You Get Enough   

1980s

Talking Heads – Remain in Light (8th October, 1980)

STANDOUT TRACK: Once in a Lifetime

Kate Bush – Hounds of Love (16th September, 1985)

STANDOUT TRACK: Running Up That Hill (A Deal with God) 

The Smiths – The Queen Is Dead (16th June, 1986)

 STANDOUT TRACK: Cemetry Gates

Paul Simon – Graceland (25th August, 1986)

 STANDOUT TRACK: Under African Skies

Public Enemy – It Takes a Nation of Millions to Hold Us Back (28th June, 1988)

STANDOUT TRACK: She Watch Channel Zero?!

Soul II Soul – Club Classics Vol. One (10th April, 1989)

STANDOUT TRACK: Back to Life (However Do You Want Me) (ft. Caron Wheeler)

Beastie Boys – Paul's Boutique (25th July, 1989)

STANDOUT TRACK: Shake Your Rump

1990s:

Nirvana – Nevermind (24th September, 1991)

STANDOUT TRACK: Breed

Tricky – Maxinquaye (20th February, 1995)

STANDOUT TRACK: Black Steel

Oasis – (What’s the Story) Morning Glory? (2nd October, 1995)

 STANDOUT TRACK: Wonderwall

DJ Shadow – Endtroducing….. (19th November, 1996)

STANDOUT TRACK: Building Steam with a Grain of Sand

Björk – Homogenic  (22nd September, 1997)

STANDOUT TRACK: Hunter

2000s:

Eminem – The Marshall Mathers LP (23rd May, 2000)

STANDOUT TRACK: Stan

The Strokes – Is This It (30th July, 2001)

STANDOUT TRACK: Last Nite

The White Stripes – Elephant (19th March, 2003)

STANDOUT TRACK: Seven Nation Army

Dizzee Rascal – Boy in da Corner (21st July, 2003)

STANDOUT TRACK: Fix Up, Look Sharp

2010s:

Kanye West – My Beautiful Dark Twisted Fantasy (22nd November, 2010)

STANDOUT TRACK: Dark Fantasy

Kendrick Lamar – To Pimp a Butterfly (15th March, 2015)

STANDOUT TRACK: King Kunta

Nick Cave and the Bad Seed – Skeleton Tree (9th September, 2016)

STANDOUT TRACK: Jesus Alone

Lorde – Melodrama (16th June, 2017)

STANDOUT TRACK: Green Light