INTERVIEW: January

INTERVIEW: 

  January

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SOMETIMES she is known as ‘January Thompson’ but…

on a warm and bright day (had to get the corny weather/time-of-year joke done); I get to connect with January. She was born in the U.S. but is based in Britain – recording at her studio in Brighton. I ask about her album, Whelmed, and shooting the video for Too Soon.

She talks to me about the themes explored in her songs and some of the albums/artists that guide her work; what she has planned for the coming months and whether her musical upbringing – listening to Classical and Electronic sounds – has impacted her now.

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

Heloo! Great, thanks.

I’ve started writing again: recording at my studio in Brighton. 

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

Yes, of course, it would be my pleasure:

My name is January Thompson. I grew up in a household saturated with music - as my mother is a Classical pianist. I’ve always loved and wanted to be a part of the world of sound and one way was through singing - which has led me on the road less travelled: collaborating and working with different Electronic producers and D.J.s – and now, in releasing my first album, it has quite a bit of Classical influence mixed with subtle Electronic overtones.

PHOTO CREDIT: Hugh Fox and Lou Petty

The nominations for our very own Mercury Prize have been revealed. Did you catch the list and what is your view on the nominations?

I did.

Happy to see Kate Tempest getting some proper acknowledgement – also, love The XX and alt-J.

These are people that wouldn't normally get nominated for anything big in the States so happy to see that they are. 

Before addressing your album; can you tell me about the song, Too Soon, and shooting its video?

The inspiration came from the feeling of a relationship coming but having to wait for it - because it’s too soon - “What’s too soon for us, too soon to find we’re not alone/we echo in time/I’ve questioned why It’s later/isn’t this our time and place?”

So it’s a so-close-but-so-far-away kind of scenario.

The video was shot in Ojai, California - sort of giving the lost-and-waiting-in-the-wilderness feel. 

Whelmed is your latest album. What kind of stories and events compelled the songs on the album?

The title is an old sea term for when a ship would capsize. In this sense, the album is very much about being immersed in feelings.

Each song has a very distinct emotional correlation to an event or person in my life.

My world is built on my relationships with other people. Every time I start writing, it is with someone in mind: not always romantic, but mostly, of course (it is).

Romantic love always has highs and lows and twists and turns that need to be expressed; to better understand. Music and writing songs have always been cathartic for me in dealing with the good, and yes, some bad – or I’d like to say, ‘challenging relationships’.

Romantic love is never easy.

Is there a song on the album that is especially meaningful and personal?

I’d say Whelmed - the second single. It really sets the tone for the whole album, being immersed in feeling for the other person. 

How would you say this album differs from your earliest work in terms of sounds and the song subjects one can discover?

I’d say it’s much more developed: mainly because of the calibre of musicians and the producers that worked on it. I also had co-writes on a few of the songs - which was a first for me. I quite enjoyed the process. 

I believe you grew up listening to a lot of Classical music. Your music has elements of Electronic and Alternative. Who are the artists you take inspiration from? 

Enya.

I love her layering of vocals and the synths and, of course, Björk and Chopin (to name a few). 

In a lot of ways, you remind me of innovators like Björk. Is she someone you take guidance from?

Absolutely.

She’s groundbreaking and bold; her voice and how she emotes are incredible. She’s a hero for sure.  

How important was your time collaborating with British D.J.s when it comes to your music? What did you take from them?

Incredibly important.

From finding my actual ‘sound’ to recording vocals and learning how to record - and produce myself and use Pro Tools and Logic.

I was really lucky with my teachers. 

Any plans for later in the year? Do you already have more music in your head?

I do, actually, yes.

I’ve started writing again after a year-long hiatus. Feels lovely and am starting to work with some new musicians - which is always a source of inspiration, collaboration. 

PHOTO CREDIT: Adeline Sumney 

What sort of tour dates do you have approaching?

Nothing set, yet. T.B.A.

Who are new acts you recommend we check out?

Anything released on Erase Tapes, really: Ólafur Arnalds and Nils Frahm (to name a few). 

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

Arthur Rubinstein – Chopin: Nocturnes

I grew up listening to my mother play Nocturnes (and this album). They really express the sentiment of my heart and inspired me learning the piano.

Björk – Homogenic

The Electronic elements blew my mind and she managed to mix in Classical instrumentation with great songs - in a way no one had before that. Groundbreaking. Set the musical bar for me.

Linda Ronstadt – Greatest Hits

Another one my mother would play all of the time when I was a little girl – through her split with my father. We would sing it at the top of our lungs. I think it’s safe to say Linda taught me to sing: “Love is a rose but you never can pick it, only grows when it’s on the vine/Handful of thorns and you know you’ve missed it/Lose your love when you say the word mine.”

PHOTO CREDIT: Adeline Sumne

What advice would you give to artists coming through right now? 

Just keep writing what’s in your heart.

It’s good to learn and borrow sometimes from the giants before us – but try to stay as true as you can to your vision and your sound.

Never give up…ever.

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

Hyperballard by Björk

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Follow January

JANN3.jpg

INTERVIEW: Anthony Touma

INTERVIEW: 

  Anthony Touma

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HE made it to the semi-finals of The Voice….

in France (Season Two) and won Dancing with the Stars in the Middle East. The Lebanon-based sensation Anthony Touma is, in addition to all that, an incredible artist who is a triple/quadruple-threat – few can boast the same range of talents and achievements! Toumas was born on the Western edge of Paris’ 16th arrondissement and grew up listening to the masters of Soul and Pop. I ask Touma about his idols and how important they are in regards his music.

I find out about Touma's new single, Walk Away, and what it was like shooting the video on the streets of Lebanon. There is an English-language album arriving and plenty of important gigs for Touma. He selects the three most-important albums in his life and words he would offer his (mass of adoring) fans.

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

Hello!

My week has been hectic but great! Hope you’ve had a nice week as well?

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

My name is Anthony Touma. I’m twenty-five and I’m a singer-songwriter from a small, but beautiful, country in the Middle East called Lebanon.

Just a guy with a dream - led by a couple of words and melodies.

Walk Away is your new single. What can you tell me about the inspiration behind the song?

Walk Away is a feel-good song: it’s full of positivity and it’s all about surrounding ourselves with positive things and people - and asking any negative person around us to simply ‘walk away’ - because we’re in a good mood and nobody’s taking that away from us.

I was first inspired by people who didn’t initially believe in me but then walked up to me, years later, showing “Fake Love”, as Drake would say. We can all tell when someone actually has good intentions towards us and when they don’t.

That’s where the idea for the lyrics of Walk Away first came from.

 Its video looks like it was insane fun. Where was that shot and what was the experience like?

It was crazy-fun, indeed!

We shot the music video in my home country, Lebanon. We shot in many different places and regions including Tripoli and some of Beirut’s suburbs. We had two cameras filming the whole time so that we don’t miss any reaction. We took the risk of going out there without really knowing what kind of reaction we would get.

Every person we met on these two days of filming was extremely nice and cooperative.

We could tell they just wanted to have some fun and I’m really happy the song was so positively welcomed. It was truly an experience: I had never done anything like that before and I had never had this much fun shooting a music a video before, either. Thumbs-up to Ingrid Bawab who directed the Walk Away music video.

Slemian Damien and Tarek Marjdalani helped produce and put the track together. What did they bring to the song in terms of expertise and insight?

Geniuses.

After I wrote the lyrics and the melody for Walk Away; Tarek and Sleiman took the song to a whole new level. They first came up with the idea of having the bass guitar line lead the whole song and we started having fun with that idea.

Once we had that riff; Sleiman and Tarek started producing all the percussive elements of the track - and that’s when the song took a turn towards the African theme that we have today on Walk Away. They sent me the track and it inspired me to come up with all the African vocals.

The result of all that was a track I’m very proud of.

I believe there is an English-language album arriving. What can you reveal about that?

The album is being produced as we speak. It’s a Pop album, in English.

So far, I’ve written all the songs on the album but I’m always open to the idea of someone writing for me. It just hasn’t happened yet. Most songs are inspired by personal experience: some happy; some not.

Wouldn’t want to reveal more than that but I’m as excited as one can be.

What kind of sounds and themes will be included? Is it quite a broad album or can one expect a similar flavour to Walk Away?

It’s definitely a modern Pop sound that the album will have. I would say it’s broad while remaining in the Pop spectrum.

The themes vary from heartbreaks to ‘sexy time’; to love songs, to self-reflection songs - just the regular stuff we go through on a daily basis!

In the past; you have been a semi-finalist on France’s The Voice; winner on Dancing with the Stars Middle East and, outside of that, you've had a great deal of success. How important were these experiences getting your name and music to more people?

I definitely wouldn’t be here if it wasn’t for these shows I was a part of.

I would still be working as hard as I am today but fewer people would know about it. I’ve learned a lot from these experiences: I went through good times and tough times and they all taught me a lot about today’s world and about myself.

Born in France; you moved between there, Jordan; Dubai and Lebanon – before settling here. Did this itinerant childhood influence your music? Did you pick up from the cultures of each nation or was it quite an unsettling and confusing time?

I was three-years-old when my parents moved back from Paris to Lebanon. I spent most of my childhood in Lebanon and moved around Dubai and Jordan (when my father worked there). After The Voice, I lived in Paris for three years and, after that, I lived in London for a little less than a year - to study music production and songwriting. I definitely picked up a lot from the different cultures I was exposed to. It’s both a blessing and a curse.

A blessing because of it’s extremely enriching aspect but a curse because of the confusion it could lead to. The feeling of not knowing where you belong is a very unpleasant and difficult one.

I’ve come to believe that what matters more than where you are is who and what you surround yourself with - and the way you treat yourself.

How early did music come into your life? Do you remember the kind of artists you grew up listening to?

My mom having a beautiful voice and a guitarist; music was a part of my life from the day I was born. I would say I really fell in love with music around the age of seven - which is when I went on-stage to sing for the first time during a school concert.

I grew up listening to Michael Jackson, Stevie Wonder; Ray Charles, Scorpions, Whitesnake - and whatever albums my father left lying around the house.

Your fan numbers on Twitter, Facebook; Instagram and YouTube are incredible. How important is your fans’ support? What message would you give to them?

My fans’ support is everything.

They got me here and they keep me going. I love interacting with them and trying to get to know them better - and social media allows me to do that. I try to be as honest as possible with them. I always hope to inspire some of them or simply encourage them to go after their dreams.

I would thank them for always being there and tell them to stay tuned - because some great things are coming next!

PHOTO CREDIT: @venusvania

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

I’m performing at a couple of summer festivals here in Lebanon during this season: the next one is happening on the 5th August in a city called Aley.

For those outside of Lebanon, I make sure to give a little intimate concert every now and then live on my Instagram!

Are there any new acts you recommend we check out?

Check out a band called Safar - it means 'travel' in Arabic. It’s a two-member Lebanese band based in New York, North Carolina and Beirut. They’re awesome.

Elie Abdelnour, one of the members, used to be my bandmate in Homemade: the High School Rock band I was in (yes, I was in a Rock band: long hair and all).

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

1. Bad by Michael Jackson.

This album was on-repeat in the house, car: anywhere I could play it. I knew every song and in the right order! It was, probably, the album that made M.J. an idol in my eyes. I might have been struck by… “a smooth criminal”.

2. FutureSex/LoveSounds by Justin Timberlake

Such an awesome album. J.T. is an inspiration to me in so many ways. He just keeps getting better and he always takes the music to (yet) another level. He takes risks and I love that about him. That album was my most played album for 2006 - and all the years after that. My personal favorite from the album is Until the End of Time. That was later on recorded as a duet with Beyoncé. What a song.

3. Unorthodox Jukebox by Bruno Mars

I mean; how I can I not include that album in my list?! The first time my mother heard When I Was Your Man; she called me and asked me if I had released a new song without telling her. That album is fire! Every single song takes you to a different place - and Treasure is (just) that song that I can’t listen to without dancing and singing along.

What advice would you give to artists coming through right now?

Being an artist is not easy.

It’s a lot of hard work with no guaranteed recognition; no guaranteed success and a million different ways to achieve the same objectives. It’s a lot of trial-and-error and you have to want it really bad - or else, you’re gonna end up quitting. It never gets easier!

That being said; my advice to any artist is to take all the time in the world to really figure out what they want to do, what they want to sing; who they really are as an artist and what are they willing to do or not do to make it.

Be true to yourself, basically, and take the time to figure things out...patience is key.

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

Following this interview, I really feel like going back to 2006 and listening to Lovestoned by Justin Timberlake.

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Follow Anthony Touma

FEATURE: Go Figure! The Shifting Demographics of British Radio

FEATURE:

 

Go Figure! 

IN THIS PHOTO: Chris Evans of BBC Radio 2

 The Shifting Demographics of British Radio

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IT is interesting, a few weeks after it was revealed how much…

PHOTO CREDIT: Unsplash

BBC’s talent was paid (annually), we get a report detailing the figures each of the radio stations has notched up. It is coincident – and, perhaps, not related – but I find it curious in regards the findings. I have written pieces stating how influential radio is when it comes to discovering new music. Streaming services are important but you cannot beat the variation and passion one gets from the radio. Whilst I am normally hooked to BBC Radio 6 Music; it is intriguing looking at the demographics of each station and whether the figures have gone up or down – and whether there is because of the music they play; the talent behind the microphone or changing tastes. Before investigating; let’s have a look at the findings  (presented on the BBC website):

“Chris Evans's BBC Radio 2 breakfast show lost almost half a million listeners in the past year, figures show.

It comes just weeks after he was named as the BBC's highest paid star.

The DJ drew 9.01m listeners a week between April and June 2017, down from 9.47m over the same period in 2016, according to figures by audience research body Rajar.

He was paid between £2.2m and £2.25m during that same year.

The figures show Evans lost 370,000 listeners between the first and second quarter of this year - before his salary was published.

It's better news for Nick Grimshaw - whose breakfast show on Radio 1 saw its weekly audience rise by 350,000 listeners on the previous quarter to reach 5.5m.

It is also an increase on the 5.43m listeners who tuned in during the same period in 2016.

Radio 1 as a whole saw its audience jump by nearly half a million between April 3 and July 25 - with 9.6m listeners compared with 9.1m in the first three months of 2017.

The figures show Radio 4's Today programme has increased its weekly listeners to reach a record high - with 7.66m tuning in during the second quarter, compared to 7.13m three months earlier.

 Radio 4 itself also reached its biggest audience since records began in 1999 - with 11.55m listeners every week.

Bob Shennan, director of BBC radio and music, said Radio 4 was "as vital as ever as it approaches its 50th anniversary".

The BBC's figures overall were "fantastic news for radio, illustrating its enduring appeal in a crowded digital marketplace", he added.

LBC's audience also increased, with 2m listeners a week between April and June 2017, compared to 1.7m over the same period in 2016.

The stations parent company Global said it was an all-time high for the station, with presenters Nick Ferrari and James O'Brien both reaching record audiences.

Radio X, which was rebranded from XFM in 2015, also reached its best weekly audience yet with 1.4 million.

Jo.jpg

IN THIS PHOTO: BBC Radio 2 D.J., Jo Whiley

Alan Brazil's breakfast show on talkSPORT lost about 400,000 listeners, with 1.6m a week in the 2016 period down to 1.2m in 2017.

The figures show the morning slot on Kiss saw its weekly audience drop slightly to 2m in the last quarter from 2.1m.

But the programme, hosted by Rickie, Melvin and Charlie, remains the most popular commercial breakfast show in the UK.

Classic FM's symphonies struck the right chords as its weekly audience increased by over 200,000.

And Heart 80s - a new station that launched in March and plays exclusively eighties music - attracted 850,000 listeners in its first Rajar quarter”.

These figures are published regularly and, maybe, one should not read too much into things. What I find interesting- the first thing, at least – is the loss of listeners from Chris Evans’ breakfast show. It is hard reading about that listener drop and ignoring the fact he is the BBC’s highest-paid talent. Not that this should split and bother his loyal listenership. Maybe there is a causal, fair-weather faction who have deemed that huge fortune as a good reason to go elsewhere. It is controversial discussing the pay findings – and why there is a notable gender-gap – but many would have been put off by the fact Evans earns a huge fortune. He has earned this – and been in the industry for years – but I feel one of the reasons his BBC Radio 2 morning show has lost listeners is because of changing tastes.

IN THIS PHOTO: BBC Radio 6 Music's Shaun Keaveny

It is interesting BBC Radio 6 Music were not heavily mentioned in the article. Of course, Evans started shedding listeners long before the furore around his earnings. What the findings show is many more people are listening to the radio. Maybe BBC Radio 6 Music was omitted because it is digital-only but I know it has picked up a lot of listeners. The ‘traditional’ stations are seeing numbers increased and a wider demographic emerge. Streaming services and digital stations pack the market and it is very tempting to listen exclusively to them. What is apparent is people are still bonded to the good old-fashioned radio. It is not a stubbornness or age thing: that combination of great music and entertaining presenters is a potent blend. It is unsurprisingly Nick Grimshaw gained a lot of new recruits. Maybe there are a lot more younger listeners discovering radio: pleasing when one thinks about how digitised and Internet-based a lot of music listener is becoming. Why, then, is radio not only surviving but growing?! Before I give my theories on today’s findings: a look back to a 2011 piece published by The Daily Mail -

IN THIS PHOTO: BBC Radio 1's Nick Grimshaw

“But it found that radio had the most mood-enhancing effect, with listeners saying that it lifted their happiness levels 100 per cent and energy levels by 300 per cent, compared to those not using any media at all.

The report said: ‘Radio is chosen as a lifestyle support system, to help people feel better as they go about their daily lives. Rather than the peaks and troughs that people have claimed to experience with TV and the internet, radio provides a consistent environment themed and shaped to suit the listener’s needsat any given time of day, and one that is generally upbeat in tone.’

Viewers said TVs boosted their happiness by 62 per cent and energy by 180 per cent, while those using the internet said their happiness was increased by more than two thirds and energy levels leapt by 220 per cent,  when compared against people consuming no media”.

PHOTO CREDIT: Unsplash

Many might think it is a case of people forsaking digital technology and bonding with something simpler and vintage. That is not the case – as shown in a 2015 piece by The Guardian:

“Nearly 40% of radio listening is now on digital with record audiences for digital-only commercial stations including Absolute 80s and Planet Rock.

Absolute 80s pulled in an average of 1.45 million listeners a week with another 1.25 million tuning into Planet Rock, both owned by Bauer Media, in the first three months of this year, according to Rajar listening figures published on Thursday.

