INTERVIEW: HOPE

INTERVIEW:

PHOTO CREDIT: Riccardo Bernardi 

HOPE

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I am spending a lot of my time in Germany…

PHOTO CREDIT: Riccardo Bernardi

it appears – and with good reason. There are some great artists playing in the country that, between them, are doing something very different and exciting. HOPE are a fascinating and enigmatic band whose music, right now, is part of their ‘dark phase’. I ask the guys about the new track, Kingdom, and how they all got together; what we can expect from the approaching eponymous album – and the artists that have connected hardest with them.

HOPE talk to me about the music scene around the Berlin area and how much of their music is based in symbolism; whether they are coming to the U.K. and what lies ahead for the band.

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

Thank you; very good.

This week has been (a lot) about getting going - talking to our agent about the release tour; to our label about spreading the word. After being busy with the making of the record for such a long time; this outlook (on carrying it) into the world is pretty exciting and fresh.

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

We are HOPE, from Berlin.

Christine Börsch-Supan: Vocals; Phillip Staffa: Guitar; Martin Knorz: Synths; Fabian Hönes: Drums. We named and formed Hope in 2014 - after five years of playing together.

Tell me about your new track, Kingdom. What does the song represent and was there a specific influence behind it?

It talks about an absurd struggle...

A struggle between super-elevation and submission: hardness and discipline versus powerlessness. There is a lot of energy in that struggle. When we wrote the song, we wanted to make that energy palpable.

We felt like writing a song that is physical and powerful - allowing this anxiety – but, also, allowing the power and freedom when you let your energy go wild.

What was it like filming the video? Is there symbolism in the piece or was it inspired by any particular filmmaker?

We filmed the video in a huge subterranean hall, a former cooling area of a Malthouse, for ten hours straight - temperature round about freezing-point. Super-imposing and super-raw at the same time; emphasising these aspects of the song even more than we had thought before the shoot.

For us, it's not about symbolism but about finding a visual metaphor for what the song expresses - and playing with its extremes. 

PHOTO CREDIT: Oliver Beige

I know HOPE are in their ‘dark phase’. Everything is draped in that blackness. Is there an emotional catalyst for this decision?

Strangely enough, after we decided to name the band HOPE, the music subsequently became darker and darker.

I understood that ‘hope’ has everything to do with acknowledging darkness; your own darknesses. The word itself already implies a struggle…and a path; the path of going towards light. As I mentioned before, there is a lot of energy in struggle; a lot of vividness and power. Liberating this energy and power is definitely a catalyst for us.

There is a self-titled album arriving. Given the band’s name; it seems like it is an ironic title! Would it be fair to see there is quite a lot of intensity on the record?

In my understanding of hope, it's not irony - but the only consequent thing to do.

For sure, this involves intensity and I think intensity is what each one of us is looking for in making music. It's also a lot about making the music physical: throwing your whole self; your whole body into it. The non-existence of intensity never worked for us in music – we dropped all songs that turned out to be only scratching the surface.

PHOTO CREDIT: Sascha Krautz

What can you reveal about the songs and themes that will be covered on the album?

I think each of the songs is a world in its own: going from very fragile to very brachial.

The album deals with this exact ambiguity; an ambiguity which I think lies within every human being - and is the struggle of every human being. At the core, we all are brutal and loving; we want to be touched and refuse to be touched - are loud, quiet; full of despair and hope at the same time.

How did HOPE get together? Where about in Germany are you based?

We met in the Bavarian provinces – studying Jazz music. After Conservatory, we settled in Berlin and Leipzig.

What is the music scene like where you are? Is it quite active and diverse?

I thoroughly love Berlin.

It’s a great place to be - to be yourself, especially; to live; to make music. Of course, the city is buzzing with stuff and music from all kind of scenes - genres and places all over the world. We don’t really consider us part of a particular scene, though, and I couldn’t say that Berlin, or the music scene here, itself had a direct impact on our music.

But, it had (impact) on our lives and our minds, for sure – and so it has an impact, in the end again, on our art.

IN THIS PHOTO: Sascha Krautz

Is it quite difficult bringing your music to the stage? What do you change between the studio and the stage – or it is quite a natural transition?

Basically; we don't change anything between studio and stage.

We recorded the album live because it felt like the most natural thing to do. We always defined ourselves by playing together: craving that moment of making music. Actually, the recording process and working with Olaf Opal, pushed us and the music even further - and made us realise what the songs demand.

This, again, bounced back on our live playing afterward – I think we play way more free, daring and resourceful since recording the album.

Are there any particular bands or artists that have inspired your sound/direction?

We do obsessively listen to Busta Rhymes in the band van at the moment...