Kiss spin-off station Kisstory, another Bauer station, also hit a new high, up 21% to with 1.13 million listeners.

PHOTO CREDIT: Unsplash

Digital listening was also given a boost by record audiences for the BBC’s Radio 4 Extra, which leapfrogged BBC 6 Music as the UK’s biggest digital-only station, with 2.17 million listeners.

Digital platforms made up 39.6% of all radio listening, up from 36.6% in the same period in 2014, including DAB radio, online and via apps.

In the London area, digital listening has now overtaken analogue, with a 46.8% share ahead of FM and AM’s 46.2%”.

Not only is the continued rise and success of radio encouraging: the fact a lot of young people are discovering the form is encouraging to say the least. I feel Chris Evans’ drop in listeners is less personality-driven and more to do with the type of music being played. I have listened to the breakfast slot on BBC Radio 2 and the playlist is not exactly invigorating and uplifting. If one wants to start their day right: you’d think you’d choose a show that had some spirited and fun music. Maybe that is a reach but I do wonder why there has been an exodus from his show to other options – Evans has been at the helm for years and has become no more irritating and unlikeable than before.

IN THIS PHOTO: BBC Radio 4's The Today Show

We know BBC Radio 4 – and stations more suited to ‘older’ tastes – has seen its marketshare increase. One cannot say it is the young vote influencing this change. In Evans’ case; I feel it influenced by the time of day and a growing need to, at that time of day, discover a different type of show/music. Perhaps it is a brief blip but I was surprised to find so many leaving BBC Radio 2’s breakfast show. Are there more compelling reasons radio is seeing a resurgence? A piece by OptiComm Media, published last year, shed some light:

“In this exciting age of digital it is easy to overlook the value of radio advertising or wrongly assume that it is less compelling than other channels.  Undeniably, the younger demographic do have a preference for listening to music using online video and streaming services via platforms like Spotify who are significantly increasing their foothold.  However, in the UK 9 out of 10 adults still tune into radio each week – that’s 48.7 million people.   Digital radio has also made radio more accessible to the masses – 58.9% of total radio listening is now via a digital platform with 30 million adults owning a DAB digital radio.

Digital radio also enables advertisers to target much more specifically based on listening preferences, region and age group to ensure the advertiser’s message is reaching its intended audience.  No doubt the day will come when listeners receive personalised ads based on a stored profile but for now, there are still plenty of persuasive reasons for looking at radio.

When was the last time you drove your car without the radio on?

IN THIS PHOTO: Russell Brand of Radio X

People do listen to radio ads and unlike TV where there is a tendency to channel hop, radio listeners do not change stations with the same frequency and are often more loyal to their station of choice.  Radio’s avoidance score is joint-lowest with cinema.  The RAB (Radio Advertising Bureau) estimate that 57% of listeners have checked out a product or service online after hearing about them on the radio while 39% revealed they have been compelled to search for something on the internet after radio prompted them to do so.

The effectiveness of local radio stations should not be overlooked.  These constitute an integral part of the community and businesses advertising on local radio can benefit from making that association and connection.  Listeners often develop an affinity for a particular presenter and think of them almost as a ‘friend.’  This feeling can extend to regular advertiser and sponsors if they get their messaging right.

Radio is a great selling tool because with the right script and voice you can convey emotion and authority and it can also be a very cost effective and speedy option.  With most stations offering excellent packages and deals that include scripting, production and licensing you really can reach more people for less than you may think and get on air in only a matter of day”.

IN THIS PHOTO: Jeremy Vine (BBC Radio 2)

It is not only the U.K. that is seeing its radio economy flourishing: American listeners are backing their stations and discovering new joys from the radio. I am interested in an article published by Forbes:

“Instead, it’s all about smartphones and other connected devices for the younger crowds, which should come as no surprise to anybody who knows someone between the ages of 15 and 19. Smartphones are now responsible for 41% of their listening, which is much higher than the average when taking into account all age groups, which is just 18%. There is clearly a lot of room to grow when it comes to streaming platforms and the older generations, which seem to have barely been tapped.

Just because millennials have all but abandoned traditional radio, that doesn’t mean the format is “dead,” and in fact, radio is still doing alright, at least for the time being.

Millennials don’t listen to as much radio as those that came before them because they have much better options these days. Younger millennials are also in a unique position, as many of their parents are young enough to have caught on to streaming or other listening options instead of sticking with radio. The popularity of streaming is growing all the time, and now that so many devices have connected capabilities and wi-fi (including cars, where a lot of radio listening takes place), it’s easy to see why young millennials don’t have the connection to the radio that older generations still do”.

IN THIS PHOTO: Clara Amfo of BBC Radio 1

Is it, then, the case millennials are not only broadening their tastes – maybe some of BBC Radio 4’s new listeners are breaking trends and subverting expectations – and discovering radio through Smartphones and the Internet? It is impossible knowing exactly why certain stations are on the rise; why Chris Evans has lost a lot of listeners – it might be no down to simple factors or sudden realisations. The biggest takeaways from the new findings are radio’s lure and appeal continues to grow. We know how popular it was in 2011/’14/’15 – this looks set to continue for many more years to come. One cannot discount the influence of digital option, though. Maybe listeners are listening to F.M./A.M. stations through devices more? It does not matter how one listens to radio: the fact it is a format in no danger of extinction is wonderful. Unlike film – where there is a social aspect to going to the cinema – one could well imagine why people would forsake radio and choose streaming sites! The traditional and loyal core of radio listeners is not being tempted and distracted by the proliferation of streaming sites. People are still going to concerts but they have plenty of time for the radio. It is a forum one discovers new artists on; finds comfort in and unearths treasures.

PHOTO CREDIT: Unsplash

For me, radio is not only access to the variety of upcoming talent: it is the chance to preserve the finest sounds from the past. I listen to shows like Desert Island Discs (BBC Radio 4, Sundays) and, as a result, have sought-out other shows on the station.  In terms of age groups, and whether certain stations are bringing in younger listeners, it is interesting reading a BBC breakdown. Similar breakdowns will be apparent this year but I am interested how important younger listeners are when it comes to contributing via digital means; how solid the traditional core is (older listeners) – and whether streaming services are actually driving people to radio. Streaming sites have their uses but they cannot cover the same sort of ground as radio. One does not get to listen to a human being via streaming – in the way they hear a D.J. on the radio. The breadth and choices one gets with the radio cannot be easily replicated. Whatever the reasons behind the continuing prosperity of radio are; I am still fascinated by the declining listenership of Chris Evans to other stations. I do not believe it is Evans’ personality and style that is driving people away. Half-a-million lost listeners is a huge dent and one wonders what the real reasons behind that are! Regardless of Chris Evans’ popularity; I am pleased radio remains in rude health – and continues to grow in popularity. It shows people are not only listening for music content but current affairs, comedy and a variety of shows. I, for one, hope radio’s dominance…

CONTINUES for decades to come.

INTERVIEW: Milo Gore

INTERVIEW:

 Milo Gore

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IN the ever-increasing sea of musicians…

PHOTO CREDIT: Matt Bramston

one struggles to get their head above the water. Every example proffers their goods like an opportunistic stallholder at a foreign market – seeing a tourist approach from afar. I always love it because, in this line of work, it is good to be as busy as possible. There is something almost off-the-radar and elusive about Milo Gore. I talk to the talented songwriter about his lo-fi, D.I.Y. sound and some exposition regarding the new E.P., Watch the Tide.

He talks to me about the band members and producers that help put the music together; his influences and what role music played during childhood; how the rest of his year is shaping up and the kind of themes addressed through his music.

________

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

Hello, hello. I’m good, thanks.

It’s been a mad week actually. Me and my drummer, Luke Parkinson, just got back from a week-long busking tour of Cornwall. We stayed in my little red Piaggio Porter for the week - staying on cliff-tops and beaches. Then (just) hitting-up cool locations like St. Ives and Porthleven to do some music.

It’s been sweet-A.-F. - but we are knackered now.

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

I’m twenty-one; a student living in Falmouth, Cornwall - and I’ve just released my first E.P., Watch the Tide.

I’ll throw in that I’m a Chelsea fan, too.

Watch the Tide is your debut E.P. What can you reveal about the kind of stories and ideas represented in E.P.?

That’s a question I like.

I think, in today’s music industry, there is too much, as Trump would say, ‘fake’ music. I (just) don’t think enough artists back up their music with a thought, an idea or concept that would enhance their message.

Justin Vernon is a massive influence on me and, if you’ve listened to his latest album, you’d understand why. The thought that has gone into, not only the music but the album cover, artwork and music videos of Bon Iver, are so clever.

It allows the music to draw you in further as it adds the important visuals. For Watch The Tide, I tried to do the same. The record is a very personal one: each song explores a significant point in my life.

A big thing I write about is mental health and depression. The title of the E.P. and the artwork of the faces that represent the moon phases are meant to represent the ups and downs of a mind/mood. For me, depression is something that needs to be voiced a lot more – so I hope, through my music, I am doing that in some way.

I have a bunch of symbols on the back artwork that all have a relevant meaning - and each definitely has its own underlying message.

Max Waymark produced Watch the Tide. How did you come to meet him and what did he bring to the recordings?

I had already met Max in the first year of university - as he lived next-door to our guitarist, Jay Beale. Then, in the second year, I put a message out of Facebook as we needed a bassist - and Max was the first to respond.

That’s it I guess. We just all clicked with him, and even better: he is a dope bassist!

There is a range of sounds and instruments played on the E.P. It has a rough-around-the-edges charm. Did all the music come together quite quickly or do you like to experiment with sound/genres?

I think we already knew the sound we wanted so there wasn’t much experimenting.

We first set out to get the foundation down for all the songs, i.e. Bass, Drums; Guitars and then, from there, we started to add in the little bits of magic.

Next time, I think I will definitely take more time during the writing period to think about new ways to evolve our sound. It’s certainly rough-around-the-edges as it was recorded in my small shoebox of a room (haha).

I think it adds that something to our D.I.Y. sound - written and recorded in its natural location.

Tell me about the musicians you play with. How did you come to meet and perform alongside them?

The band is made up of all my musical friends I have made at uni. They are such awesome people and, without them, my music would not be the same - so much love for them I can’t explain.

-          Luke Parkinson: a rad guy; is my unbelievable drummer.

-          Max Waymark: a glorious bassist and the producer of the E.P.

-          Jay Beale: sexy guitarist (who also has his own stuff up Spotify - and all and it’s so sick.)

-          Kieran Clark: another sexy guitarist (who will have his own stuff up online soon - he goes by the name, Luke Moss.)

-          Christina Smith and her lovely vocals (she is recording her E.P. at moment under the name of FARE).

Your band mantra, ‘Forever Whatever’ seems very apt in these times. What does it represent and symbolise to you?

Luke and I actually (just) got matching ‘Forever Whatever’ tattoos while on tour recently!

I can’t really remember when it came about, to be honest: it just happened naturally. It’s not meant to portray a meaning of ‘do whatever you want’ but more a kinda-saying to help let go of the past and bad things you may be holding on to.

Take whatever feels right from it – forever, whatever!

Who are the artists you (and the band) grew up listening to – give me an insight into your idols and influences.

Straight-up, I have to say, Ben Howard as my biggest influence. Without him, I just wouldn’t be songwriting at all.

Listening to his music taught me a lot and I really connected with his lyrics. Justin Vernon is a genius, too. I also listen to a lot of Catfish (and the Bottlemen), The 1975 and another favourite, Bears Den.

I guess they all really pushed me to the sound we have now. I wanted to create records that were anthemic, climactic sing-alongs - as well as being intricate, meaningful and delicate. I think I’ve done that in places?

Music seems like an industry where it is becoming harder to make money and endure. Do you ever worry you have to gig harder to get recognition or does the passion and drive for music overcome all of that?

Definitely not in it for any of the money.

I mean, money is great - I would absolutely love to earn a decent living off my music but, as you said in this industry, it is harder to make a good wage.

I am happy as long as I get to keep making music and keep making records. Gigging, in my opinion, is also the best part - the band and I love it; no better experience.

What does the rest of the year hold in terms of material? Are you working on more songs?

I’ve actually just finished a song that Luke and I were writing on tour. It’s my fave so far.

We’re gonna release that alongside another single and a tour vid. -so stay tuned!

Do you have any tour dates approaching? Where can we come and see you play?

We are playing on the 5th August at Langaland Festival - as well as playing the Hurly Burly Stage at Boardmasters this year.

I’m also putting on the music every day from 12-3 P.M. at the Hurly Burly – so, if you're around, come on down and see some mad artists from Red Van Records.

IN THIS PHOTO: Jay Beale/PHOTO CREDIT: Matt Bramston

Who are new acts you recommend we check out?

Jay Beale, absolutely. He is a genius.

A Blaze of Feather and Matt Maltese.

Again...genius.

 IN THIS PHOTO: A Blaze of Feathers

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

I Forgot Where We Were – Ben Howard

Taught me a lot about myself.

Islands – Bears Den

Writing-style; the way they build each track with layers and harmonies.

How to Save a Life – The Fray

Golden Oldie. A bit more Pop-y but I just think they are bangers from when I was younger - I still know every word!

What advice would you give to artists coming through right now?

Get confident; understand your band and practise…then gig, gig, gig.

Just write as much as you can - you develop further every time.

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).

Ooh, amazing!

Urm...Jay Beale – Retiro

(Jay is my housemate and guitarist - and he is making some unbelievable music right now).

Cheers, thanks very much.

Milo Gore x

________

Follow Milo Gore

FEATURE: “If Music Be…”

FEATURE:

PHOTO CREDIT: Unsplash

  “If Music Be…”

________

THERE are three reasons I am writing this piece.

IN THIS PHOTO: Björk for Dazed’s autumn 2017 issue/PHOTO CREDIT: Jesse Kanda

I need to keep this short(ish) for a couple of further reasons. The first is, having to compact my writing into an evening, there are inevitable mistakes and rush-provoked mishaps coming in. I yearn to have the entire day writing and not be beholden to the dark embers – pushing myself until the light is extinguished. I shall come to that another time but, ironically, I am writing about reviews and journalistic attention – whether it is useful and how authoritative it is. I mentioned I had a few motives for writing this feature. I wanted to look at other writers and whether they are being forced into brevity: if it is useful when reviewing an album and whether one needs to expend many words. Another reason (why this is here) is Björk (who one can see pictured above) has announced a new album is just around the corner. Her last one – 2015’s Vulnicura – was a pretty good one. Even by her impeccable standards; it was one of her most successful and assured of the decade. She is a consistent artist who does not want to rest between albums for too long. Lord knows what has inspired her upcoming album. Recent efforts have looked at nature and science: she has pushed boundaries and found new ways to create sounds and invent staggering soundscapes. Whether she continues along this line – or adopts a directness one can associate with her early days – I am not sure. Although she says it the album is coming out soon; that could mean a few months – maybe it will be out on Friday. Who knows, eh?! Whatever it is dropped, and whether a single comes out beforehand, it is one of the most-anticipated releases of the year – even though nobody heard about the album (whatever it will be called) until today. The mere suggestion of a Björk is a moment of joy and revelation. Speculation will grow and people will be wondering what is coming...about that word limit thing…!

I wanted to write this piece because, more than anything, I am reading reviews and articles that come out in the mainstream music websites; those we see in the underground sites and the big magazines. Going back to Björk and, without being too distracted, she assessed her forthcoming album, thus:

“This is like my Tinder album,” she explains in the feature. “It’s about that search (for utopia) – and about being in love. Spending time with a person you enjoy is when the dream becomes real.”

Elsewhere in the piece, Björk discusses how the rise of right-wing populism helped inspire her new direction: “If we’re gonna survive the situation the world is in today, we’ve got to come up with a new plan. Especially now, this kind of dream is an emergency.” She also talks about reuniting with Vulnicura co-producer Arca for the album, describing it as “the strongest musical relationship I’ve had.”

That snippet is from Dazed - and is a teaser for the question-and-answer/feature she has conducted with the magazine. It is very exciting and it makes me feel, when the album does come out, what kind of reception it gets. I titled the article the way I did because there is a huge irony. We all know that Shakespeare soliloquy/adage and that, as much as anything, should define music. It is a food of love and banquet: a passion that should not be prone to brief curiosity and insincerity. I find a great number of music journalists are tasked with reviewing an album and really not putting in the graft – have to keep this to fewer than two-thousand words! I mentioned how mistakes are creeping into my work – there may be the odd bit here-and-there in this article (that gets missed). It is inevitable there’ll be the odd grammar/spelling error because: A) I do not have a sub-editor and try the best I can and, B) I do better than most – consider the number of words I type a week. My reviews are unique as, simply put, they go pretty deep. Like a well-hung porn star working overtime: I go in hard and plunge deeper than a submarine.

PHOTO CREDIT: Pixabay

Expunge that rather odd nautical-cum-ejaculation image from your mind and you know what I mean. I review new artists and feel I need to be as thorough as possible. I realise accuracy, articulacy and variation are important: if one is lacklustre in one area; are they entitled to judge others?! The reason I put so much effort into every review is down of the work that artist does. They take the trouble to write the song/E.P. and toil endlessly to get the sound right. From there; they embark on production and mixing; pushing it to journalists and hoping people react to it. Few realise how hard and anxiety-provoking recording music can be. There is so much expectation and pressure on an artist: they, in turn, feel rushed into recording music to fulfil a sense of critical expectation. I am not naming any papers/sites but we all read such brief and pointless reviews. If a mainstream artist puts out an album – and ensures it is the best it can be – what use is a review that lasts only a couple of paragraph?! I honestly see mainstream reviews that distil an album into eight lines. Sometimes it can be even worse and you wonder what the journalist is doing during the day – and why they are in such a rush! It comes down to editing guidelines and making something bite-sized and digestible. I was looking at reviews for two recent albums: Dizzee Rascal’s Raskit and Arcade Fire’s Everything Now. Both albums gained different reactions – the former more positive; the latter left many cold – but it was hard getting a genuine consensus. Obviously, different reviewers have different thoughts but I saw few reviews that actually went into any details. Rather than listen to the album itself: how am I meant to get a true sense of an album’s pros and cons from the collection of barely-there reviews?! Arcade Fire’s album got a couple of five-star reviews off the bat. Those were, by-and-large, quite detailed and gave me something to go by. The mediocre/poor reviews – in terms of the quality of Arcade Fire and not the journalist – were punchy to the point of being pointless.

IMAGE CREDIT: Unsplash

They slagged the album off in a couple of sentences and that was it. Because of that, I was so confused as to whether the album was much cop. I had, say, five reviewers saying it was crap and five saying it was good – if two journalists say it is a great record, and put the effort in, does that means I should side with them?! The same was true of Dizzee Rascal’s new one. The Guardian gave it a meaty review and that was quite refreshing. I picked up some good points but felt, before I went out and bought it, I’d read a few more reviews to get a balance. The ones I saw ranged from three-to-four stars: there were few that rated it higher or lower. That lets me know critics like it – if not crazy about it – and they were pleased Dizzee was back to his near-best. Pleasing for me, as a fan, to know he has produced something better than the genuinely bad, The Fifth. I have, so you know, bought the album and heard it on Spotify beforehand – so irritated at the slapdash reviews and complete lack of passion. I have heard Everything Now on Spotify and had to make my own mind up (I will not be buying that album). I mentioned a certain Icelandic artist earlier – and have her as the cover-star – because her as-yet-untitled album will not merely be dropped into shops without it getting into the hands of critics. Maybe she will release a single before; maybe she will have snippets of songs out there – she is not someone we can predict in any way. Being a Björk album; it is going to be full of wonder, invention and the mysterious. It will have big sounds but, as it is a paen to love and hankering for Utopia; it makes me curious how that will manifest itself. I can well imagine but, before the writer graces us with the L.P.’s presence: I need to collate a few reviews and see what people are seeing. For me; passion may compensate (to an extent) for some at-times-sloppy penmanship – scansion, syntax and grammar not always tip-top and rosy – but I acknowledge this.

IN THIS PHOTO: The album cover for Arcade Fire's Everything Now

People pick me up on it and I yearn to be better. My greatest positive, I feel, is the way I approach reviews and how I dissect songs/artists. If I was charged with reviewing Björk’s upcoming album; I would provide some background and contextualise the record. I would ensure the review was thorough, concise and helpful. I worry so many journalists, even if it is a Björk record, will reduce it to a few paragraphs. It makes me wonder how useful modern media is and whether we are compressing articles to suit a short attention-span. There are culpable sites – some are really great and ALWAYS make their reviews detailed – but I want to see consistency across the board. If I am looking for some Björk reviews; I will do a search on Google and see the search results. Clicking on them; it can be quite a frustrating experience. They give the album a star-rating but then, when it comes to explaining the songs and what the album is about, often that is compacted into a few paragraphs. The artist has put her soul into the album so one wonders whether she is offended by the short and punchy reviews. I know sites limit their writers to a word count and do not like to put too many long articles online. Music is a wonderful industry and the greatest albums deserve a proper and passionate review – even so-so records need the right amount of words to justify their rating. One cannot give an album four stars and then write ten lines. What is anyone supposed to do with that?! It is happening more and more and it is making purchasing habits quite erratic. Once was the case we’d look at reviews and get a sense of what an album was about; go out and buy it and that was that. Now, people cannot gauge an album’s validity and quality on the strength of reviews. They stream the odd track and then, when everyone has had their say, will, make their own decision. The music consumer needs education and guidance: I am concerned sites/newspapers/magazines, in their zeal to be accessible and digestible, and taking a calorific approach to writing.

PHOTO CREDIT: Unsplash

They are presenting a sparse and small meal and not providing the public with any real substance and nutrients. Because of this – and follow the diet/food analogy here – there is this anaemic and under-fed reaction. We are being left hungry and maddened by the vast array of stupidly-sized reviews. (I am aware of the irony that is on display here). I have rambled on and exceeding my word limit desires for this piece. There might be errors and omissions but, I feel, in decrying critics and their review culture have, ironically, put more depth in than they would reviewing an album. I want to be one of those mainstream critics but feel I would not be allowed to expend necessary effort and thought. Perhaps that is the way the media is but it makes me sad thinking Björk’s upcoming album will be assessed in so few words – she deserves so much more and is an incredible artist. I will leave this be but wanted to discuss something that is making me quite angry. I see a lot of people rage at the laziness of many journalists and how sites are putting out threadbare reviews. It is not inspiring the new generation of journalists and means, for the artists being reviewed, they are not provided with the attention they deserve. That creates a negative culture and makes them less inclined to make more music. We all know, dears, music IS the food of LOVE. Whether you like the album (or not): it warrants a decent and diligent write-up. For that reason, when faced with an album, there needs to be changed. Do not limit the reviews to so few words. Truly LISTEN to the album; let the imagination conspire and…

PHOTO CREDIT: Unsplash

PLAY on!

FEATURE: Megahertz: The Changing Face of Dance Music

FEATURE:

 

Megahertz: 

 The Changing Face of Dance Music

________

ONE of the biggest changes I have noticed over…

the past few decades is how ‘Dance’ music has evolved. I use that ('Dance') word advisedly as it is hard to define what that really means. I get it is, rather obviously, music one can dance to. I was born in 1983 and remember growing up with a lot of music from the 1960s and '70s. My earliest memories of Dance music, I guess, were formed around the late-'80s. At that time, one was starting to hear those great Club anthems arrive. My fondest recollections of music began as a young child. It is eye-opening thinking about acts like Snap! and Soul II Soul. In broad terms, one sees few comparisons between them but they each made music designed to get people moving. One can quibble regarding genre-terms and terminology but, in its wide remit, there is a lot of flexibility regarding Dance. It was a glorious era – the late-'80s/early-'90s – for transformative and hugely evocative sounds. The clubs were different then: just as sweaty but not quite as ultra-modern as they are today. That seems insane as they can only be as developed as the world around them - but there is a different pulse and sensation today. I will look at today’s market but, flicking back the 1990s and it is, without doubt, one of those decades where music stepped up and changed the world. I won’t chat about the Grunge, Britpop and Alternative sounds that were setting the world on fire – they definitely had an impact and influence on the Dance artists of the time. Most people’s exposure to the floor-bangers of that period is through compilation albums. They hand-pick the ‘greatest’ Dance anthem (or whatever) from the period – in order to give a taste of what it was all about. Actually having grown up in that time meant I, like many people, had a much more tangible and realistic impression of the scene. One of my favourite childhood recollections is hearing The Key The Secret by Urban Cookie Collective. The Eurodance band hardly stuck around long – and the song is horribly dated now – but, in 1993, it was quite something.

PHOTO CREDIT: Unsplash

Again, without sounding like I am scanning down a compilation C.D., I recall the likes of Haddaway (What Is Love) and Dr. Albarn (It’s My Life) light up the charts. I was, perhaps, a little immature to appreciate how they songs translated in the clubs but, marvelling today, I am struck by how innovative and timeless those songs are. Few would have predicted the way Dance transformed from the 1980s. I know there was a sturdy Dance scene in the 1980s but nothing as varied and compelling as the decade that followed. To me, it is the innocence and freedom of the songs that strike. There is sexuality and suggestion in some songs: the music was not as direct and one-minded as it is today. A lot of the tracks dealt with self-determination and expression; surrendering to the rhythm and purity of love - such an exciting, refreshing and moral style of music. Yes, I am not naïve enough to suggest Dance music was attending church and helping the elderly at the weekend. There was plenty of sex and rudeness stuffed in-between the crevices. Towards the end of the 1990s, there was a definite turn towards a more throbbing and hardcore vibe. Maybe, in order to shake off music like Britpop and U.S. guitar music; Dance artists felt they needed to reflect a more edgy and futuristic style of music. It is interesting how fast that transition happened and how the form evolved in the decade. I have a fondness for the Dance music from, say, 1988-1995. That was, in many ways, the first time Dance took a huge role in the mainstream and was translating worldwide. At that time, the finest Dance artists came from Europe: today, there is a greater reliance on U.S. and U.K. artists. It is interesting seeing why there is a nationality/continent change from the 1990s to the current time. There were fewer artists around in the 1990s – getting into the studio meant you probably had a record deal – so the quality-quantity ratio was a lot better.

It was that sense of fun and playfulness that struck my tender mind. I listen to the songs now and many of them have not dated. Those themes of togetherness, losing oneself and feeling good are as relevant now as they were then. If the likes of Dr. Albarn, Baby D and Snap! were ruling the charts in the late-'80s/early-mid-'90s; then it was Fatboy Slim, Underworld and The Prodigy who took over from them. The younger siblings were a lot more intense, dangerous and fuelled-up. If the predecessors were giddy and loveable from being tipsy: the grittier and more experimental Dance that ended the 1990s was sampling everything it had shoved down its throats. Acid, cocaine and heroin mixed with booze and cigarettes. I am not suggesting Dance lost its innocence and become an irascible and undisciplined hell-raiser. Maybe there was a desire for something more ‘mature’, sexualised and bangin’. It was during the late-'90s I was starting to get into artists like The Chemical Brothers, Basement Jaxx and Underworld. There is a need for clarification when we talk about ‘Dance’ as a genre. I have seen Reggae and Pop songs go into that category which is fair enough. It can, in broad terms, be seen as music that makes you move and hit the dancefloor. If we talk in pure terms: the end of the 1990s saw Dance music become more muscular, darker and progressive. The mantle switched from brilliant Eurodance to the new generation of British and American Dance artists. This country, especially, started to make its mark on Dance at the end of the '90s. Basement Jaxx, when writing their album, Remedy, were annoyed at the void that was left in Dance after the real buzz and carnival of the early-mid-'90s. The fun had gone and was replaced by something generic, repetitive and unengaging.

Something had happened between the time those classic '90s anthems were released and the final stages of the decade. There was derivative rehash and a real deflation that seemed to happen – perhaps Dance was becoming more underground and has reached a zenith it was unable to sustain. Basement Jaxx, among others, articulated a desire to push Dance/Electronic music to the next decade. In 1999, when they released their debut, new cultures, sounds and ideas were brought into the music. They added back the fun and ensured songs exploded with colour and huge choruses. Epics like Red Alert signified a return to that classic Dance sound: songs that make you sing loud and flock to the dancefloor. The Brighton duo was not the only artists to breathe life into the spluttering corpse of Dance music. I have mentioned artists like The Prodigy and Orbital. Trip-Hop acts like Massive Attack provided a shadowy, night-crawling sound that beautifully contrasted the bright and cheery Dance of the early-'90s. Thematically, things started to change, too. There was a turn from the universal and celebratory to a more insular and negative tone. Again; that is not the case with all Dance. Maybe there were doubts as we headed into the new century but I definitely detected a harder crust and less optimistic disposition. What was inspiring was how artists were pushing beyond Europe and bringing new sounds to the game. The Prodigy sampled a lot – Nirvana’s Very Ape was used on their hit, Voodoo People – and other artists were fusing elements of the 1980s (New Order was an act that were still being incorporated) and suggesting what the future held. It was a stunning clash of past and present that broadened Dance and took it to new heights. 

IN THIS PHOTO: Basement Jaxx

Basement Jaxx, Daft Punk and LCD Soundsystem were the kinds of artists who were redefining and reshaping Dance/Electronic music of the '00s. Maybe that is just a sign of time and growth but it is interesting seeing how a shift between European and British/American Dance radically transformed the genre. Throwing forward to today and I see Dance acts fusing the harder and bolder sounds of the '00s with the coquettish and spirited anthems of the '90s. The worst thing about that shift was the fact the music was tender and less relaxed: the greatest aspect was it was becoming broader and more experimental. Not as one-note as a lot of the anthems from the 1990s: the finest Dance purveyors of the following decade were unafraid to push forward and bring in new sounds in order to create something incredible. One of the worst things about an open music market is the fact a lot of today’s Dance artists employ basic elements and rely on the machine. Too many songs are processed through laptops and lean on samples and digital intervention. The vocals, often, are processed and the lyrics depend upon clichés and basic language. Maybe music, to an extent, has witnessed too much and there is little room for innovation. One of the good things about modern Dance is the fact it does not remain rooted in the present. I hear a lot of artists nod to the 1990s and that reckless light and smile – mixing it with the of-the-moment technology and demands. Dance, as a genre, is not as big in the mainstream as Pop and Alternative but the genre is still thriving and influencing artists. My big desire is to see a semi-return to the greatest Dance music of all-time: that mid-'90s-cum-early-'00s blend. THAT would be incredible! I know technologies are more advanced and the charts have modernised - I could not see many objecting to a reinvestigation of the older, more fun Dance sounds. I love how Dance music still has a place and can throw up epic tunes. The best and most original Dance songs are those that get out of the mindset of chart positions and disposability and dig deeper.

IN THIS PHOTO: Nicolas Jaar

The more youthful and BBC Radio 1-minded Dance artists tend to go for the easy height and are less concerned with preserving Dance’s ethic and pushing it on – nodding to the past and creating a balance of light and dark. The Dance music (of today) I love most can be distilled into an album like Sirens – released last year; it is the finest work from the Chilean-American producer, Nicolas Jaar. That album – one of the best Electronic Dance Music albums of last year – looks at his home in Chile and the political turmoil it faced after General Pinochet’s junta; how it is coping and the issues it needs to tackle. There is a split between artists like Jaar, Aphex Twin and Björk who represent that innovative, genre-fusing and deeper style of Dance/Electronic that brings in multiple genres and has a much more intelligent and mindful approach. There is that contrasting band of sweaty and juvenile Dance that employs anodyne beats and aimless electronics – designed to get the clubs jumping but not linger in the mind. Dance will always campaign and impress but I feel it is going through cycles. Right now, it is broader and less definable than it has been in decades. It is a wider genre that seems to reflect the cross-pollinating nature of the artists. I do miss the values Dance espoused in the 1990s but realise how extraordinary the artists that picked up its baton contributed so much. I will not put a playlist at the bottom – you can do your own research – but I have touched upon how changes and time have impinged on Dance music. It is a genre I still love but I wonder whether we will see artists embracing the quality and innovative spirit of the late-1980s and early-1990s. I shall put on the childhood bangers I love but keep my ear open to the best of the modern breed. I feel Pop still dominates the mainstream: if Dance were more variegated and consistent, I would like to feel it could have the same vanguard drive it did during its heyday. In a dark and unsettled time; that is a dream we…

PHOTO CREDIT: Unsplash

ALL would like to see realised.

INTERVIEW: Rising Appalachia

INTERVIEW: 

 Rising Appalachia

________

IT has been a real joy getting to know…

the sisters of Rising Appalachia. Their music has been lauded by the likes of NPR, Paste and No Depression. They are household names among festival-goers and played alongside Damien Rice. I talk to them about the new live album, Alive, and what we can expect from its lead-off single, Lean In.

They talk about the earth and their surroundings; how inspiring the land is to them and the ethos behind their music. I learn about the sound and cultures that go into their music; the West Coast tour dates they have coming up – including a series of gigs around California – and whether there is new music coming next year…

________

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

Good. Long.  

Lots of planes… lots of naps (L.o.L.).

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

We are sisters Leah and Chloe Smith: born and raised in Atlanta, Georgia by some incredible Appalachian Folk music parents and extended community.

Rising Appalachia is also Biko Casini on Global Percussion and David Brown on Stand-Up Bass; Baritone Guitar and Banjo. We play a melting-pot of Folk music that is simplistic and textured with both Southern-American lineages as well as global roots. The band has songwriting that highlights vocal harmonies and incorporates elements of clawhammer banjo, fiddle; double bass, and acoustic guitar - along with World percussions such as the djembe, barra and bodhran.

We also like to feature a lot of Spoken-Word. Our goal is for Rising Appalachia to be both genre-bending and familiar at the same time. We also work to utilize our platform as musicians to help promote social and environmental justice causes - with the aim of educating and inspire positive change.

We wanted to form our own business standards as well as break out of the formal stage barriers…bring music back to the streets and creating space for different artistic collaborations along the way (poets, dancers; painters, non-profits, speakers; education initiatives, farmers; youth groups, etc.).

We ask the question: “How can we make music that reaches further than the edge of the stage…further than the Sat night dance party?” - one that has lyrics that speak to a human experience and a concert-model that asks the audience to come ready to participate - it is not just a passive entertainment.

We are asking our ‘fans’ to help us shape this work: to bring us their stories, their songs; their local beacons, artists; environmentalists, justice worker; local medicine, wild foods; regional lore…so that we can showcase all the collective efforts it takes to move towards that “more beautiful world our hearts know is possible” - as author Charles Einstein calls it.

Can you tell me the inspiration behind the name, ‘Rising Appalachia’? Is there a particular significance behind it?

We were urban kids: born and raised in Atlanta (near North Georgia) and the beginning of the Appalachian Mountains. But, our mother was involved in the traditions of Southern Appalachian Folk music. We aren’t trying to retell Appalachian traditions or re-live urban traditions, but, instead we are trying to take all of our influences between our exposure to Southern Appalachian Folk music and our relationship with the deep urban South and Jazz - and create a sound that is rising out of Appalachia; a new tradition rising out of all of these old traditions.  

Leah had a dream that specifically held the name ‘Rising Appalachia’.  

As sisters, you share a love of music - but can you remember when you decided to go into music together?

Leah: Because we are sisters; there were very natural and unstructured beginnings to this project that formed a different sort of foundation than your standard band approach. We grew up with music so we’ve sung together ever since we were babies. I am three-and-a-half-years older than Chloe and, ever since we were both little kids, we were in music circles.

Our mother used to sing us harmony parts to various songs in our ears at a young age - so that we could hear how the sounds stacked up and complemented one another - and how some notes would bounce or create tension with other notes.

It was always a big part of our lives but we were both doing outreach, education and activism in college and beyond. We made an album as a holiday gift to our family. We recorded it in a day. It was just a fun thing that we did - mostly takes of old songs. That was the beginning. This was about nine-and-a-half-years ago: way before the name Rising Appalachia even existed. We would play tunes with our family and at the farmers market sometimes and it got picked up by a community of music appreciators - and we started getting asked to perform.

Without fully realizing it; we forged our own music management concepts - and basically learned how to run a business as well as an expansive art project. Art makes industry: industry does not make art. Industry helps art but can’t create it. We felt that the standard way that musicians worked was not the structure we wanted to pursue. The fact that we are sisters has helped us stay true to our vision...

I think our sisterhood has kept this project alive and breathing for the most part. When one of us is just about to collapse the other one can step in and take the touch. We know that about each other so well. We also know every button to push, but mostly, we are allies to each other. We try to take time off to just hang out together and keep our friendship strong - and there is never any doubt about where the loyalists lie. So, perhaps sometimes we might crave a little more space than we get - but we keep a strong balance.

What kind of music did you grow up listening to?

We grew up in downtown Atlanta, GA - rather immersed and happily-steeped in both traditional music - Appalachian, Irish; Jazz - and World harmony - singing from our parents and their musical community - as well as (in) the urban pulse of underground Hip-Hop, Soul and the Spoken-Word movement.