But, on the larger scale, each of us has his/her very own musical histories and influences. Some, we share - Jazz, obviously but also Hip-Hop, Techno; Classical music - some we introduced to each other.

We adore Marina Abramovic, Sleaford Mods and John Cage alike for doing their art. I think all of these strands are within us and have influenced the music – (sort of) a pool of experiences to draw from.

PHOTO CREDIT: Dominik Wagner 

Do you have any tour dates planned? Any intentions on coming to the U.K.?

We will be touring the Baltic states and Poland in October, and then, a longer run through Germany and Europe when the album is released.

Yes; we are definitely hoping to come to the U.K. along the way.

Who are new acts you recommend we check out?

Check out Gewalt (from Berlin) - very thick, very brute.

Friends of Gas (from Munich) are seriously great.

Also; check out White Wine (from Leipzig).

IN THIS PHOTO: Freinds of Gas

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

At the moment, for me: Bon Iver - For Emma, Forever Ago

Makes me cry and makes me fly. 

The Jimi Hendrix Experience - Electric Ladyland

It opened Phillip’s eyes and ears quite some years ago to the unrestricted and raw powers of music.

PHOTO CREDIT: Dominik Wagner

In the same sense; Fabian absorbed Tool - Ænima

Martin would choose ArvoPärt – Fratres - for its minimalistic reduction to the essential. But Pärt, at the same time, creates music that is touching and reaches out to you.

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

Be true to yourself. Do something unique. Commit yourself.

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).

Bon Iver - The Wolves (Act I & II)

Sleaford Mods - I Can Tell

Arvo Pärt – Fratres

Gewalt – So geht die Geschichte

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Follow HOPE

Official:

http://www.thisishope.de/

Facebook:

https://www.facebook.com/listentohope

Twitter:

https://twitter.com/hopebandberlin

Spotify:

https://open.spotify.com/artist/1wwdZiPDXIR9nGbd2Fh279

INTERVIEW: Adore Delano

INTERVIEW:

 Adore Delano

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IT is understandable one would get some snappy answers and cheeky chat…

from Adore Delano. In an unexpected and refreshing side-step for my blog; I chat to the U.S. drag artist/songwriter - who has won legions of fans because of her success on American Idol and appearances on RuPaul’s Drag Race. She gives me an insight into coming-out – how ‘Danny Noriega’ became ‘Adore Delano’ – and whether there was a lack of understanding and acceptance.

I find out about an intriguing and fascinating soul whose music has elements of legends like Marilyn Manson within – although, as I find out in the interview, Adore Delano is keen to forge her own identity. She discusses the single, Negative Nancy and the album, Whatever.

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

It's been chill so far. Just got back from Vegas.

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

'Sup; I'm Adore.

Many might know you as a semi-finalist from Season Seven of American Idol. What has the attention been like since you appeared on that show?

It's been chill.

I mean; it's ten years later: cancelled, then picked back up - and we still talk about it; so I say, “slay”!

RuPaul’s Drag Race was another show you were in. What was it like appearing on that and what is RuPaul like?

It launched my career, man – so, obviously, it was awesome.

Ru is cool-as-f*ck: she gives the best advice.

When did ‘Danny Noriega’ become ‘Adore Delano’? Was it - apologies if you get asked this a lot - when you were coming out and revealing your sexuality to the world? 

Nah.

I came out at twelve and started performing as ‘Adore’ when I was twenty-one.

Do you think there is discrimination in music when it comes to gay artists? Have you felt any discrimination because of your sexuality?

I came out of my mom being discriminated, so it's almost like birds chirping now. You just don't notice sometimes.

We've got a lot of amazing L.G.B.T.Q. artists out there, though.

Does being a drag artist give you a sense of freedom and identity? What is it like being Adore Delano?

Definitely.

I can get away with more sh*t when I'm ‘hot’.

 

I want to know about your music. The single, Negative Nancy, is one of your new ones. Can you tell me a bit about the song?

It's loud, fun and raw: I wanted to scare the peeps.

It is from the new album, Whatever. What were the events and stories that went into the album? Was it a hard record to make, emotionally, would you say?

It's never hard for me to tap into my emotions...so not really. I have a manic brain and I can write pretty quickly.

People might look at you and think “She’s going to sing Pop and be quite boring”, perhaps. You do, in actuality, create a sound that has embers of Marilyn Manson. Was it hard making the kind of music you want – and not what, in a way, other people wanted you to perform?

First off, thank you for that, so much.

But, I must say I get scared being a little queer from Azusa - when being compared to a legend.

It's definitely liberating to perform these songs, now.