Although that might seem an unusual combination of influences, we had fun navigating the cultural melting-pot and bouncing from fiddle festivals in the Appalachian Mountains - on the weekends - to our downtown high-school and underground Dance clubs in the city. We have found the overlap to be a huge creative inspiration in our work as musicians, performers; story-tellers, and bridge-builders.

Lean In is the lead-off single from the live album, Alive. What is the tale behind that song?

Written in the streets of New Orleans in homage to Etta James - and the deep Soul traditions of the South - Lean In is a song of giving love a softer second try.

It seems you have a real passion for conservationism, environmentalism and positive change. Do you feel few artists project spirituality and a sense of responsibility through their music?

We believe that the role of the artist should be to question social norms; the walk of the underserved, poverty; racism, land loss and other deep seeded injustices that have followed the story of humanity. Music is a tool and a catalyst for betterment in our communities. It’s always available to be a resource for social change and a platform for dialog around justice issues in our world. We work to utilize our platform as musicians to help promote social and environmental justice causes with the aim of educating and inspire positive change.

We wanted to bring the music to places where it wasn’t and offer it as a collaboration. We want to see a return of music as a community experience and a tool where musicians are held accountable to be carrying the stories and the dialogues - and the messages of their communities. We believe it’s a bigger responsibility than just entertainment— that the role of the musicians is a public service and an important fabric to the folklore of a society. We wanted to be storytellers: not just drink sales at the bar.

Music-making should lend itself to the whole community: the struggles, pains; celebrations, and spiritual paths of us all.

Alive is your first live album. What was the decision behind releasing a live album and what was the experience like?  

Our past two years of touring Wider Circles has been an incredible amalgamation of creativity, cross-pollination; spiritual and musical growth; dog-tired days on the road - and all sorts of other bits and pieces of the story. Our band really solidified our sound as well as our voice as activists and storytellers in this process – and, so, we wanted to release some music from those journeys that was Alive (in the way that only live shows are).  

Will there be any new music coming later this year?

Yes.

We have lots of other collaborations with other artists in the cooker - as well as some new material of our own.  

We are, however, in no rush.

Your music, Roots-based, is very different from many acts. What is it about this style of music that attracted you?

Folk music has always been By and For the people.

There is a real, true grit and honesty to that - that which we have always found enticing as well as familiar.

The ego can run away with itself in this line of work - and Roots music has a way of keeping the artist close to the ground and on the right track.  

You have been in the industry for over a decade – recorded several albums and amassed a huge number of fans. What has been the highlight of your career so far, would you say?

Oh, there have been many…

Performing at Red Rocks; playing at some of our friends’ weddings; our most-recent Sea to Seed sailboat tour off the coast of British Columbia; performing at a circus festival on the island of Stromboli; playing in a haunted fourteenth-century castle in Southern Ireland; playing our song Medicine at the central fire of Standing Rock - after being invited to the land by the Indigenous Youth Council…

Having our mother and godparents join us on stage in Atlanta; some deep harmony singing… the list goes on and on!

You have a few U.S. dates on the horizons. It seems California, where you will be largely based, is an ideal setting for your music. Do you perform their often and what was the reason for embarking on a tour of the West Coast?

Being born and raised in the South; there is certainly a dichotomy between the Coasts that is a beautiful balance. We have always sought the open air and open minds of the West Coast in our travels - and have been inspired to rub elbows with some of that innovation and bring it back home.

Our West Coast tours are always fully-packed and very abundant - and we give great gratitude to that region for holding us so dear.  

Can we see you in the U.K. at any point?

We were just there this past month and hope to return perhaps next year!

Who are new acts you recommend we check out?

Arouna Diarra, Dustin Thomas; Femina musica, Leyla McCalla and Aurora Nealand.  

What advice would you give to artists coming through right now?

Put your boots on and know the business side of things - so that no one can take advantage of you!

Hire a good team. Find musical collaborators who are both talented AND healthy - so that your life on the road can be uplifted and sustainable.  

Work hard every damn day… and yet… take calculated time off to slow down and disappear from the rush.  

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).

A song we like?  

Ok…

Chloe: Xavier Rudd - The Letter

Leah: Ibeyi - River

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Follow Rising Appalachia

Copper in Pocket: Monetising a Music Career

 Copper in Pocket:

Monetising a Music Career

________

ONE of the most troubling things about music is how fraught…

it can be with regards making money. I have spoken to bands, managers and assorted musical players and there is a consensus: it is so difficult monetising their passion. Many get into music for the right reasons – because they want to create something wonderful and share it with people – but there is, of course, going to be a component of commerce. One does not get into any industry without desiring an equitable slice of the pie. How easy, therefore – or HARD, should that be?! – actually making money from a career in music?! That is quite a broad question as different artists are in different positions: there is no set valuation and revenue figure. I was interested reading an article published by Billboard a couple of years back. It provided a comprehensive breakdown of the salaries certain artists made – from sessions musicians through to big stars at Vegas residencies. The figures can be quite eye-watering when it comes to the chasms. The article looks at, largely, the bigger acts: those that can command huge audiences and in a position to write commercial jingles. It is the polemics of the pay-scale that really get to me. I suppose established mainstream artists get to where they are because they have acquired fans; played the game and worked hard. They have the record labels behind them and are in a position when they can get commercials/huge gigs and really clean up. Another article (by thejournal.ie) – asked how bands, in this day and age (2016), make money. The writer of the piece shared their experience:

“For me, having played in bands for over a decade, that figure was €9,000.

You won’t know my name from anywhere but TheJournal.ie and you won’t have heard any of the songs I’ve made, so losing that amount of money isn’t a huge deal.

I mean, it is a huge deal. Nine grand is a good chunk of a house deposit or a car (or 90 cars if you buy my first car again).

But as a payment towards a hobby for over a decade, it’s not that bad.

While home recordings and the internet make getting your music made and heard easier in theory, the reality remains that making music remains pretty unprofitable for the vast, vast majority of people”.

It went on to say how various nations funded musicians - E.I.R.E. being the first up:

“FMC has helped basically every Irish band you can think of at some point in the last few years – Kodaline, Lisa Hannigan, James Vincent McMorrow, Delorentos, The Coronas, Jape, Declan O’Rourke, Fionn Regan.

While Arts Council funding to make an album or go on tour is difficult to come by, the body does run CultureFox and is actively encouraging bands and musicians to see themselves as part of the arts community across Ireland.

Angela Dorgan who runs FMC told TheJournal.ie that they pay a larger percentage out to bands than they get from the Arts Council.

“We run Hard Working Class Heroes as a showcase. So it’s not a professional festival in that way, but the cost of flying bookers, agents and label reps is all covered as well as the backline costs”.

In Canada, it is written, things are different:

“We have some great organisations like Factor and OAC (Ontario Arts Council) and Canadian Arts Council that all fund musicians projects,” says Beth Moore, a Niagara Falls based singer-songwriter whose most recent album Five Out Of Ten was released last year.

There are varying levels depending on what level you are at professionally. I personally won the OAC popular music grant for $6,000 and the Factor (Foundation Assisting Canadian Talent on Recordings) juried sound for $13,000.

She says that many don’t apply for grants because the system can be obtuse and you “have to work for it”.

That is quite a quick and broad sweep of an article that digs deep and does raise an interesting side: many artists are in it for the love. That is the reason one should do anything in music but I do wonder whether there is an inherent stress attached. That sheer passion and drive is a great motivator and isolation. The big, famous bands get paid more than you can believe when they play festivals like Glastonbury. The fees differ between the acts but one can imagine Ed Sheeran, Foo Fighters and Radiohead were paid immense sums – actually, that is not quite the case. There is that compensation of love of the craft that means a ‘smaller’ fee is actually not that bad. Those headliners didn’t exactly beg for petrol money but there is that assumption they get six-figure sums and are helicoptered in. That is not the truth at all: modern music is not as lucrative as we would imagine. I see a lot of chart acts – their videos getting millions of views; their face on every magazine – and they seem to earn their fortune through looks, a sense of ‘celebrity’ and shallowness. Those authentic and harder-working artists earn a lot less than they should and that creates trickle-down anxiety. I am seeing a lot of bands/artists fearful that, if they make it to the top, the rewards are not quite as lucrative as they should be. One might think money is not everything – if you are in a great position you can pay to thousands; getting any money, so you can survive, is surely enough?! – but the reality for underground artists can be strained.

What about streaming services like Deezer and Spotify, then? I shall bring in some text I used when writing my piece about Spotify:

“For example, Spotify says that its average payout for a stream to labels and publishers is between $0.006 and $0.0084 but Information Is Beautiful suggests that the average payment to an artist from the label portion of that is $0.001128 – this being what a signed artist receives after the label's share.

Finally, the per-play figures for streaming service can be misleading, as they depend on how many (or few) users the service has. Beats may pay more per-stream than Spotify, but that's because it has relatively few users.

Artists will be making a lot more money in aggregate from Spotify, and if Beats' user numbers grow, its per-stream payouts will come down. So this graphic isn't proof that one service is better for artists than another, in that sense”.

Those meagre digits are merely a guide but it shows how little one can make from streaming services. It might seem like a million plays on Spotify means big money but it is not going to be possible to pay an artist that kind of money – making that sort of success really pay off. These sites rely, to a large extent, on subscription fees and, if people do not sign up, where is the money coming from?! There is advertising revenue but that only extends a certain way. I was talking to a music manager a couple of weeks back who explained how his band have garnered impressive popularity on Spotify. In real-world terms, they are not earning money that reflects just how well they are doing. They might get a small sum here and there but, in reality, it is rather poor. They perform small venues and get quite a few gigs in but it can be hard getting consistent gigs. There is no hard-and-fast rule when it comes to profit and artists. Every venue pays differently and various streaming sites have different payment structures. Music is a business and, it gets me thinking, whether a lot of artists are being denied their fair cut? I have spoken about passion and the desire to make music regardless – that is a huge thing to hold onto and the reason so many artists endure and campaign.

The thing is: music costs money to make. That is the real reason I wanted to write this piece. A lot of artists are happy performing gigs and earning money from those shows. It is never a huge amount but they can keep themselves in the black and construct a name. The problem comes when having to pay for recordings and studio time. A lot of artists have to self-promote and pay for their own campaigns. Getting posters made and recording videos; hiring producers and making sure your music gets into as many hands as possible. If you want to take a D.I.Y. approach – and many artists do – then you can record a song/E.P. fairly inexpensively. The thing is, how much money will an artist make when it is released?! I read an article from DIY Musician that detailed the costs (big bands) have to consider when making an album:

Hard Costs

“Hard costs are considered the fixed, actual, real, no-frills-added costs to make a record. The bare minimum it would take, before you include extras that are not absolutely crucial to the process.Technically, there are no hard costs in recording an album. Self-produced songs created in basements everywhere cost nothing to make. Unless you’re figuring in equipment, instruments, and computers that you would jam on anyway, the absolute minimum cost to produce a record is $0. Realistically, you may need to rent a real studio to make your record. Studio rental time to lay down tracks and mix them into songs can get done in 1-2 weeks, if the songs are written, rehearsed and ready to go. You can get the prep work of writing and rehearsing done in your home or band practice space, for no extra cost. This is the extent of the actual “Hard” costs of making a record.

Soft Costs

Here is where expenses for producing a record go through the roof. Soft costs include things like Excessive Producer Fees, Screwing Around Costs and Band Pampering Expenses. One can easily see how these “costs,” once considered fixed and non-negotiable expenses for making a record, can be pretty much eliminated.  Here we break down the sub-sets of Soft costs.

Excessive Producer Fees

When records were selling like gangbusters, the studio producer could set his fees based on how many units the album would likely sell, using past record sales as the barometer. So basically you anticipate a pile of money, and base your fees on what you think your fair share of that pile is. When the pile of money is a mountain, the producer can feel justified in charging 6-figure fees plus backend points for services, and everyone is still happy when the record is a hit. But when that pile shrinks to an anthill, those fees need to be reassessed according to the anticipated sales. Nothing in the process of producing the record has changed – band members, producers, and engineers still worked just as hard getting the record made. The money has simply disappeared, and so should the producer’s fee for producing the record.

 Screwing Around Costs

In the days when a record was king, bands like the Stones would actually write their material in the studio. Bands would literally come into the studio with nothing and tinker around with their instruments as the $800/day meter ran on studio time. This was common practice up until 15 or so years ago. Of course, these costs can be eliminated if the band is prepared to record their music before hitting the studio. The music industry can no longer afford to spend thousands a week “finding inspiration” in an expensive recording studio. Bands should be able to do this anywhere else, for no extra cost.

Band Pampering Expenses

There are plenty of totally unnecessary expenses that have nothing to do with actual recording that get lumped in with producing a record, namely partying and excess living expenses. The advance given to a band from the record label, which is meant to allow the band the freedom of concentrating solely on making the record, is expected to spent on each band member’s living expenses while recording the record. But some bands take “living expenses” to the extreme. Korn spent several million dollars just renting houses while recording the album Untouchables. That’s insane, totally unnecessary, and a complete waste of today’s limited resources in producing music.

Bottom Line

By most recent, practical, and prudent estimates, you should probably budget $10,000 and 2 weeks’ time to your record your album. Anything over 10K and you’re getting into Soft costs that aren’t necessary to producing your record and won’t add anything to the quality of the music”.

That might be a bit of an American/mainstream-act breakdown but it shows how much an L.P. can cost to create! If you want a professional sound: you have to shell out huge amounts. Newer artists can afford to do things without thrills and big engineers but it is a piece that shows how staggering studios can cost. Sure; if you want a quality product then you are going to pay that much, right?! Once the album is out there then it is only a matter of waiting for the profits to roll in?! C.D. sales are, as we know, declining and people are spending less of their money on physical formats. Gigs are still big but, as we see in this country, small venues are closing. Because of less disposable income – rent prices and cost-of-living getting steeper – the average punter is more reluctant to go to their local venues. These spots serve alcohol and people are drinking less. Transport prices are increasing and, all combined, this is seeing so many shut their doors – unable to keep up with rent and overheads.

It is sad seeing the live music scene shrink but is there an easy solution? So many artists rely on these venues to get their music out there and earn some cash. A single gig might bring them a two-figure sum but, if they string enough together, it can add up. If there are fewer opportunities, then they need to rely on C.D./album sales to fill the gap. That, as is known, is not going to be possible. Throw in the figures streaming pay and it appears all options are exhausted. Passion and love are great but it does not, I am afraid, pay bills and fund a lifestyle. I worry music is less of a reality and more of a struggle. That financial burden creates anxiety which leads to depression: that can have a devastating effect on a person and, in a lot of cases, end a music career. This may seem like figures and random facts thrown together but, from what I have shown, there are two things evident. There is a huge difference between mainstream stars and new acts – although the top artists do not earn as much as you’d think – traditional sources of revenue (C.D.s, gigs and merchandise) are not as dependable as they were. Many artists can shift merchandise at their gigs but, if there are fewer attending – how much does that add to the coffers?

I shall end by talking about the music manager friend who, when talking about his group, hired a P.R. company to promote the latest single. Every campaign can cost anywhere up to a grand: that included the P.R. firm sending the song out to bloggers and journalists; touting for reviews and getting it out there. Many times, these campaigns are simple press releases sent out – those reviews and journalists copy-and-paste the press release and that is it. When you look at the balance sheet – and how much money is made – it is often in the red. The idea of hiring a P.R. company is getting an artist more gigs, sales and revenue. This is not always happening and it can seriously dent confidence. I worry music is far less profitable and attractive than it once was. Maybe the sheer number of artists on the scene means it is going to be hard to earn cash. I feel there are other reasons why this is happening. Venues closing are having an effect; the shift from hardware success to streaming dominance means music is more readily available – people are less willing to pay for it, mind. The love of music is a powerful thing and often compensates for the lack of financial rewards. I am not talking about huge profit: merely making enough money to live and record. I am anxious about the state of music and whether artists are able to survive and prosper. It is a complicated argument but one we…

ALL need to think about.

ALL PHOTOS: Unsplash (except Spotify image).

FEATURE: Kate Bush: The Continuing Muse

FEATURE:

 

Kate Bush: 

PHOTO CREDIT: John Carder Bush  

 The Continuing Muse

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YESTERDAY was the fifty-ninth birthday of Kate Bush and…

a timely reminder of her importance and legacy. It is hard to believe next year she will turn sixty next year! I remember, as a child, being transfixed by music videos of her (in the 1980s). It was a revelatory and unforgettable time that awakened my young senses to one of the greatest figures in music history. Rather than needlessly prattle about my infantile recollections: seeing as this is a (slightly belated) birthday piece for Bush; I wanted to look at the effect she is having on modern musicians and how important she is – and why next year is a particularly special one for her. Not only will she hit the big six-zero – perhaps, not the biggest cause for cheer – but it will be the fortieth anniversary of her debut album, The Kick Inside. I have written pieces about Kate Bush before and, in so much as this will be the last one until next year, want to pay tribute to someone who continues to influence and seduce new artists. It is amazing how many reviews and interviews I take on where Kate Bush’s name is included – cited as an idol and Muse.

If one goes back to that unique and flabbergasting debut album: how many who witnessed it first-hand would imagine the world would be talking about it now?! To me, it is the greatest album ever because it has such a delicate disposition – but is full of contrasts and wonders. I can dissect the album and give a forensic investigation – I won’t, you’ll be thrilled to know – but there is so much intoxicating beauty and delicious flights-of-fancy. I listen to The Kick Inside and notice a mix of girl and woman in that L.P. There are moments when her voice is enraptured and enveloped in delirium and fantasia. Feel It is, perhaps, the fullest exploitation of his child-like persona – a sentient and delightful creature that does not bark but soothes and guides you somewhere magical. The history-making Wuthering Heights broke records – in the sense, it was the first self-penned number one song by a female artist in this country.

PHOTO CREDIT: Fish People/Kate Bush

If that were not enough – to make it a stone-cold classic – then the beguiling, The Man with the Child in His Eyes is, surely, ample proof the then-teenager was destined for legend. What makes the album such a revolution-maker was the individuality and self-belief. There were no nerves and compromises from a songwriter who, still in her teens, felt aggrieved to follow record labels and foster her creative drive and intuition to anyone else. There were arguments as to whether Wuthering Heights should be released as a single – she got her way in the end – and there was an assumption she was your average songwriter. Today, there are so many Pop stars that, one feels, are controlled and dictated-to by record labels and marketing men. In 1978, when The Kick Inside arrived, Kate Bush was not going to be a puppet.