 

I guess, intrinsically, the message you promote is: be yourself and do not live a lie. This extends beyond image and sexuality. How important is it for people to connect and understand the importance of that mantra?

It's…“Whatever”.

I want them to really just be themselves: stop following your favorite artist; stop listening to T.V. Be ‘you’, for sure.

Can you reveal the kind of music you grew up listening to? What kind of artists did you respond to as a child? Have those tastes changed now you are older?

I listen to the same sh*t, really.

I LOVE POP MUSIC. I really do. It's shaped me as the person I am today. I love listening to Manson a lot, though.

His album, The Pale Emperor, was so good.

What does the rest of the year hold for you? Is there already more music brewing in your mind?

Absolutely insane. I'm already writing new sh*t.

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

Check them out, here: www.adoredelano.com

Who are new acts you recommend we check out?

Cher in Vegas! L.o.L.

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

Britney Spears - ...Baby One More Time

Marilyn Manson - Mechanical Animals 

Amy Winehouse - Back to Black

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

Stay humble and always text your mother back. 

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). 

Nirvana - Aneurysm

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Follow Adore Delano

Official:

https://www.adoredelano.com/

Facebook:

https://www.facebook.com/AdoreDelanoOfficial/

Instagram:

https://www.instagram.com/adoredelano/

Twitter:

https://twitter.com/adoredelano

SoundCloud:

https://soundcloud.com/adoredelanoofficial

Spotify:

https://open.spotify.com/artist/3tdsh4B7GuigHI4vPtUs87

YouTube:

https://www.youtube.com/user/DannyNoriega/videos

FEATURE: X-Why? The Issues Faced by Female Producers in a Male-Dominated Industry

FEATURE:

 

X-Why? 

IN THIS PHOTO: Producer/songwriter Abra/PHOTO CREDIT: Alex Cretey-Systermans

The Issues Faced by Female Producers in a Male-Dominated Industry

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SINCE I started this blog; I have become more interested…

IN THIS PHOTO: Grimes is one of the most respected producers in the music industry

in and angered by the gender imbalance in music. In front of the microphone; there seems like an even disruption between the boys and girls. Various genres see men or women taking the majority share but, when one listens to the songs we all enjoy, you have to ask the question: how many of them were produced by women?! I will end the piece by looking at a selection of upcoming female producers who have to fight against stereotypes and poor practices in the industry. I want to bring in articles that help back up my argument: there are many who feel women have no place in the recording studio – mixing, engineering or producing, that is. The same way there are few women being given headline slots at festivals: there are very few being encouraged into studios to do what, even today, are considered ‘men’s jobs’. There are perceptions that women are more vulnerable to taking time off – maternity leave being a concern for studio bosses. If a potential employee is going to take a few months-a year away from the studio: how reliable are there going to be?

PHOTO CREDIT: Wikipedia

It is a criminally sexist idealogy but one that, to many, is holding them back from applying. Not every woman on the planet wants to reproduce: there are many who already have children or are capable of balancing the demands of professional record production with being a mother. In any case; there are prejudices that are present in all areas of the workplace – not only the music industry. Women, as we know, are paid less and, when looking at music, they are still being seen as inferior and less capable. If a woman, say, is more emotional and sensitive than a man – can they handle the stress and demands of a headline slot? Seeing more women become producers, defying limitations, is very pleasing to see. Even as recently as a few years ago; shocking statistics outlined how widespread and alarming the issue is – very few women being recruited and encouraged to produce.

PHOTO CREDIT: Pixabay

A 2012-article by the BBC outlined the issue:

“In the UK the situation is the same. The Music Producers' Guild says less than 4% of its members are women. And the Liverpool Institute of Performing Arts says only 6% of the students enrolled on its sound technology course are female. That figure hasn't changed for three years.

Yet the problem seems to be restricted to rock and pop. In the theatre, in Hollywood, in radio there are dozens of female sound engineers. Roughly one-quarter of the BBC's sound mixers are women.

"There are no social barriers to a woman becoming a record producer," says Prof Rogers.

"The more stringent and insurmountable constraint is the biological one. A man can, technically speaking, reproduce on his coffee break. It doesn't take all that long, and biologically it doesn't take much of a toll. For a woman, the opposite is true.

"The typical lifestyle of a record producer is very intensive, very competitive, all-consuming. In order to be able to maintain that level of focus and attention and dedication to your craft, it has to come at the expense of reproduction."

"The women who do get into it will do really well... until they reach that point in their late 20s where they say, 'Now its time to have a family'. I tell my female students it's going to come for them. It came for me, and I opted not to have children, to not get married."