PHOTO CREDIT: John Carder Bush  

She has created the songs single-handed – a staggering achievement then: it seems rare in this day and age – and revealed herself to be a prolific and multifaceted talent. It is important The Kick Inside gets a proper fortieth birthday next year: not meant to feel older or past its best days: as baffling, immaculate and tender as the day it was released. One cannot decay, denounce or ignore the ever-preserved fragility, seduction and curiosity of Bush’s voice. It addresses themes like coincidence and juvenile love: longing and self-investigation in all its forms. If critics were keen on the album – it was not elevated to the same heights as Hounds of Love – it has, in my view, gained immense retrospective relevance and importance. I hear so many modern songs that borrow from the 1978-songbook. If few songwriters can create something as timeless and unexpected as Wuthering Heights: suggestions and flavours of The Kick Inside find their way into many of today’s songs – not only from female artists, you’ll be pleased to hear.

PHOTO CREDIT: Fish People/Kate Bush

Lionheart (1978) and Never for Ever (1980) marked a period of expectation, creative confusion and hurried scheduled. A lot of Lionheart’s songs were compositions recorded before The Kick Inside was released – Never for Ever did not reflect the finest of Kate Bush. It was not until 1985’s Hounds of Love when that peculiar and unbelievable peacock was allowed to spread her wings – that might sound like a poor comparison but it reflects the colour, majesty and pride of the proud artist. Yes, 1982’s The Dreaming was a marked improvement and found Bush more focused, varied and assured. She added raw and almost-masculine elements to her voice; ventured into new songwriting territory and pushed herself as a composer. Hounds of Love, invariably, is the album that will get the most attention.

PHOTO CREDIT: Fish People/Kate Bush

It seemed to come out of nowhere. Few expected something as unbelievable and epic after a run of ‘mixed’ albums. Forcing herself to go away and create the album SHE wanted to create – Hounds of Love is the songwriter hitting her absolute best. Running Up That Hill (A Deal with God), Hounds of Love and Cloudbusting are the standouts. That conceptual second-side is a brave move but one that allowed Bush to create an album of two-halves. It looks at a heroine cast adrift in the ocean: looking for salvation and finding her hope fading in the dark. It is a terrifying, claustrophobic and gripping narrative that one is engrossed in. Not to skip over the remainder of Kate Bush’s albums, but the point of this piece was to highlight what an inspiring and important talent she is. Albums after Hounds of Love continued to push new ground and, aside from the odd critical miss (The Red Shoes being one), the fact Bush could continue to stun and baffle the public (and critics) showed what a unique and peerless talent she was.

PHOTO CREDIT: Fish People/Kate Bush (a promotional shot for her 2011 album, Director's Cut)

One hopes there is plenty more music to come from Kate Bush. She is sixty next year and it is a perfect opportunity for journalists and fans to speculate and predict. Maybe Bush is already working on new material or another tour? Her 2014 shows at London’s Hammersmith Apollo, Before the Dawn, mesmerised the masses. It was a fantastic and year-defining set of shows that proved what a passion there still was for Kate Bush’s music. Female artists like Madonna and, in modern terms, Lady Gaga, have managed to compel and inspire musicians but few have done it in the same was as Kate Bush. There was nobody like her in 1978 and, you can argue, there is nobody like her now. 50 Words for Snow, released in 2011, was the last L.P. we received from Bush. One wonders whether next year will see a fresh album released but, in reality, there is no rush. She is an artist who has never been beholden to deadlines and conforming. She takes her time to craft an album that she wants: given the problems rushing lead to in the early days; she has deliberately chosen to slow and take time for the music to form.

PHOTO CREDIT: Fish People/Kate Bush

She does not have the record labels breathing down her neck (as she runs the label, Fish People) and is not being hounded for new material. I can understand why that happened after The Kick Inside. People could not handle the enormity and singularity that was Kate Bush’s talent. Keen to mine it as readily and expeditious as possible – that had a detrimental effect on her quality and happiness. There is no album as free and revelatory as The Kick Inside: none as epic, sweeping and wondrous as Hounds of Love. From The Dreaming’s stunning heights and Ariel's ’scope and unpredictability – a double-album that was released twelve years after The Red Shoes  - there is so much to Kate Bush, as an artist. Each record (from Kate Bush) is a joy and completely new experience. I long to see more Bush material but treasure what we already have.

The reason I feel The Kick Inside is so pivotal is the fact it redefined what it was to be a female artist. Here was someone who did not take crap from the labels and was not going to be a controlled artist, designed to be a sex symbol. Sure; Kate Bush made the eyes water in 1978 – one of the most striking and sensuous humans one could envisage – and still holds arsenals of charm, allure and beauty. In interviews, she explained how prolific she was as a child. Writing oodles and masses of songs by the night; she would perform them to her family – some songs went on for hours; people would walk out. It was the first suggestions there was something different and wonderful about Kate Bush. This has come to fruition and, through the decades, she has become our most treasured and important female songwriter. It is the way she has translated through the years that really wows me.

PHOTO CREDIT: Fish People/Kate Bush

I feel there is no other artist that has had such a profound and mutating effect on modern music. Artists are influenced by her but redeploy her sounds and shades in strange and impressive ways. They, through her, are pushing Pop music forward and creating some incredible music. Lest we forget how important Kate Bush is to music’s past, present and future. If you are not ready to worship at the altar of Kate Bush a day after her fifty-ninth birthday: you surely must next year. The Kick Inside turns forty – its author, sixty. It is a perfect time to pay tribute to a colossus of music who has made an immeasurable impact. Until then, let us wish (a day late, admittedly) Kate Bush a massive…

HAPPY birthday!

INTERVIEW: Bella McKendree

INTERVIEW: 

PHOTO CREDIT: Joe Lindsay Photography  

Bella McKendree

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THERE is something wonderfully tangible and relatable…

about songwriter Bella McKendree. Not only is she an artist who writes from the heart: she is going to perform in a Jeff Buckley tribute event – and will meet one of his collaborators, Gary Lucas! I ask about Buckley and how his music came into her life; the musicians and albums that influenced her young – and the sounds/genres she employs in her own music.

I get to learn about her new song, Grieve, and more about the E.P., Waiting. In a city like London; there are hundreds of agile and promising artists all vying for attention. There is an edge and luminosity (surrounding a mystique and soul) that has a vulnerability, compassion and intrigue. McKendree discusses her process and how songs formulate; the revelatory and fortuitous musical discovery following a painful break-up – and how it feels knowing Waiting is about to be unveiled to the world (18th August).

________

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

Hi. I’m great.

Yeah, it’s been pretty awesome. I’ve got this uncontainable excitement since the record’s been out...so, I’ve been songwriting a lot!

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

I am a singer-songwriter from the countryside - now living in London. I write within a range of genres, including Indie-Dream and Alt-Folk - with my roots in Blues, Gospel and Classical music.

My songs are introspective and honest. I often comment and pose questions to society.

Grieve is your latest single. What can you tell me about the song and its inspiration?

When I wrote it, I thought: can I be this honest or is this a song just for myself? I decided to go for it and I’ve seen how people find a connection through my vulnerability.

It is taken from the E.P., Waiting. I have heard the tracks and am struck by the emotion and rawness of some – especially songs like Don’t You Wanna Be Loved. How much of your own relationships and experiences go into the E.P.?

To be honest: I’ve been very transparent.

My songwriting stems from my heart so, whatever I’m feeling, flows out of me.

Bell3.jpg

Was it quite difficult to record, emotionally? It seems like you put your heart out on every track!

I’ve found a huge strength and confidence in not holding back: plus, it’s pretty cool that every time I sing a song I can relive that experience...like time travelling.

Waiting was produced by Brett Shaw (Florence & The Machine, Roisin Murphy, Daughter). What was it like working with him and what did he add to your music/sound, would you say?

Ah, it was so great!

I loved his studio with bird-origami on the ceilings. There was a calm atmosphere thanks to his easy-going nature. I had an open mind and no fixed sound in my head – so, we literally just went for it and saw what happened.

Brett added a fullness and ethereal quality.

 I hear shades of London Grammar in your music. Are they a group you look up to?

YES.

I would always play their album to and from college in Brighton. I love the colours in Hannah’s voice. Their whole vibe is grounded but epic!

You are one of five siblings. Is music your way of finding your own identity and, in a way, feeling less alone?

Through music, I find a deeper, grounded place.

When I play, I feel like I’m somewhere else where time and reality disappears. It’s always been like that for me. It’s highly addictive and soothing.

There’s such an ecstatic level of freedom when I write that I feel fearless and that empowers me. It’s how I process, reflect and see the world.

Recently, you have moved to London and started to gig in the city – working with some top names. How important is London and how much of a difference has it made moving there – in terms of opportunities etc.?

A lot changed when I moved here...

The music scene and charisma of the city is so exciting - with lots of incredible artists to bounce ideas off.

It’s a springboard for living out my dream.

Sofar Sounds is a gig-series you have been involved in. What it like playing those intimate shows and where will you be playing more this year?

It feels like stepping back in time and exploring more of what music was before the emphasis on production. I love how it brings people together.

In a culture which always uses as much as possible: it’s really beautiful to see music stripped back - there’s a power in breaking off the layers. I’m playing Southampton on the 22nd and Sheffield on the 29th August.

Jeff Buckley is my music idol so I am interested in the fact you are playing in a tribute show on 9th September! What is your connection to Buckley’s music and, without getting nerdy, which songs of his touch your heart?

Ah, same!

My sister introduced me to his music. I remember it was a dark December day and I had just ended a relationship. Then, Lover, You Should’ve Come Over came on. I literally was like: “DID THAT JUST HAPPEN!?”.

It was incredible because I could tell Buckley was not afraid to show his emotions and that’s where his strength lay. He shaped my early music and musical expression.

IN THIS PHOTO: Jeff Buckley/PHOTO CREDIT: Anton Corbijn

My favourites are Grace, Last Goodbye and Lover, You Should’ve Come Over.

Gary Lucas, who co-wrote a couple of tracks on Grace and played with Buckley in the early years, is there. Are you excited about meeting him?!

Yes!

Absolutely: it’s surreal. Excited is an understatement!

 Can you tell me the artists you grew up listening to and what sparked that passion for music?

My siblings were always swapping songs around.

The Fugees, Radiohead and Rod Stewart spring to mind. My dad was always playing Blues-guitar and my mum singing Classical and Opera songs. I remember very clearly, when I was eleven, watching Alicia Keys sing Fallin’ on Top of the Pops - and feeling so empowered by her performance. Being a woman too, it unlocked something within me and triggered a desire to perform. 

I remember telling my whole family to get out the sitting room so I could play the piano. I knew then I wanted to be a singer. I think even though I didn’t have a name for it I could feel some kind of restraint on being a girl growing up. So watching women like Kate Bush, Shania Twain and Tori Amos on stage affected me even more so than male musicians. 

What do you have planned for the rest of the year? Touring and recording or will you get a chance to unwind?

On the 7th September, I have my E.P. Launch at St. Luke’s Church, Kentish Town – and that's a couple of days before the Jeff Buckley Tribute.

We’re playing the following festivals: Sunrise Celebration (Bristol), Camper Calling (Birmingham); Gorjys Secrets festival (Wales). In December, I’m playing a Streets of London charity gig.

I’d like to record another E.P. before Christmas. At the moment, I’m enjoying the buzz and loving performing. 

Are there any new artists you recommend we check out?

I saw this band, Concrete Caverns, play the other night.

The frontman was very charismatic.

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

1. Cat Stevens – Matthew and Son

 It reminds me of my childhood and walking around school singing: “Don’t be shy/Just let your feelings roll on by”.

Each song is perfectly carved.

2. Tori Amos - Little Earthquakes

I love the intense level of engagement you get in her voice - and the movement in the takes.

3. Jeff Buckley – Grace

Timeless.

It helped navigate and let out the emotional rollercoaster of my teens.

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

Have a clear vision of what you want to do but, more importantly… why.

Have integrity, drive and resilience.

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).

The 1975 - Somebody Else

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Follow Bella McKendree

INTERVIEW: Louise Jordan

INTERVIEW: 

 Louise Jordan

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MOST of the interviews I conduct are designed to promote…

a song/album/E.P. - but that is where I will leave it. There is, rarely, a sociological or political importance to the release. We are seeing a lot of reports on the news about wars around the world: the turmoil and daily horror many people face. We, here, cannot get a tangible sense of what that would be like. World War 1 was, in full flight, one of the most harrowing and destructive events to happen to our people. We often assume it was a man-made and fought affair: neglecting the role of women and the importance they played. Louise Jordan is preparing an autumn tour of the U.K. for her album, No Petticoats Here – in the form of a one-woman show.

The album is a collection of songs that concentrate on characters - real-life characters – from the War and what they contributed. Jordan talks about her research process and getting funding from Arts Council England; some of the songs and stories behind it and what her one-woman show of the album/concept possess – it has been performed in over fifty venues so far and is building up a lot of attention and acclaim.

Ensure you check out the No Petticoats Here website and keep up-to-date through Twitter - as it is an extraordinary show/album from a talented young performer/songwriter keen to highlight the fantastic and invaluable contribution women made in the War effort.

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

Hello, Sam. I am feeling creative!

It’s been an incredibly busy couple of weeks bringing everything together ready to start rehearsals for No Petticoats Here stage two – in-between gigs and workshops!

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

Of course – hello, lovely to meet you!

I am a singer, musician and composer whose writing focuses on storytelling and forging connections between people.

No Petticoats Here is your portrayal and representation of real-life women from the First World War. What compelled you to get the project started?

On a visit to the Somme area in France during November 2014, I saw few references to the ways that women experienced this remarkable period of history. I returned determined to find out more about the women whose images I had seen in museums and chapels and to explore the experiences of those I had not yet learned about.

What kind of things can one expect? Is it a series of songs or is there dialogue and theatre-type acts?

No Petticoats Here started with one song which I hoped to place alongside my other material at gigs.

It quickly developed into an album which I released in September 2016 and toured during the autumn 2016 and spring 2017. I have always been keen to talk about songs when I perform and to give some context about where the songs come from – for example, why they were written. No Petticoats Here is a concept album and it comes with an illustrated booklet containing images of the women whose stories are shared - and some explanation of their connection to the First World War.

When performing the songs from No Petticoats Here live, I have always taken time to give the context of the women’s’ remarkable achievements – in what way were they involved in the conflict? How did they come to find themselves in that situation and what happened to them afterwards?

No Petticoats Here gained Arts Council England funding after an album in September 2016. How important was that funding and did it allow you to explore more ground than you would ordinarily?

I am now at a really exciting stage of developing No Petticoats Here.

Throughout the two previous tours, I have been speaking with members of the audience as well as promoters and venue managers - to identify ways in which the performance could be brought more to life. I personally want to find ways to connect people more deeply with the extraordinary lives of these women who lived during the First World War. The development of No Petticoats Here is supported using public funding by the National Lottery through Arts Council England.

This has given me the opportunity to work with innovative theatre professionals so that we can re-create the sound worlds which the women themselves experienced. With the addition of a soundscape of recorded actors and sound effects (and images of the women on stage), I hope the audience will become much closer to imagining for themselves how these women lived and experienced the war.

How much research went into the project? Did you talk to relatives of anyone involved in World War I?

The research began when I returned from my visit to the Somme in November 2014 - and is ongoing.

It stems from a personal interest and determination to keep learning about the events of the First World War and their ongoing impact and resonance. I have been in touch with a number of relatives of the women whose stories are shared by No Petticoats Here - and these have been amongst the most moving experiences whilst developing the project. Finding out information through a family’s oral history – passed down through generations – and through relatives’ memories is precious and can also reveal details which aren’t available in books, journals; museums, history centres and cemeteries.

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I have also benefited from speaking with biographers such as Patrick Vanleene and Gail Newsham who have collected extensive material over years of research in their respective fields: Patrick with regards women who worked in Belgium on the Western Front and Gail with regards women footballers - and the Dick, Kerr’s Ladies football team, in particular.

There are songs about women football players (Shoulder to Shoulder) and women workers (Toil, Women, Toil). Is there a particular song that was tough to write? Is there one that stands out in your mind?

The final song, Who Will Remember, was, perhaps, the most difficult to write as it deals with issues of mental health, unpublished records and touches on issues of sexual abuse.

I had originally intended to focus on the strength of the women’s characters - and yet, there is extraordinary strength and resilience in all of these women’s experiences; whether these are classified as positive of negative. I was entirely driven by a passion to preserve these women’s experiences and make them better known a- nd this helped me to overcome any perception of difficulty along the way.

Given sexism in society today – and the music industry – was there a personal desire to put this project out there – to celebrate how inspirational and pioneering women have always been?

I have drawn strength from these women’s experiences and I continue to be grateful for the experience of writing and performing No Petticoats Here.

I believe there is great relevance in sharing these stories now; not least because we are commemorating the one-hundred-year-anniversary of the First World War. It was an extraordinary set of circumstances and a time when women not only experienced change but pursued it too.

That recourse to action and the taking of power for oneself is something I believe and hope anyone who seeks equality can identify with.

You worked with producer Lizzie Crarer and sound designer Jules Bushell. What did they bring to the project and how important were people like Ellie Rogers (videographer) to visualising your music?

Lizzie and Jules both possess wide-ranging skills in bringing stories to life - and both were on board with my vision for No Petticoats Here from the start.

Lizzie has extensive experience of developing pieces of theatre around female perspectives (through her theatre company, The Heroine Project Presents, and, also, of interpreting the First World War (she worked on the critically-acclaimed project, We’re Here Because We’re Here and produced a piece called Over the Top: The True-Life Tale of Dorothy Lawrence). 

Lizzie and I have gone back to my research of the women’s stories in order to devise ways through script and dialogue of invigorating the performance. Jules is a maestro and understands the world of sound like no other! - a musician, sound designer and noise manipulator.

Jules specialises in creating sound for theatre and events – from atmospheric underscoring to layered effects. From simple to conceptual; Jules captures a range of scenes and emotions - which help to immerse the audience in the piece.

A trailer video is out now. What can you reveal what the trailer is designed for and how it came together?

Film-maker Ellie Rogers is putting the trailer together using footage from the development and rehearsals process - as well as interviews with the creative artists involved.

I am confident the trailer will offer an insight showing the audience what to expect at a live performance on this autumn’s tour.

I believe there is an autumn tour. Where will you be heading and how can one book tickets?

The tour will take me from Falmouth to Farnham on the South Coast; from Sale to Stirling further north. There’s a mixture of rural village venues and cities and the tour takes in libraries, museums; arts centres, theatres and house concerts.

You can find a full list of tour dates my website - with links to venues and box office details.