Influential women like Cordell Jackson – founding her own label, Moon Records (in 1956) - produced early Rock ‘n’ Roll songs. Sylvia Robinson produced the Hip-Hop classic Rapper’s Delight; Susan Rogers engineered Prince’s Purple Rain and Sign o’ the Times – working with Barenaked Ladies and Crosby, Stills and Nash. Leanne Unger produced and engineered albums for the likes of Leonard Cohen whilst Sally ‘Louder’ Browder emerged from California’s Punk scene to produce records alongside artists like Dwight Yokam.

IN THIS PHOTO: Legendary producer and engineer Trina Shoemaker

Trina Shoemaker, who I shall mention later, has won three Grammys and worked with Sheryl Crow, Queens of the Stone Age and Emmylou Harris. Shoemaker, when talking with BBC in 2012, offered encouraging observations:

"Women are entering the field in drives now. There's maybe a 20-year curve before they're fully recognised. But look at doctors - they're pretty much equal now.

"I don't know about pay scales, but if a surgeon walks in and it's a woman on her 800th cardiac surgery, I want her, not the young dude who just walked out of medical school.

"So I think about the time I retire, we'll see a very level playing field."

IN THIS PHOTO: Grammy-nominated, engineering pioneer Emily Lazar

In the years since that article; more courses have been set up and more women are pursuing careers as producers. Every year, mind, a new article emerges that questions why producing and engineering is a male-heavy sector. One would be forgiven to jumping to conclusions but the simple reason is this: there is not enough positive recruitment and proactive effort from the men who currently own the studio landscape. I will come to my own interpretations and views but, reading a 2016-article - from Cuepoint - noticed how, since 1974, only six women have been nominated for a producer gong at the Grammys.

“In this year’s GRAMMY Awards, no female producer has made the cut for a Producer of the Year, Non-Classical nomination. That, unfortunately, is nothing new. Since it was introduced in 1974, only six women have been nominated in the category. Past female nominees include Janet Jackson (the first female nominee ever, in 1989, who was nominated with her team Jimmy Jam and Terry Lewis for her album Janet Jackson’s Rhythm Nation 1814), Mariah Carey (nominated as a pair with Walter Afanasieff for her album Emotions in 1991), Paula Cole (the first woman to be nominated solo, for her album This Fire in 1997), Sheryl Crow (for her album The Globe Sessions in 1998), Lauryn Hill (for her album The Miseducation of Lauryn Hillin 1998), and Lauren Christy (as one half of the production team The Matrix, for their work with Liz Phair and Hilary Duff in 2003)”.

IN THIS PHOTO: Music student Nyasha spoke with The Fader as to why she took up producing

The article highlighted how the studio can be quite an antisocial and dank environment. I have been in a few rather small and modest studios – it is a very quiet and serious atmosphere that does not encourage sociability and conversation. Even the high-end studio facilities are male-led and rather clique-driven. There is boys’ talk and it can be quite hard for women to naturally assimilate into that dynamic:

“Given that less than 5% of music producers and engineers are female, there isn’t much room for social growth for women in the industry, going hand in hand with an equally limiting professional growth trajectory wherein men traditionally work with, answer to, and promote other men. KK Proffitt, owner and chief engineer at JamSync, a small studio in Nashville, says the imbalanced gender dichotomy can be intimidating for women, especially when it gives men carte blanche to act unprofessionally”.

It seems, even in 2017, music production/engineering is a parochial industry where women are assigned specific roles – the same sexist secretarial sub-duties that see them subversively resigned to the shadows. The high-end equipment is bought, largely, by men and there is that impossible cobweb: how do we untangle ourselves from the current malaise?! There are positive signs, yes, that women are becoming more determined to overcome the odds and get into the studio. I do wonder whether they are likely to be met with the same respect as men and, when they do become producers, they will receive the same pay?! Music courses in Production are open to men and women, but it is attitudes that are holding many women back. If a woman looks at the statistics - and feels she would not stand a chance of being accepted into a modern recording facility – how likely is she to take up production and follow that career-path?! I wanted to dedicate the second-half to positive and celebratory concerns so, before moving on, a few new angles that query why there are so few female producers. The Fader, back in 2014, asked new female producers why they have been hesitant. Caroline Polachek, a New York-based producer, laid down some truths:

“There are plenty of female artists out there now who are self-produced and doing cutting-edge productions to surround their own vocals or compositions, which is vital part of the musical landscape right now, but the resulting message is that the female producer is an aesthetically presented vocalist who only produces her own songs”.