No Petticoats Here has already been shared with dozens of audiences. What has the reaction been like and do a lot of people come up to you after the show to express praise/feedback?

I have been fortunate to enjoy some really interesting conversations with audience members after performances of No Petticoats Here. It is fascinating to hear the many and varied ways that the themes and songs resonate with other people – from self-styled ‘sod-it spinsters’ to people who have written their own songs about relatives who served in The Great War.

After No Petticoats Here’s completion, what comes next? Can we expect a new album in the future?

No Petticoats Here will tour throughout 2018 as we continue to commemorate the centenary of the First World War - and as we celebrate one hundred years since the Representation of the People Act brought the vote to a number of women in the U.K.

In addition, I have received a commission from Vote100 to write about the impact of women’s experiences of the First World War on suffrage.

There will almost certainly be a release in 2018 as I have had a number of requests to record First World War-related material which is not part of No Petticoats Here - such as What Will You Leave Behind (about a kilt I saw in a museum in France).

Do stay in touch on facebook and twitter for latest news - and I have a mailing list which you can sign up to on my website.

How easy has it been transitioning from your normal song themes and focusing on something unique like this? Was it a challenge getting into a different headspace?

No Petticoats Here has drawn on a number of song themes which I have visited before; however, the project has focused on how these human themes – such as resilience, determination and using the resources you have to make the best of a situation; presented themselves within women’s experiences of the First World War.

The writing period was certainly intense. The project involved inhabiting the worlds of these extraordinary women to understand as best I could how they experienced barriers and obstacles: it was a constant reminder of the experiences I have found difficult and yet it was worth it. I felt a connection with the women through the fact of these barriers.

What advice would you give to people who want to create a similar project?

Thorough research is very rewarding; be prepared to persist and persevere.

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

I read about two brilliant musicians this week who have written a song about a veteran of the Great War. I was truly moved to hear about their research...

The song, Home, Lads, Home (words Cecily Fox Smith: adapted by Sarah Morgan) also has great meaning to me. If you can’t find a version of Sarah singing this; Belshazzar’s Feast do a great version.

Thank you for your time!

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Follow Louise Jordan

FEATURE: Radio vs. Streaming: The Best Way to Discover Music?

FEATURE:

 

Radio vs. Streaming:  

 The Best Way to Discover Music?

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NEXT week, time willing, I will raise a point that has been on my mind…

PHOTO CREDIT: Brooke Cagle/Unsplash

ALL OTHER PHOTOS: Unsplash

for a long time now. It concerns the monetisation of music and whether, in 2017, a music career is even possible. I know a lot of musicians but, unless you are a mainstream act, how easy is it generating reasonable profit and making a genuine career from music? So many of the artists I encounter have to work several jobs and push themselves to the ragged ends. Sure, they love the buzz of gigs but one feels they are working harder than they should be. I will look into the ins-and-outs of streaming and its equity but, putting this debate on the table; which is the most effective marketing tool: the humble radio or modern streaming services? The two are interconnected and one can debate whether there is mutual exclusivity. I am finding many bemoan services like Spotify and how unreliable they are when it comes to financially supporting artists – and promoting the best new music around. I find it is hard for artists getting attention and proper acclaim from streaming/music-sharing sites. If you are a popular chart act; it can be quite easy gaining millions of views for a music video – the latest release racking up serious views in a matter of hours. Promoters, adverts and sponsors ensure money is notched in. Likewise, they can get a pretty healthy amount of money from downloads but, compared to gig money and merchandise, it is not as impressive as one would think. I will get into that more but have realised how little of my latest music crushes from sites like Spotify, SoundCloud and YouTube. Being a journalist; I have an unfair advantage when it comes to new musicians and being exposed to some awesome humans. There is something anhedonic, mechanical and soulless about streaming sites but I recognise how popular they are. I feel it seems like the go-to solution for any musician. They feel by getting their songs on these sites, and sharing on social media, that will get (songs) into the hands of the masses.

Can the digitalisation of music and promotion really rival the tradition and longevity of the radio? The two work with one another. It is debatable whether an artist would be discovered by radio was it not for their music being on streaming sites and social media. How interconnected are the ‘traditional’ and modern in regards music marketing? It seems like they are completely separate but are more connected and bonded than you’d think. I feel there are merits to both but feel one cannot top and knock the importance of radio. I am not talking about local radio – it is good for promoting local artists but complete shite when it comes to other music – but the national options. Most of my discoveries seem to come from BBC Radio 6 Music. Before you get all smart: I know the station is digital-only. It is still a radio station and not a streaming site. Consider BBC Radio 1 and 2. Between them, one can discover so many wonderful musicians – a lot of my reviews and features have stemmed from finding artists on these stations. Perhaps I am being subjective because, when it comes to my reviews and interviews, the vast majority of the artists I feature are emailed to me – P.R. companies and various management companies contact me direct. From there, I will share the article online and it is passed into the world. I sort of avoid both streaming options and radio so it does muddy the water. Essentially, my favourite albums from the past few years have been discovered through radio – hearing a song off the record and then being compelled to investigate the full album afterwards. There is something magical and dependable about radio. It is no secret BBC Radio 6 Music is a lifeblood and sanctuary for me. Listening to the station; I am immersed in the finest sounds from around the world. The station is wonderful unearthing the coolest and most intriguing acts – aimed at a young-middle-aged demographic.

I listen to BBC Radio 1 if I want to stumble upon some fresh Pop and Dance; BBC Radio 2 for Country, Jazz and Folk – that tends to cover all the basis when it comes to genres and tastes. I supplement that banquet with offerings from Spotify and other streaming options. Each week, I collate a playlist that collects together all the singles and new releases from music – and a track from each new album out that week. For this, I get information from the radio but do a lot of exploring on the Internet. I have fallen for many artists this way and realise the ease and convenience of these sites. With the click of a mouse; I find myself in front of a menu of brilliant music. The most effective and practical way for streaming sites/social media to have true influence is bespoke playlists that employ observant algorithms and intelligence. One of the problems with YouTube is the fact it is not compartmentalised enough. There are loads of great videos and tracks but, unless you KNOW what you are looking for, it can be tricky finding great music. There are tracks recommended for you but I find these are either confusingly impersonal or misjudged. YouTube is fantastic and it is the only site I know where one can view brand-new and older videos. It is a fantastic site and does not rely on subscription fees – it is more advert-based and less controversial when it comes to compensating artists. SoundCloud does not really recommend new music and is a more basis portal to host music on – the same can be said of BandCamp. It is left to Spotify, then, to fulfil the role of guru and musical mystic – looking into my heart and taking me around every alleyway and avenue of music. Whereas YouTube could and SHOULD be better organised and lead me to fantastic discoveries: Spotify seems more intent on its playlists and supporting new artists. It is great because you can, with few exceptions, have access to most of the recorded music of the past seven-or-more decades.

Spotify works best when it comes to hosting and backing those new artists. The majority of the new releases I feature and hear come from there. I use Spotify for older music but I find it does not have the mechanism and desire to organise and arrange the best older sounds for a listener – changing upon music from the past that would enrich their lives. It is so focused on the modern and commercial - and getting those streaming figures up – it has forgotten where music came from and what it is all about. There are arguments for and against Spotify (which I will expand upon in my future feature) but I always feel ethically suspect when streaming a song from the site. I am a subscriber but wonder whether I am stealing from an artist. I do not feel that guilt when I listen to BBC radio. The reason I write this is because music needs to be preserved and nourished by future generations. So much of today’s music revolves around the digital. Is it really equipped to ensure new music gets into the marketplace and as available as possible – whilst preserving past music and ensuring it is not devalued and overlooked?! I would debate this: that is where radio comes in. It seems like there is a generational divide but, being a thirty-something chap, I have grown at a time when music and physical formats have changed beyond recognition. I am old enough to remember cassettes – the frustration of having them mangled in a stereo – and the C.D. I used to play vinyl without irony and was glued to stations like MTV and VH1 to discover the best new music around. I am not down on digital means/streaming sites – they are completely essential and indispensable considering what I do – but understand how paramount it is to share old AND new music. The streaming services seem equipped to promulgate sparkling new music but remiss when it comes to classic sounds. If future generations are to have the best music education then they need to know where music came from and how we got to where we are – not only what is around at the moment.

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A lot of us do not have the time to listen to the radio and lead busy lives. The Internet and sites like Spotify allow one to dip in and out and put everything on pause. We can look in when we want and compile playlists; have our favourite songs all saved. The problem I have is, when I go to YouTube, I instantly load my saved and recommend videos – those ones I have been playing endlessly. I rarely get out of the rut and actually go searching for new music. It is hard to do so because, as I said, unless you know what you want, there are few helpful suggestions. I mentioned Spotify’s playlists. They have themed lists that range from New Music Friday to summer jams and workout songs. It is, essentially, like those compilation CDs that we all know and enjoy. If you want a particular playlist or set of songs; you are well catered for. Their new music playlist is invaluable but not as expansive as one would hope. I find a lot of songs are omitted and it is a little lacklustre at times. Radio has its faults, of course. It relies on people being in a particular place at a certain time. Unless you are listening at that pivotal moment, a band/song might fly right past. The great thing about the national stations is they will repeat songs from new artists in case that happens. I guess the common solution is a combination of both. I worry digitalisation of music will continue to the extent radio is archived and far less prominent. It would be worrying feeling our mainstream and national stations sacrificed as part of austerity cuts. BBC Radio 6 Music was threatened with closure years ago and, without that station, one wonders whether certain acts would have a career and success – such is the influence and importance of the station.

I will always plump for radio and feel it has always been the easiest and most reliable source for new and old music. If you want to discover the full range of new music; I cannot argue against Spotify, streaming and the Internet – it is far more comprehensive and thorough than radio. One of the issues is the compartmentalisation happening. So many different sites showcase so many different acts – rarely do they coalesce onto a single site/platform. I feel the perfect remedy to the divisions and issues of both methods/realms would be to join them more effectively. Whatever form that takes, I am not sure, but I am concerned about the safety and profitability of new music; the importance and conservation of older music. If some bright spark could create a way of straightening out the creases in digital promotion/streaming sites and combine the best radio stations into a single format, I feel so many of modern music’s issues could be solved. As future-hopeful as I am: we should not lose sight and overlook the great music that inspired generations. We should not be ignorant of new music and how much promise it has. When it comes to settling the question I pose in the header for this feature; I am always going to plump for the…

HUMBLE radio.

FEATURE: Globetrotting (Part One): Ten Artists to Watch

FEATURE:

 

Globetrotting (Part One): 

IN THIS PHOTO: Laurel

Ten Artists to Watch

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THE debut offering of a new feature is always hard to get right.

IN THIS PHOTO: Def.sound

One has to make it interesting, to an extent, but modest – if they wish to publish further instalments. That is the aim here and so, as I look at ten artists who have the potential for big things in the coming months, I have hand-picked musicians from around the globe. I have a heavy leaning towards female artists: a few from the U.K. and U.S. in there. I will diversify it for future editions – I hope to put quite a few out – but wanted to recognise some of the amazing talent that is recording music right now. One or two of the artists have been quiet for a bit: I predict they will be back soon and preparing a fresh assault.

It is without further ado I provide a few musical names everyone should be keeping an eye out for…

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Snoh Aalegra

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Location: Stockholm, Sweden; Los Angeles, U.S.A.

Genres: Soul; Alternative

Essential Song: In Your River (Don’t Explain)

Reasons to Watch: Boi-1da borrowed her vocals (from her track, Time) for More Life’s closing track, Do Not Disturb. The Swedish-born, L.A.-based artist has that Drake credit to her name but is a stunning artist in her right. Comparisons have been made to Lana Del Rey in terms of her gorgeous, silky vocals and cinematic scores. It only takes a few bars of her album, Don’t Explain, to know she is a unique artist who owes a debt to nobody. A stunning songwriter who is sure to make huge headway in the coming months.

Follow: https://www.facebook.com/Snohofficial/

The Weeks

Location: Mississippi/Nashville, U.S.A.

Genre: Rock

Essential Song: Gold Don’t Rust (Easy)

Reasons to Watch: Like Snoh Aalegra; the boys of The Weeks are not new to the world of music. The brothers have concocted a potent mix of Rock that has Southern cores and a spicy element of foot-stomping and good times. Their recent album, Easy, is defined by its glorious tunes and memorable moments - from an American band who would find a lot of loving fans here in the U.K. I am watching their rise with great interest!

Follow: http://theweeksmusic.com/

Humming House

 PHOTO CREDIT: Melissa Madison Fuller

Location: Nashville, U.S.A.

Genres: Folk; Bluegrass

Essential Song: Takin’ Over

Reasons to Watch: The Bluegrass is modern but has some vintage touches; the Folk romantic but imbued with a distinct forwardness. Justin Wade Tam leads the band with warming, intelligent and nuanced lyrics. The band comprises a Soul-singer, sociology professor and composer (among others) and, since their eponymous debut album in 2012, the group have built a solid core of fans in the U.S. Another one of those bands who has a fanbase in other nations but not, necessarily, the big festival bookings they deserve. New single, Takin’ Over, shows they are getting stronger and more intent with each track – without compromising the sound that won them so many hearts.

Follow: https://www.facebook.com/humminghousemusic/

REWS

 PHOTO CREDIT: Jonny Finni

Location: London, U.K.

Genres: Alternative; Alternative-Rock

Essential Song: Miss You in the Dark

Reasons to Watch: The London-based female duo, like the guys of Humming House, seem to grow more intent and confident with each song. Miss You in the Dark is the latest epic tune from Collette Williams (Percussion and Vocals) and Shauna Tohill (a Belfast-born musician on Guitar and Lead Vocals) and, together, they are a superb force getting huge gigs and festival bookings. At the root of their music is a sisterhood and shared love that propels their immediate and punchy songs to the next level. One of those acts who is going to ascend to the mainstream and carve up a huge slice of land for themselves – one of the most exciting British acts of the moment.

Follow: https://www.facebook.com/wearerewsmusic/

Billie Black

Location: London, U.K.

Genres: Alternative; Singer-Songwriter

Essential Song: I Don’t Need Another Lover (EP 000100)

Reasons to Watch: It is hard to believe the young London treasure Billie Black is unsigned! There has been some social media dormancy over the past couple of years but, if Instagram posts are to be believed, there could be new music in the works. Music infected her from a young age and she soon got hooked on Jazz – taking part in the Guildhal Jazz Course and gaining entry into the BRIT School. Assimilating underground Electronic tones into that Jazz teaching: she is still putting material together and building her name but I feel this is the year she announces her presence to the world.

Follow: https://www.facebook.com/thisbillieblack/ 

MIYNT

PHOTO CREDIT: Andreas Öhman

Location: Stockholm, Sweden

Genres: Alternative; Rock; Soul

Essential Song: The Deer or the Hunter (EP No. 1)

Reasons to Watch: It is hard to categorise and define someone as varied and cross-pollinating as MIYNT. Her songs range from the affecting romance of The Strangest Game and The Deer or the Hunter to the cool-ass-yet-wary grooviness of Cool – to the Rock-laden sentiments of After the Gold Rush. More work is forthcoming but, on the strength of EP No. 1 alone, it is clear there are no boundaries and confinements for a curious and hungry artist who has a lot more to say.

Follow: https://www.facebook.com/miynt/

Maddy Storm

Location: Manchester, U.K.

Genre: Art-Rock

Essential Song: Tempest

Reasons to Watch: A daring and original songwriter whose reverb-heavy songs are bustling and brimming with passion and intensity. Her debut E.P., To the Sun, was met with acclaim and marked out as an artist to keep an eye on. Her new single, Tempest, is made for dark evenings and contemplation. She makes music, as she claims, that is best heard in the dark – a strange aura and mysticism emanates from her sound. In a music scene that can be quite dull and predictable: there is nothing average or uninteresting about the young British songwriter.

Follow: https://www.facebook.com/maddystormmusic/

Def.sound

Location: Los Angeles, U.S.A.

Genres: Progressive-Rap; Contemporary Art

Essential Song: BL▲CK . MIRROR (S)

Reasons to Watch: Many have highlighted the impulsiveness of def.sound off the back of recordings like Kings of Neon (2015). He is a polymath and multi-talented poet/songwriter who pours his soul into his work. Documenting turmoil, triumphs and conquests: there is something alluring and captivating about the America. He has the confidence of Kanye West without the ego; the skills of Kendrick Lamar without the acclaim – he is a unique soul but one who warrants future success and worldwide acclaim. 

Follow: http://cargocollective.com/defsound

Laurel

Location: Southampton/London, U.K.

Genres: Alternative; Pop; Soul

Essential Song: Maybe Baby

Reasons to Watch: It is the voice that compels and seduces: few have the gravitas and allure of Laurel. One could compare her to say, Amy Winehouse, but that would be an easy (and lazy) resemblance. What the London-via-Southampton artist does is create her own unification of older-days smokiness and modern-day sexiness. Her earliest recorded were laid down in her East London bedroom studio: one suspects modern studios and big recording spaces await her in years to come. Right now, she embarking on tour dates – she is in Switzerland at the moment – and, one suspects, provide the music world with some fresh sounds. One of our brightest and most intriguing young talents.

Follow: http://www.classiclaurel.com/

JAIN

Location: Toulouse/Paris, France

Genres: Pop; Alterative

Essential Song: Makeba

Reasons to Watch: Like many of the names on this debut list; it only takes a few breaths from JAIN to know she is a very special artist. Her phenomenal album, Zanaka, hopped the globe and introduced a range of sounds into the mix. Few artists are as bold and authoritative when blending so much into a record – it almost seems easy for the French songwriter. Right now, she is performing in France but has dates in the U.S. later in the year. I hope she has chance to come to the U.K. at some point because she is getting into the hearts of critics and music-lovers alike. A loveable, worldly and astonishing talent who is primed for the big leagues.