IN THIS PHOTO: Producer and songwriter Caroline Polachek

It is true there are a lot of new artists coming through that are producing their own songs – women, I mean. So many of the female artists I feature produce their own material and do so in a D.I.Y. manner. Maybe a lot of the issue comes in the big studios: there is evidence to suggest a lot of underground artists are taking control of their own music and producing their own stuff. There are many female artists learning production via apps., technology and YouTube tutorials. This is a way to navigate the sexism of the studio and prove they are as worthy and talented as their male peers. Toronto’s WondaGurl offered a practical solution to the issue of few female producers:

“I feel women should enter more beat battle competitions, that would be the first step in getting noticed by people from all over. There are many industry people that attend those events and that I feel would be a good place to promote yourself”.

What is evident is there is little room for new archetypes and progressions. Music is a stubborn industry that prefers the ‘old way’ and not amending the Constitution. The sacred and rigid decades-old decelerations have not been met with adequate rebellion and protest. Many women are speaking out but how fruitful is that when few men are adding their voices to the debate?! Sydney producer, Anna Lunoe, offered more (sage) advice:

“The more there are in the public space, the more young girls will see it as a option for them from a young age and find the confidence to start learning. That means we need women not only to be producing but—and this is important—to stimulate meaningful change we need them to actually rise to the top and become visible. Producers by nature aren't always visible, so that means to create most change, she must not only be a producer but also potentially have what it takes to be a performer—publicly seen and embraced. We all are aware of the standards expected of women in this area so I'll just leave that there”.

IN THIS PHOTO: Music student Alex spoke with The Fader as to why she took up producing

Every example and testimony I see; it seems to say the same thing: there is not enough will and determination to change things. Every female producer in this article, I am finding, says they hesitated because the top-bods were not being sufficiently gender-fluid in their promotional campaigns. The way to override and subvert the male-led hierarchy and hegemony is to revise the mission statement: producing is fit and open to everyone! Established New York-based producer Emily Reo, explained ways we can encourage more women into the field:

“But since that takes more time and effort and equality doesn't seem to be much of a concern to the industry higher-ups, we need to keep having this conversation and having it loud. If pop music's audience is vocal about a change needing to happen, maybe we can shake the structure from the bottom. Profiling talented female producers and engineers more frequently is a start”.

These arguments are all quite impressive and give the men at the top much food for thought. It seems the Pop market is the most monetised and profitable side of music. Why, in an industry where so many of its players are female, are there so many female producers? It seems it is not only reserved for the production side of things: many of the writers, who appear in the top-forty, are men. The statistic in this 2016-piece lay it out bare:

“A look at the charts tells us 74 people produced the songs in the Top 40 this week, but only 3 of them were women. Three. Those women were: Bebe Rexha for G Eazy's "Me Myself & I," Meghan Trainor for "Like I'm Gonna Lose You," and Wondagurl for Travis Scott's "Antidote."

And none of them produced a song on their own without a man. 37 of the Top 40 songs this week were produced by an all-male team. That's 92.5%.

And this is not a number exclusive to February of 2016. In our data for the Top 40 for 2015, we found that only 3.8% of Top 40 producers were women last year.

 IN THIS PHOTO: Marcella Araica

Even though this week, Rihanna and Drake's "Work" is sitting high at the top of the charts, only 17.5% of Top 40 songs were performed by only women. And 67.5% of songs were performed by men without any appearances by a female performer. Just for comparison, women performing alone have 7 songs in the Top 40. Drake and the Weeknd alone have 6 songs.

Things are no better than they were last year. For all of 2015, women only made up 25.8% of the 178 performances that hit the Top 40.That number—25%—manages to hold steady despite how many songs come and go in the Top 40. This week, women make up 30% of songs in the Top 10, but only 15% of the Top 20.

It’s almost like there’s a cap on how many women are allowed to succeed on the charts.

And when one of America's Top 40 performers is accusing her producer of rape and emotional abuse, it's hard not to wonder if the barrier to enter the Top 40 is built out of a lot more than just how good of a hook you can sing.

In addition, again this month, women make up an even smaller percentage of the songwriters on the Top 40. Only 15 of the 143 writers it took to make the 40 most popular songs in America were women. That’s 10.4%”.

A lot of the famous and high-profile female producers are inspiring others to get into the industry. One only need look at the credit-sheet of Linda Perry, Marcella Araica; Emily Lazar and Sylvia Robinson, between them, have produced everyone from Duran Duran, Gwen Stefani; David Bowie and The Dixie Chicks. Taylor Swift and Britney Spears have produced a lot of their music; so too have Alicia Keys, Beyoncé and P!nk; throw in Lady Gaga, Katy Perry and Nicki Minaj – M.I.A., Lauryn Hill and Shura. A lot of those names are mainstream and established but there are so many, away from the bright lights, laying down and producing their own sounds. Perhaps; the issue is with the mainstream and setting a great example.