Follow: http://www.jain-music.com/en/

 

FEATURE: Transgenderism in the Music Community: The Final Taboo

FEATURE:

 

Transgenderism in the Music Community: 

IN THIS PHOTO: Aye Nako

 The Final Taboo

________

THERE has not been any major story where a transgender musician…

Rota2.png

IN THIS PHOTO: Rita Ora (one of the artists involved in the video, Celebrities Speak Out Against Donald Trump's Transgender Military Ban)

has rocked the charts: nor has there been a howling execration of the transgender community by anyone. Well, hang on a second…back that up. The most powerful man in the world – God help us all – has imposed a military ban in the U.S. President Trump has banned transgender people joining the armed forces: this was met by a wave of discontent, disagreement and opposition. Singers like Sia, Rita Ora and The Chainsmokers have teamed up to send a message of support to the transgender community – Lady Gaga slammed Trump as did Mia Farrow and Laverne Cox. Of the 150,000 transgender Americas, all of whom are loyal and patriotic, that incongruence and foolhardy declaration is, whilst typical of Trump, against the desires of the American people. In a weird way, it has put the issue of transgenderism under the microscope. This piece is not propelled and stocked by interviews with transgender musicians. In the past, I have reviewed transgender artists – but not as many as I would like. I have featured gay and bi-sexual artists but, again, not quite as many as I would want. The Office for National Statistics does not, at present, hold figures regarding the number of transgender people living in the U.K. It makes a sense of invisibility and prejudice heightened. It might be difficult cataloguing those undergoing gender reassignment and consultation. Roughly, however, around one-percent of the British public identifies themselves as gender non-specific. Pansexual-ism is a new phenomenon but one that acknowledged the fluidity and multifarious rainbow of modern sexual identification. In broad terms; pansexual people do not limit their preference in terms of gender and sexual identity. If the country is starting to open to the fact so many people are identifying themselves as gay, pansexual or bi-sexual: how much tolerance and discussion is taking place regarding transsexual people? The reason I want to raise this corner of modern society is because of music and how there is still prejudice. In many ways, the industry is more open-minded than society as a whole.

In other ways, one feels there are struggles for new artists coming through – those who identify themselves as transgender. Anohni – formerly Anthony Hegarty – is an artist very open about her decision and identity. Sexuality is, not any more, a binary choice. It was the time, not long ago, one had to choose between gay and straight. Now, there is an encyclopaedic variation to sexuality that has a great number of configurations than there has ever been. If one looks to the music industry and there are some fantastic humans who are either transgender or non-binary. Ezra Furman is an artist I have great respect for. Perpetual Motion People, Furman’s current album, boasts raspy vocals and a fearlessness that is not confined to the mainstream and convention. One wonders whether his sexual freedom and lack of confinement influences and infuses his musical direction. Little Waist are a Queercore/Transcore band from Brooklyn, N.Y. whose lead – multi-instrumentalist, Audrey Zee Whitesides – is one of the most impressive and eye-catching artists one can discover in Brooklyn. Maybe cities and areas like that embrace openness and frank sensibilities of liberation. A lot of musicians evolve and move from towns where, in so much as there are fewer opportunities, there is a small-town mentality. I am not suggesting population size is inversely tied to discrimination and tolerance but there is a link. Cities allow one to, whether they like it or not, discover humans in every walk of life and persuasion. One takes a trip through Brighton by night and is aware of a colour and vivacity few cities can project during the hottest summer day. It is an area of the world synonymous with its thriving L.G.B.T.Q. community but its people, inherently, have a greater acceptance than most. The same can be said for London who, alongside Brighton, holds an annual Pride festival/celebration. We have just commemorated the fiftieth anniversary of the Sexual Offences Act.

IN THIS PHOTO: Ezra Furman

In 1967, it was still illegal for two men to express their love in public – not sure whether women were excluded too. It is developments and milestones like this that means there is less stigma attached to sexuality and lifestyle choices than generations-past. I still worry whether artists like Aye Nako – the band address racial fetishisation and sexual identity through their music – and Mel Blum (a New York singer-songwriter whose self-deprecating and honest music has captivated critics) have had to fight harder to enter music. Whether they are afforded the same opportunities as their peers – in terms of gigs and media spotlight – I am not sure. I am cribbing from the hallowed electronic pages of WhatCulture and a piece they put out on the subject of transgender artists. They bring a few other examples together:

“Tunde Olaniran, who identifies as genderqueer, has been putting out his playful electronic music for a couple of years now and shows no signs of getting any less theatrical. Every song constantly bounces around between quirky R&B and beats bearing the bawdiness of a buzzsaw. This desire to never settle in a singular musical aesthetic keeps his albums endlessly interesting. There is an allegiance to club music as well as a desire to dismantle it…Against Me! is a punk band from Florida fronted by Laura Jane Grace. Their albums are short bursts of ridiculously anthemic songs that contain darkly humorous lyrics referencing both the personal and the political. The accessibility of the band's anger harkens back to some of the most iconic names in punk. After a public coming out in 2012, followed by the resignation of several of her bandmates (for unrelated reasons), Laura Jane Grace became something of a poster child for the trans* movement (albeit not its spokesperson, to heave the entirety of a movement on a single person or several people is ignorant as all heck). Her deeply personal songs about gender identity on 2014's Transgender Dysphoria Blues provided for the band's most impassioned effort to date”.

IN THIS PHOTO: Tunde Olaniran

What one gleams from the list from WhatCulture is the fact the majority of these artists are American. Also, it seems all of these artists have to justify themselves in a way – proclaim how unafraid and determined they are. That is a courageous and inspiring attitude but, in 2017, should they have to shout so loud and frequently?! I know there are some fantastic underground transgender artists in the U.K. – many seem resigned to the underground through fear they would not be able to assimilate into the mainstream. There are many other frames of reference one can ascribe to the debate but, ironically, their struggle is binary – having to choose between being who they are, and enjoying minor attention and acclaim, or having to compromise. Maybe this is not the case for the artists I have mentioned but, as we know, there is a lot of prejudice and discrimination still rife in music. Is transgenderism still the only taboo in the music industry?! Despite the fact we have Pride celebrations and join together once a year – what is the reality for a gay musician in the modern world? Artists like Billy Tipton, Pete Burns and Wendy Carlos – composer on films like Clockwork Orange and Tron but, unbeknown to many, she is sort of the mother of modern Electronic music. They, in many ways, have helped normalise transgenderism and take away the exotification aspect of it – seeing it as rather fruity and strange. In society, there is taboo attached to coming out: those who decide to choose another gender have to go through so much anxiety and fear. If a musician has had to overcome that: how accepted are they likely to be when it comes to the mass media and charts? I write with authority because I know there are fantastic transgender musician who yearn to assimilate and align with those in the mainstream. Sexuality and gender should not be an issue with regards music. If, in 2017, we are seeing sexism and racism; where on the list of priorities is sexuality and transgenderism?! Whilst those in the music industry crunch numbers and toil over algorithms: how much consideration is being lent to the human beings behind the music.

IN THIS PHOTO: Against Me!

It is dastardly and deplorable seeing such rampant inequality in any sector of society: the fact it is extends to music is quite alarming. Transgender artists, in addition to homosexual musicians, should be allowed to play with unexpurgated relief and freedom. I feel there are alleyways of the music industry that needs to tackled and addressed. There should be no fear in the music industry. It should be an open forum where artists of every sexuality, gender and race should be able to perform and succeed on equal terms. That may sound awfully naïve but it is merely a case of taking action. I am concerned those musicians who are transgender – or non-binary – have enough anxiety in their heart without having to deal with spiked tongues and appalling looks. I know artists here – and around the world – who are exceptional musicians and transgender. They do not want to play to certain clubs and create a particular brand of music. They want to be accepted and have the same platforms as every other musician. If Trump is determined to prohibit transgender people entreating the armed forces: the passionate protest from musicians in the U.S. and U.K. is heartening to see. The focus should turn to music and, as we tackle sexism and racism – and try to affect real change – we need to look at sexuality and transgenderism. These kinds of issues are quiet heavy and, in regards musicians who face discrimination, there is a great weight for them to bear. Because of that, it is incumbent on the rest of us to create dialogue, positive exposure and raise our…

IN THIS PHOTO: Anohni

ARMS to help support them.

INTERVIEW: Jessica Rotter

INTERVIEW: 

 Jessica Rotter

________

IT has been a long time since I have featured Jessica Rotter…

on my blog. It has been a while since her track, Porch Song, came to my attention – I have never stopped following her music. She is a terrific solo artist but is part of the trio, JEMS. I talk about those twin responsibilities and whether there is new material afoot. She discusses life in L.A. and how it is for a young artist there.

Plains, Rotter’s terrific album, was released last year so I was eager to know what the rest of the year has in store - and whether there are tour dates; if we can see her in the U.K. and the artists that have driven and influenced her.

__________

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

Hi, Sam! I’m doing well!

Things are busy right now - so I’m taking a minute to respond to emails and relax!

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

Of course.

I am a singer and a songwriter. I released my first album last year, Plains, along with a dance film for it – and, I also have a career as a vocalist for a variety of projects (movies, T.V. shows; albums, live performances etc.)

I am currently working on my next album and taking my Folk sound up a notch - with a little Rock/throwback air.

PHOTO CREDIT: @abby_shoot

It seems you have wrapped up a new single. What can you reveal about that and the kind of things we can expect from it?

I have a new single out August 18 called Other Side of the Sun.

It is an upbeat vintage sounding song complete with soulful backup vocals. I wanted to release the song with the Total Solar Eclipse that is happening on August 21 (which just so happens to be my birthday.)

The song is about a relationship with bad timing (I’m sure we’ve all had one of those) where the desire flips from one person to the other constantly. Not too close, not too far - as if orbiting on opposite ends of the universe - but still controlled by the same force.

I believe you perform as part of a trio, JEMS. Can you tell me about the girls you play alongside and how you came to meet? How important is their friendship and music to you – not only as a fellow musician but a human?

So. JEMS was formed VERY recently out of a common desire to get out and play more...

Emily Colombier and I have been friends since we were babies and she was the person who encouraged me to play my music in the first place. She and I found viral success with a mashup we did of the song Stay, by Rihanna, and (the song) Animal, by Miike Snow. She’s been singing backup for me at all of my shows since the very beginning - and I would sing backup for her.

Sarah Margaret Huff was a new friend who moved to L.A. from Nashville and, in an attempt to help her find her footing in L.A., we started playing together and hit it off. She came on tour with me as a backup singer and the three of us bonded like crazy! A lot of people were talking about how our voices sounded together and how our personalities filled the stage in such complementary ways.

So, we decided we should team up and play out. We are excited to be playing a series of shows in late-August and September!

Will you be working on an E.P. or album – either as a trio or solo artist?

I am working on an album as a solo artist.

Our trio will hopefully be recording some songs soon! Our cover of Dolly Parton’s Wildflowers has gotten a lot of praise so I hope we can get that out soon.

For now; you can see our video on YouTube.

You describe yourself as a ‘musical storyteller’. How important is it making your music honest, personal and relatable? It seems like your music really connects with people. How vital is that in terms of inspiring your creativity?

I think every opportunity a singer has is an opportunity to take other souls on a journey.

Musical moments shared are powerful, so whether the story is a narrative or a sensory journey, I like creating moments. For my own music, I really do write honestly and from experience – so, I try to find the universal truth or the common thread that a listener will be able to connect with. It’s not even something I overthink though. I don’t know if it’s from writing poetry or directing theatre...but I feel like finding the common thread in emotional experiences is second nature to me.

I still hope people take the time to get to the bottom of a metaphor in a song and let it sink in for a minute. It can’t all be face value.

Was music big in your childhood? What kind of musicians do you fall for at a young age?

My parents are both musicians and so were my grandparents - so music was definitely huge. I listened to a lot of The Beatles and Motown - a lot of ‘oldies’ and a ton of Classical music.

I appreciated that kind of musical foundation because I think it trained my ear from early on to hear harmonies and count beats.

Music you have written has been heard on T.V., film and around the world. How humbling is that and what is your reaction when you hear one of your pieces on the screen?

Hearing my music alongside other art forms is INCREDIBLY satisfying.

I love seeing how different artists can merge crafts so effectively! It’s always an honor to be entrusted to share someone else’s creative moment.

I have heard your latest live performance, Porch Song, which was captured in Woodland Hills – playing as part of JEMS. What was that experience like? Will you be recording any more intimate videos like that?

I’m sure we will.

We have one more video like that to roll out as JEMS along with a few concert videos. JEMS is fun because we all feel like we can take more risks with it - and I kind of wonder if we will put ourselves out there more because there seems to be less to lose.

I haven’t even released a live performance video of myself - and JEMS has three!

The first exposure I had to you was when I reviewed Porch Song – when it first came out. I love that song and never asked where it came from. What is the inspiration behind that?

Strangely enough; that song was written before Emily Colombier’s step-dad (Geoffrey Lewis’) memorial.

I was driving there and thinking through these words and when I parked my car; I turned on my iPhone Voice Memos app. and recorded the song start-to-finish. It was almost like Geoff brought those words to me. Geoff was an actor/author/artist. Their whole family is creative: so there’s a very strong powerful energy around their house and everyone Geoff touched.

You probably know at least one of his children.

Based in California; how important and influential is the area and its people? What is the music scene like where you are?

Living in Los Angeles is crazy.

The stakes are always higher. You never know who's going to show up. It’s good because you get comfortable performing for influential people - I get much less nervous performing in any other city. The music scene in L.A. is very split, geographically. Certain venues are known for certain things and I find the acts that start Indie - and break out of L.A. - are usually East-side, Indie-Rock bands - and everyone else (are) usually Pop artists on labels.

There’s a small singer-songwriter community that does a little Pop-writing, too. It is cool to live here, though, because you can kind of conquer your hometown - and it means a little bit more than if I lived in a city with a population of 100k - or something similar.

Are there any new musicians you recommend we investigate?

I’ve been really digging Phoebe Bridgers, Waxahatchee and Sweet Spirit.

You should check out the band LEAN, too. They are also a production team and they produced my new single. They have a new song out called Come Back. It’s a fun, summer jam.

Have you any tour dates coming up? When can we see you in the U.K., perhaps?

We are playing in Nashville and the Californian West Coast in August - and I’ll do a proper slew of Jessica Rotter shows once I finish my album.

I am planning on mastering the album in London so I would hope to play a few shows there! 2018?

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

Neon Bible by Arcade Fire

Because it was my first album that made me feel like the darkness inside of us wasn’t weakness - and was a shared human experience.

Carole King - Tapestry

 It is so obvious but it really is the best. Those songs kill me and she has the best heart and soul. I have, like, thirty more albums I could put in this meaningful album list…but…

I will say I most often put on Bon Iver - Bon Iver when I’m looking for a record to listen to.

I listened to it tonight. Holocene and Michicant are two of my favorite songs, ever. They’re perfectly melancholic.

What advice would you give to musicians coming onto the scene right now?

Find a way to make money that doesn’t suck out your soul and it will all be a lot more fun.

I have so many artist friends that are trying to make ends meet in the silliest jobs - that are not paying enough and take up too much time. By singing and writing for other people’s projects, and even teaching a few students, I have the freedom to work on my own art.

So, I guess my advice is do everything you can to not let your soul die and spend as much time as possible creating.

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).

Halfway Home by Broken Social Scene (this song made me feel EUPHORIC when I saw them play last month.)

Thank you!

________

Follow Jessica Rotter

TRACK REVIEW: Rié - Business Trips

TRACK REVIEW:

 

Rié

 Business Trips

 

9.4/10

 

 

Business Trips is available at:

https://www.youtube.com/watch?v=BMsml8cRNj8

GENRES:

Alternative; Alternative-Pop; Electro

ORIGIN:

London, U.K.; Tokyo, Japan

RELEASE DATE:

28th June, 2017

EP.jpg

The Business Trips EP is available at:

https://open.spotify.com/album/68QNlUOETcj4ItttEqu9Fd

RELEASE DATE:

30th June, 2017

_______

NOT often does one come across an artist one…

can literally call ‘unique’. When it comes to Rié that is entirely justified. I shall come to look at her music very soon but, before I do, I wanted to look at Japanese-born music and the vitality of the city; the inspiration behind songs and the link between Rié’s fine art music; transitioning from the Japanese market to Britain; popularity and artists ready for the mainstream – I will look at sounds and fusing unexpected voices. Let us address Japan: an area that does not get a lot of coverage in the music press. Later today, I will attempt to compile a playlist/feature that celebrates the best international artists around – bringing in names from the U.S., U.K.; Sweden, Australia and beyond. Japan is a nation that boasts some fantastic musicians but few make their way to us. When one thinks of Japanese music, especially that which emanates from Japan, one imagines bright-coloured Pop and a sense of the quirky. We look at Japan as a nation and see the bright lights and rush: the strange adverts and the real head-rush of the culture. Aside from that; there is a politeness that we need to adopt here and a punctuality and respectfulness that lures many people in. On the other side of the Japanese coin is a culture of Rock that has been adopted in the West. That class and contrast between variegated Pop and serious Rock makes Japan one of the most intriguing and exciting nations for music. Historically; the nation has brought us artists like Malice Mizer, Aqua Timez and D’espairsRay. Band-Maid, Z’s and OOIOO are other acts worth investigating. I look at the list of Japanese artists and find myself wanting to discover more about the music culture there. I shall look at great venues in Tokyo for musicians in the conclusion – but I wanted to look at some great musicians in Japan. In terms of Rock; Crystal Lake are at the frontline of Japanese Hardcore music and have the potential to break away from Japan and spread their music throughout the world.

Kohh is, actually, a Hip-Hop artist from Kota (Tokyo) who fuses Western lyrical ideals - getting tattoos and a rebelliousness – with flavours and embers that relate to Japanese culture. Quite standout in terms of his words – unusually for a Japanese artist to break away from love in music - he is someone to watch closely. The fin. are a band who have played here a lot and melt dreamy Electronic sounds with urgent Rock. They have soundscapes that take you somewhere special but a definite immediacy. Kyoto’s Tricot are a three-piece are a technical band who have strange riffs and rhythms in their bad. They have toured Europe and are another act that has the potential to assimilate into the Western market. I will come back to this subject later but it is interesting seeing the great artists playing in Japan. Rié started life in Japan and, immersed in the richness and variation of the music scene, and recorded for Sony Japan under the name of Rie Fu. The pink-haired artist was performing something akin to J-Pop-cum-Rock. It has a youthfulness and sense of fun but serious undertones. We get hung-up on stereotypes of Japan and assume all music from the country will fit into that mould. Rié started in a rather ‘traditional’ and cliché way. Maybe, now, she has moved past that and adapted into a unique artist. It is interesting seeing where she came from and the inspiration she takes from Japan. Her Business Trips EP - I will look at the title-track, soon – is half-dedicated to Japan: the other side is focused on London and the U.K. It has been a while since I have encountered a Japanese artist so it was paramount looking at the country and the vivid burst of musical activity one can experience there. It is something I shall come back to later but it is great to back the incredible music that is coming out of Japan.