IN THIS PHOTO: Producer/songwriter HANA/PHOTO CREDIT: Jasmine Safaeian

In addition, again this month, women make up an even smaller percentage of the songwriters on the Top 40. Only 15 of the 143 writers it took to make the 40 most popular songs in America were women. That’s 10.4%”.

A lot of the famous and high-profile female producers are inspiring others to get into the industry. One only need look at the credit-sheet of Linda Perry, Marcella Araica; Emily Lazar and Sylvia Robinson, between them, have produced everyone from Duran Duran, Gwen Stefani; David Bowie and The Dixie Chicks. Taylor Swift and Britney Spears have produced a lot of their music; so too have Alicia Keys, Beyoncé and P!nk; throw in Lady Gaga, Katy Perry and Nicki Minaj – M.I.A., Lauryn Hill and Shura. A lot of those names are mainstream and established but there are so many, away from the bright lights, laying down and producing their own sounds. Perhaps, the issue is with the mainstream and setting a great example.

IN THIS PHOTO: Alicia Keys is among a number of high-profile musicians who have produced their own music 

In addition, again this month, women make up an even smaller percentage of the songwriters on the Top 40. Only 15 of the 143 writers it took to make the 40 most popular songs in America were women. That’s 10.4%”.

A lot of the famous and high-profile female producers are inspiring others to get into the industry. One only need look at the credit-sheet of Linda Perry, Marcella Araica; Emily Lazar and Sylvia Robinson, between them, have produced everyone from Duran Duran, Gwen Stefani; David Bowie and The Dixie Chicks. Taylor Swift and Britney Spears have produced a lot of their music; so too have Alicia Keys, Beyoncé and P!nk; throw in Lady Gaga, Katy Perry and Nicki Minaj – M.I.A., Lauryn Hill and Shura. A lot of those names are mainstream and established but there are so many, away from the bright lights, laying down and producing their own sounds. Perhaps, the issue is with the mainstream and setting a great example.

We all know about those Pop/mainstream female producers: they are doing their best to encourage fellow women to produce and swim against expectation. That poverty of expectation is only being fuelled by male producers who have a duty to encourage balance and equity. The issue does not lie solely with them: those label bosses, established industry heads and their ilk need to do a lot more than they are right now. Courses, run by the likes of London Academy of Music Production are great places to start.

IN THIS PHOTO: Australian-born, London-based producers/artists NERVO

They are gender-blind and are excited to welcome talent from all around the country. We need to make these courses and institutions more visible. The government is not expending adequate finance and awareness to the problem at hand. Sexism is not confined to music production: festivals are culpable of restriction female headliners; mainstream management and record labels sexualise and exploit their female talent. There are a lot of female D.J.s coming through but, speaking with many in the industry, they still get paid less and are afforded few opportunities. There is that insinuation (women) are less capable of packing a room or handling the demands of the job. Many are promoted because of their looks at physical assets – many are quitting the industry because they are not being taken seriously. Dani Deahl; speaking with EDM in 2014, gave a perfect argument/solution:

“I think it's cultural and societal. Women are still brought up surrounded by influences that steer them towards certain careers, certain mindsets, certain pathways. It's a lot of learned behavior - I found while researching for my talk that almost all the female producers I interviewed were brought up in households similar to mine - ones where parents didn't differentiate between 'boy' activities and 'girl' activities. We get so wrapped up in gender roles.” Navigating her path into the male-dominated business, Dani said, “As far as music, I just do what feels right. Lately that's been incorporating bits of riddim and lots of drum work into tracks, because that ignites a visceral feeling for me when I make it and play it. At the end of the day, it's just about feeling like I'm being honest with myself and all the fans, who are like friends. You wouldn't lie to your friends.” Dani’s success includes producing a Billboard charted track, three performances at Lollapalooza, and running a successful blog. For aspiring female producers, Dani is open to discussing and sharing her thoughts with others. “People can go ahead and tweet me questions, I'm always more than happy to answer.”

PHOTO CREDIT: Chvrches' Lauren Mayberry has spoken out against sexism in the music industry

I will end with a selection of the female producers, established and rising, that are worth your time and respect. Women in the industry, such as Chvrches' Lauren Mayberry (above); have spoken out against sexism and revealed the discrimination she has encountered. There are wonderful articles such as this, and this - that highlight women making a stand – and how we can challenge ill-advised conventions. That latter example, by The Conversation, asked how to fight the cannon and queried why women in Rock, especially, are being marginalized. It went on to discuss why women in Pop are objectified and belittled – bringing the recent case of Ke$ha and the trial with former producer Dr. Luke. Backing up my argument; this was said:

“For women, questions of representation become important here – if you don’t see anyone like yourself being presented in the canon, it is harder to imagine you can make good music. Thus a male-dominated canon works to exclude potential future women musicians.

Those women who are successful are more often in the pop genre. Pop success often entails having a highly sexualised image, and is generally not taken seriously by critics.

Young women trying to break into music also have to deal with the way social spaces connected with music are often marked as masculine and policed by men in various ways.

Many women musicians have reported belittling and dismissive attitudes by men in live music venues, music stores and when learning music. It seems few female musicians have not been asked at one time or another whether they’re “with the band”, or if they’re just there to watch their boyfriend, or had their technical or musical abilities called into question”.

IN THIS PHOTO: Courtney Barnett remains one of the only Australian, female Rock musicians making a mark on the international stage

There is a wider dialogue that deals with female artists and songwriters. They are not being represented and it seems a larger epidemic needs medicinal and aggressive exorcism. I am buoyed, on the one hand, there are so many hungry and talented female producers emerging. The mainstream best and underground treasures show there are plenty of female producers that warrant respect and investigation. The problem we have still lies with those decision-makers at the top of music’s pyramid: the men, whose influence and patronage, trickles down to their fellow MAN. There are few male journalists joining the discussion and speaking out against their gender. Maybe there are fears revolving around accusation and repercussions. I feel there is a general passiveness and hesitancy that needs to stumped-out. I will finish my portion by bringing in a producer I will name-check down below. Laura Marling, and her Reversal of the Muse series, chatted with various women in music – their experiences and problems faced in the industry. Two particularly worthwhile editions are her chat with songwriter Karen Elson and producer Jonathan Wilson. They discussed how women can become more interwoven and collaborative with male producers:

Another, rather interesting podcast, is with engineer Olga Fitzroy - who was distilled on the website, thus:

“Together they discuss whether women are able to meet the demands of working in a studio and still have children, or if the two are mutually exclusive which has consequently lead to the male dominated environment. Laura also notes that women scientifically hear differently to men, which sparks the question: Have we been creating records for the male ear, as most of our studio mixers are male? Olga and Laura consider if we’re missing a feminine part to everything behind music and the way it’s created.”

IN THIS PHOTO: Engineer and producer Olga FitzRoy

Lauren Deakin Davies spoke with me earlier this year - and I asked her the following:

"I know a lot of female P.R. bosses but few women based in studios. Why do you think there are so few behind mixing desks, producing artists? What can we do to change this?

This is the million-dollar-question I get all the time. It’s definitely not down to one thing. I believe it’s a hangover from an older way of thinking and a subconscious thought process where girls are encouraged to be singers before they are encouraged to be engineers. It doesn’t necessarily come from a place of malice. I just think it’s not directly encouraged.

There are so few role models and seeing a woman in the studio behind the desk is so rare (I have been given the tea orders more than once when I have been behind the desk!). It’s usually men who are featured and photographed in the industry magazines.

Although, there is a definite desire to change this which I’ve noticed especially within the Music Producers Guild – of which I am a full member (and for sure, there’s not that many women members yet: but we hope to change this!)".

As you will hear form the interview below - from 08:24, then, a minute later - Deakin Davies talks about her musical'/producing teaching - and why it is important to keep learning:

This morning, at around 9:30; she spoke with BBC Three Counties (about forty-five minutes in) to discuss the issue of women in the studio – and what can be done to tackle the problem. It is, literally, the freshest argument I can bring in so seems, as I give you a guide to the great female producers around, a perfect place to end...

FEMALE PRODUCERS TO WATCH:

Catherine Marks

Website: http://www.catherinejmarks.com/

Location: London, U.K.

BIO:

“Having worked closely with legendary producers Alan Moulder and Flood in the past, she now has over 10 years of experience working in studios all over the world. Her production, mixing and engineering credits include Wolf Alice, Sunset Sons,  Foals,  Alex Winston,  PJ Harvey, Champs, Frank Carter and The Rattlesnakes, Howling Bells, Kanye West, Ian Brown, MIA, Placebo, Ride, Killers and Mr Hudson.Collaborating with new bands and established artists alike, Catherine is always endeavouring to get the best out of those she works with. Completely in tune with the mechanics of the studio environment, Catherine is calm, devoted and passionate about each project she works on making the artists feel relaxed and positive about creating and experimenting in the studio”.

Interview: https://www.youtube.com/watch?v=gM44gjbavfM

Crystal Caines

Website: https://twitter.com/CrystalCaines

Location: Harlem, U.S.A.