Coming from Tokyo, with a successful career behind her; Rié could have stayed there and enjoyed life as a Pop sensation. She recorded an album in Japan and, singing with Sony Japan at the age of nineteen. I am not sure whether Rié is returning to Tokyo at any point but, surely, she will have gig requests there. It seems London, and the beauty of the city is enough to keep her rooted. It is hard transitioning from any country but there seems to be a huge difference between Tokyo and London. The former is a bright and sense-enhancing city that is very modern and is dazzling to behold. The latter is modern but has more history and a different pace of life. Having to assimilate to London life would be challenging for someone who comes from Tokyo. Similarly, going to Tokyo – having been based in London – would take a lot of time; acclimatising would be problematic. The reason Rié came over here was to study Fine Art at London’s Central St. Martins. That education facility is somewhere I have seen a lot of musicians study at. There is, as I will explore, a link between art and music but, for the Japanese songwriter; it gave her the chance to embrace and expand her love of art and imagery. I am not sure whether having knowledge and passion for art heightens music: it gives new prescriptive to songwriting and can lead a writer to be more imaginative, abstract and diverse. For Rié and her move here; it seems she has found her calling and home. I know she has spoken about London and how settled she feels at the moment. Of course, there is still that homesickness lingering but, being in a city that can rival Tokyo for music and art, let’s hope there is not too much of a vacuum present. I have seen few artists transition to a new city/way of life as quickly as Rié. She has the look and sound of someone for whom London is the perfect space for her.

Having performed tours of Asia and wowed the population there: it is now time for Rié to tour around the U.K. and bring her music to the people. Her Business Trips EP was released a month ago – it is still quite fresh in the memory. The reason I wanted to focus on its title-track was the story behind it. In my conclusion, I will expand upon the points I am addressing now but, when it comes to songwriting inspiration, I can probably exhaust it in the opening. The E.P. track, St. Martin, recalls the time the Tokyo artist met with a music businessman and another man – who told her it would be very hard to make a career out of music. That frustration lead to the song: a chance for her to prove, rather demonstratively, she is capable of making a career out of music. There are a lot of detracting voices who will tell people there are unable to fulfil their ambitions. It is quite common but, if they are saying it without evidence, it can be patronising and condescending. Calling, a song document when she moved to a small U.K. town – having been in the epicness of Tokyo – tackles isolation, identity and contrasts. The weather, people and accents; the politics, customs and religions – all conflicting and differing from what she had experienced back in Japan. That is what I was talking about regarding Rié and her travels from Tokyo. Having to disconnect from one way of life and embracing a foreign strangeness is enough to unsettle someone. Instead of retreating and hiding herself away; the songwriting took inspiration from these emotions and feelings. Her E.P. is a collection of experiences in the U.K. and how hard it has been adapting to a new nation. She has immersed herself in Britain but still finding her feet (to an extent). What strikes me about the title track is a couple of things: its links to Kate Buh and her husband.

Rié’s husband, also Japanese, was/is often away on business trips and, in addition to being hard to bare – her special other being away for a long time – it meant the young songwriter was hearing and seeing parts of her husband in static instruments and physical things. The same way Kate Bush embraces the domesticity and simplicity of a washing machine in Mrs. Bartolozzi (from 2005’s Ariel); that is what we get from Business Trips. Kate Bush’s paen to laundry and cleaning is something few artists have emulated. What strikes me about that song is how compelling and beautiful a song about housework and day-to-day work is. It is a song that boasts images of the heroine cleaning – after people traipsed mud into the house – and getting the laundry sorted. There is, in that song, a spirituality and mysticism in these appliances. Bush turns the song into a hymnal: a prayer to the pleasures and escapism of domestic chores. Rié takes guidance from Kate Bush and how she embraces the mundane in an extraordinary way. Business Trips was inspired, oddly, by a gecko that happened upon Rié one day. This, I think when her husband was away, was an embodiment of him – maybe an emblem that provoked her to bond with her surroundings. I am not one who believes in fate or reincarnation but, creatively, the creature could have represented remnants of her husband – someone watching over here and keeping her company. As she was recording and away on tour – and he was elsewhere – that sense of separation could have put strains on the marriage. Rather than dwell on the loneliness and distance: she has connected with her home and found elements of her husband in her environment. That gecko, and what it symbolises, drew her to Kate Bush and how she found romance in the ordinary. Alongside the extraordinary story and vocal performance are electronic beats, piano and koto – a mix of Japanese sounds and Western Electro-Pop inspiration.

There are few who take inspiration from original sources for music. I am seeing too many people go to the love-well and splits of love. Anyone who steps aside from the predictable and represents something unexpected finds a place in my heart. It is so easy going with the common and not thinking outside the box. Rié is someone – maybe motivated by her heritage and Japanese characteristics – who does not go with the average and expected. That is one reason why I am drawn to her but another aspect of her personality stands out: her bond and affiliation to art. Studying Fine Art in London; many would immerse themselves fully and not have much time for music. I can only imagine what an experience that degree/course is. Fine Art is not only about studying historic pieces and those famous painting. Many assume it will be a one-dimensional course that does not offer a window into any other cultures. One can imagine there is a chance for Rié to study Japanese art and a lot of the work she would have seen as a child. Not only would it be confusing having to adapt to a British way of life – after coming from Japan – but based in London; the differences in terms of art would have been immediate. The greatest and most reputable art galleries are based here. That provides a wonderful portal for Rié but, in terms of cultures, one wonders how many Eastern works would be hanged there. All these dimensions, diversions and dynamics, naturally, would have spiked a curious imagination and romantic soul. I listen to a song like Business Trips and see art and colours in the composition. It might be pretentious to suggest Rié composes as she paints. She will not use bland colours and project in a predictable way. She sees music as a canvas on which she can create something majestic.

Because of this; one hears fusions of East and West; beautiful nuances and spectacular moments. It is a very direct link, for me. Few musicians have such a creativity and mindset as Rié. She is accustom to our ways of life but is not someone who wants to abandon her home. One gets suggestions of Tokyo in her music and where she came from. Vibing from the incredible culture and opportunities in London: that has gone straight into the music and connected art to music. One hears vivid brushstrokes and depictions in the E.P. I am not sure how long Rié has to go on her Fine Art course but let’s hope she pursues this route and continues studying. I feel this is one of the reasons she is such a prodigious and individual musician. I shall move onto my last point soon but feel a real connection to Rié. She is one of those musicians who feel constrained by limitations and conventional routes. Her songwriting is accessible but can never be seen as commercial. Look at the inspiration behind her songs and one discovers a woman whose heart, imagination and soul resonate to a different beat. This is all true of her voice that could, one imagines, conforms to cliché and national stereotypes. I shall return to Japan but, when one thinks of artists there, the mind is split between a girlishness and intensity. Many J-Pop groups are quite cutesy and sugary. The harder Rock bands have a huge masculinity and ferocity to them. There are few that fit in the middle of the spectrum and offer anything beyond the binary.

In many ways; Rié is more Western in the way she performs and articulates her music. Comparisons have been made to Karen Carpenter and Suzanne Vega. There is that balance of lush and romantic: two artists who, between them, have performed some of the most beautiful music ever. When listening to a song like Business Trips, I am reminded of those singers – and Kate Bush – and notes that are unfamiliar to all. Rié is not someone who clings too closely to others: she is unique and keen not to be labelled alongside others without much consideration. One of the reasons her voice has such a lustrous and candid quality is her connection to Japanese art and poetry. She adores the poetry of her nation and the emphasis its poets/writers place on beauty. There is a sense of the oblique and intangible; nothing is ever spelled-out – only alluded to. Because of this; her music has a mix of the tangible and distance. Beauty is evident but never forced; there is physicality that suggests sexuality and longing. Such a fascinating brew from an artist who has very few competitors. The story and background of Rié is one that seems set for the screen. I know there are many musicians with an interesting back-story but there is a definite drama to be found from Rié’s story – a lost Haruki Murakami novel, perhaps? I love his work like Norwegian Wood and A Wild Sheep Chase and, looking at Rié, see someone who is a heroine from one of his works. That obsession and passion for art; the husband away on trips and the musician who has to get used to a new city (and world). Were she to portray her life onto the screen, it could be called Business Trips. It would be, essentially, an expanded version of the music. The tale would follow Rié from her teenage years – singing for a big label and engrossed in the gaudiness and buzz of Japanese life. From there; she would transport herself to a town in Britain and have to transform herself into someone else.

The novel/film would then see her following her love of art in London and making the E.P. – that encounter with the gecko and new experiences. I am getting a little off-topic but there is plenty of scope for anyone who wants to pen the Rié story. I shall return to my earlier point but find it interesting there are older Western artists in the mind of Rié. One might think local artists or modern mainstream acts would be her influence. Maybe I am stereotyping again but feel too many artists are beholden to the mainstream and have a very narrow focus. A young woman like Rié would be forgiven for sticking to music of this decade and not really casting her mind back. The fact she recalls Suzanne Vega and Karen Carpenter suggest the kind of sounds she grew up to. It has been a while since I have put those two names together in a review. It is a testament to an unpredictable and unconventional artist who does not want to be easily defined and written off. That defiance and uniqueness is a demarcation between Rié the Artist and Rié the Musician. There is an inherent link between the two but there both are different sides to her personality. Business Trips employs art in its compositions, designs and videos. It is the raw and real story of the Japanese artist that goes into the vocals and lyrics. Because of this, artists like Suzanne Vega and Karen Carpenter seem like obvious idols. Both articulated a sense of loss and longing; a blend of romance and confusion. I am a big Bangles fan and grew up listening to Vega perform for them. Carpenter is someone I came to later in life but feel a real affinity towards. Rié, in a way, refreshes my mind and draws me back to childhood. Her performances are so evocative and intoxicating: one forgets she is a mere human. This might sound like hyperbole but such is the sense of wonder one experiences listening to her music.

The openings seconds of Business Trips presents the rush of (what sounds like) trains and clash. It is he rush of feet and the sounds of commuters. That is balanced by piano – which is romantic and tender – and that mesh of lush and hectic gives the song a rather strange energy and dynamic. The heroine sings and is surrounded by the smell of turpentine. Maybe she is engaged in painting and setting down to create a commissioned work – perhaps something to pass the time. Whatever the origin; one senses a distraction and need to connect with her husband. His departure creates an emptiness that, one feels, is filled with art. As she started to paint on the canvas; a gecko approaches and is in her sights. Perhaps, one assumes this was set back in Tokyo, a rare creature like that seems born out of a dream. This was a literal happening and a revelation that provoked the song. In a way, or as she says it, the physical embodiment of her husband. It is company and inspiration but it is a rather mystical and odd happening. Those Japanese strings – the subtle pluck and Eastern flavour – give it is a homely feel and connection to her past. Bird sounds and a breeze blows and, this gecko arriving, happens every time her husband is on the business trips. What I get from the song is a woman who longs for her husband and feels his departure quite hard. I know she has her own life and purpose but it is quite uprooting having to face regular spells without her husband. The vocals, to start, float and have that Suzanne Vega tone to them. It is romantic and swaying but starts to heighten and embolden. They always retain their romance and beauty but get heavier and more pressing. The composition brings in fizzy and electric that signifies the internal struggle and turmoil the heroine is faced with. She works from five in the morning to nine (that morning): odd hours that see her dedicated to her work but fulfilling her role as a wife and housekeeper. That early wake-up might be because she has nobody else around. She is free to keep her own hours but needs that distraction.

It is interesting noting the change in pace and sound in the song. It is not announced by the vocal or lyrics – a huge chorus or shift in narrative – and happens quite naturally. Because one does not expect it; it takes one by surprise and creates quite an effect. It is a stunning sea change that brings a lot of physicality and emotion into proceedings. Business Trips starts life tenderly and with grace but grows more anxious and heated. In a way, the vocals of Rié remind me of Lana Del Rey and her finest work. There is that sweet-and-husky mix that reminds me of her latest album, Lust for Life. The voice sways and floats in the breeze but its mantra concerns the office and a domesticity. In the song’s video; she drops paint into a cooking pot – maybe that is the way she mixes paint but seems to represent the art of housework and mixing her work and home life – and puts images of the gecko on the wall. It is a busy and active space that is her day-to-day routine. Her office is bustling and alive; it is her vocation and explanation – the way she can find some sort of solace and meaning. Having to deal with her husband’s absence means there is a definite quiet and loss. Rather than dwell on that; she picks up her paints and creates murals and spectacular work. The composition seems to mirror that colour-burst and epiphany. The electronics and percussive elements are productive and assiduous; the vocal is disciplined and imaginative – it all seems to be like paints being mixed and put onto the walls. One imagines the other side of the coin: her husband waiting at airports and having to bundle onto the train. It is a stark contrast to the peace and creative perfection of an office studio. Maybe there is anger and disappointment at the state of the relationship. The two make plans and speculate projects but then, when things are starting to happen, another business trip comes up.

It seems work is getting in the way of the relationship. Whether there is a sense things could be different and less divisive, I am not sure. Rié pines for a simpler life where the two live together and can have their own careers. Maybe that will never be possible because her husband has to travel. Whether the song has its heart in London or Tokyo, it is hard to say. One imagines this is a recent occurrence and, as such, does Rié pine for her simpler days? I guess, when you transition in a new nation, sacrifices have to be made. In this case, the two have very different careers and they do not really overlap. Rié is someone who can be based at home and does not need to travel. Her husband’s itinerant agenda means Rié is, in a way, having an affair with the home and surroundings. The same way Kate Bush longingly sung about a washing machine on Mrs. Bartolozzi: here, the artist is guided by the gecko but seems closer to her subject and passion. She is not seeing anyone else but desires a connection and conversation. This occurs through her art. Painting on the wall and mixing colours; dreaming and speculating distract her from the sense of isolation and loneliness that has been created. This is perfectly rendered in a song whose composition tells the husband’s side – the rush and energy of travel – whilst Rié’s vocal is a more sensuous and artistic thing. Both, ironically, unite harmoniously in a song that talks of distance and bridges. The song’s coda – the heroine working in an office – seems to spark new interpretation as it is repeated. Towards the end of the song, maybe that is the conversation and echo of her husband. When Rié asks why he cannot be there: that is his response, I guess. It is simple and terse but cannot be defined and rationalised. Maybe he needs to pursue a career in the arts: where he can be with his wife and they are a more connected couple. That might not be practical so it makes Business Trips a fascinating and tense thing. The song starts to grow and crawl: the composition showing teeth and starting to stomp. Everything tightens into an anxious crescendo. The heroine continues to remain calm inside the storm but one feels an explosion and execration is imminent. Perhaps there is mediation and discussion required but, in a sense, one is a voyeur when listening to the song – watching something intimate and personal break and go through strain. In any case; Business Trips is a song that will remain long after it has ended – and announced the presence of a unique artist with few equals.

I mooted as to the cinematic potential of Rié’s story. Such is the strange and wonderful route she has taken in life – I cannot help but marvel and speculate. Some artists go from Japan to the U.K. but none have the same course and consequence as Rié. A married and domesticated woman; there is a sense of the ordinary and predictable – in a very good way. Part of Rié concerns hyper-focus and singularity: she sets her mind of one thing and has that discipline. Her songs are the results of, in a lot of ways, whimsy and strange inspiration, but the actual composition and production suggest someone who engrosses themselves in the business of recording. On the other side; one can see a rather flighty and dreamy soul who loves to wonder and lose herself in all sorts of art, culture and music. Earlier this week, Rié performed a live version of Business Trips at Craxton Studios. It is a performance that takes a different approach to the recorded version. It is interesting seeing the dichotomy of the versions and what the live version brings to the plate. I will let you watch that – on her Facebook page – and what an incredible rendition it is. Rié has been interviewed and spoken about her E.P. It is a work that, one hopes, will be fostered by many cities and towns. She has that London base right now but, one wonders, will she return to Tokyo in the future?! It seems her husband’s business jaunts are quite unsettling and that distance creates stress. It does also provoke creative bursts but one senses a sentiment of yearning inside Rié. Maybe Tokyo was perfect for her when she was a teen: London seems more designed for the more mature person; someone who has a vibrancy and curiosity but it is more settled and composed. Let’s hope Rié remains because she is someone I want to see perform. I love the way she writes and her strange intelligence.

Whether Business Trips EP gets a U.K. tour I am not sure but the music is being celebrated and promoted by Rié’s fans. Her social media numbers and huge and she already has that mass of fans back in Tokyo. It means her songs can be heard there – in addition to London. I will return to my earlier chat about Japanese music. I provided a few names that are worth seeking out but there are some great venues around Japan that are perfect for musicians – whether native or going there on tour. The Living Room Café is based in Shibuya and is, it is claimed, Japan’s biggest live music café. It combines art, food and music and manages to fit 300 seats into its 1,200mÇ floor. The Guinguette is a five-minute walk from Shibuya’s station and hosts live music in the basement of the three-storey venues. There are colourful lanterns and a classy feel that sees Jazz musicians take to the stage – often dressed in suits with top hats. Art Space Bar Buena is an art gallery-cum-bar that, one feels, would be perfect for Rié. It is a more ‘experimental’ space where Punk artists played and, on some occasions, the patrons wear blindfolds – tables are pushed over and all hell breaks loose! Not only is there is a variety of genres being played in Japan: cities like Tokyo are set up to house them. Metro is a hip club that attracts a younger crowd. It is one of the best venues in Kyoto and somewhere one can go to untangle themselves from the hustle of Tokyo. Taku Taku is a reputable bar and live venue that, again, seems to be established for a hipper crowd. Jittoku has stone floors – it used to be a sake brewery – and has that authentic feel.

It has been great discovering Rié because she seems someone born to perform music. Business Trips is a terrific E.P. whose stories are rich and fascinating. You do not get your average and boring love songs with Rié. Instead, there is a nod to domestic bliss and missing one’s spouse; being refused opportunity and rebelling against it; the head-mess of having to adapt to a new nation and its people. It is, effectively, the tale of Rié up until now. The title might suggest her husband’s business trips are the main focus but, in a way, she is on a business trip – both in different worlds but connected by their love and marriage. Two human beings who have had to change their life and get used to a new country is enough to unsettle the steeliest of souls. For Rié, she has based herself in a country that affords her the chance to indulge her love of art and poetry. How her life will progress from this – setting up a family or studying still – I am not sure but there is a real opportunity ahead of her. Her music is incredible and she has the chance to be one of the finest new artists on the block. The mainstream welcomes artists who are different and have the potential to remain for years. That is true of the Japanese songwriter who, on Business Trips, shows she is a force to be reckoned with. Ingratiate your soul with music that goes further and provokes more reactions than anything you’ve likely heard. The title track from Business Trips EP is a song that stays in the mind and takes your body…

 TO a strange and fascinating place.

_______

Follow Rié

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.

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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.

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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!

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