Interview: https://www.youtube.com/watch?v=Fin6ZBVY3MA

PHOTO CREDIT: Cassy Paris Bellanova Photography

Lauren Deakin Davies

Website: http://www.laurendeakindavies.com/

Location: Hertfordshire, U.K.

Testimonials:

“I honestly don't think I could've made Songbirds without Lauren.  Her openness and willingness to try things differently meant that we created a very unique sound.  A very  unusual mix of quiet confidence with a youthful/fresh perspective makes her a particularly strong producer to work with”- Kate Dimbleby (four plays on BBC Radio 2 and four on BBC 6 Music)

“Lauren's relaxed and friendly personality brought out the best in all of the guests at the recent London Red Bull #Normal Not Novelty workshop she ran. She tailored the content to make sure that everyone would learn something useful, and she asked all the right questions of the guests to get them engaged and involved. Lauren is extremely talented in many areas, and she used her many skills to give guests invaluable information - thanks for speaking at Normal Not Novelty Lauren!’ - Katie Tavini (Mastering Engineer/Host at Red Bull Studios).

"Lauren came to our music collective in Bristol to deliver a workshop about production and recording in a home studio environment. She kept the group engaged from start to finish and many of the participants commented on how much she covered in a short space of time. Lauren is able to bring a great range of information together in a way that is accessible, easy to understand and well pitched to the group in front of her. What she delivers is hands on and practical as well as technically informative. We are looking forward to working with her again soon" - Anna Kissell, Bare Bones Collective.

Caroline Polachek

Website: https://twitter.com/carolineplz?lang=en

Location: Brooklyn, U.S.A.

Interview:

“Do you imagine that people will recognize you more as a producer now?

My hope is that people will sort of realize that I’ve been in there the whole time. And also that it might make people look at what I do next a little bit differently”.

Source: https://thecreativeindependent.com/people/caroline-polachek-on-making-work-thats-useful/

PHOTO CREDIT: VALERIA CHERCH

Cooly G

Website: https://soundcloud.com/coolyg

Location: London, U.K.

Interview:

“At what point did your love of music turn into a desire to make it? 

The first time I felt like wanted to make something for real was when I was DJ-ing when I was around 7 or 8 years old. When I first mixed a tune properly together and I heard something else from that track I thought, oh my god, that could be another track. I didn't know you could actually produce tracks, I didn't even know how people made tracks really. I didn't know that I could have a computer in my house, and a keyboard, and the software, and just make beats. So when I got the chance to go into the studio, that's when I started to make tunes. I wasn't taught anything. I just learned everything myself”.

Source: http://www.thefader.com/2014/10/28/beat-construction-cooly-g-interview

Sydney Blu

Website: https://soundcloud.com/sydneyblu

Location: Toronto, Canada

Excerpt:

“I taught myself to write music over along period of time, I took private classes, went to audio engineering school, took piano lessons, and took online courses. I consistently try to get better and I do my best.” Sydney believes one of the most challenging aspects of a producing career is uncertainty. “Being a DJ is an emotional roller coaster. A lot of women like stability. It's a lot of work and you need to put your life into it if you want to be successful at it.”

Source: http://edm.com/articles/2014/11/25/five-women-producers

PHOTO CREDIT: Roe Ethridge

Grimes

Location: Vancouver, Canada

Website: http://www.grimesmusic.com/

Excerpt:

“There is no conversation about female producers in 2016 without ecstatic mention of Claire Boucher — the singer, songwriter, producer, and multi-instrumentalist behind some of contemporary music's most exciting compositions. Boucher's 2012 breakout record Visionscollected ambient, dance, electronic, and pop influences to concoct bubblegum cyborg melodies. Nearly four years later, Boucher broke from the synth-pop sound she made so popular and gifted the world with Art Angels, an audacious and experimental album for which she learned guitar (her hero Dolly Parton's "Jolene" chords specifically), drums, ukulele, and violin to create. This excellently nerdy interview with Future Music magazine touches on all of her production preferences, from Ableton software for vocals to her data-rich files”.

Source: https://i-d.vice.com/en_us/article/qv8ymw/8-female-producers-behind-todays-most-innovative-sounds

Shura

Location: London, U.K.

Website: https://www.weareshura.com/

Interview:

“That questing tendency feeds into how the English singer creates music, including her much-anticipated debut album Nothing's Real (out July 8, via Polydor): "I just want to go on a fucking cool adventure. I want to explore my boundaries, I want to push myself and go right to the edge of what I am capable of. I don't want to ever be comfortable." Nothing's Real takes the listener on a sonic journey that ranges from highly produced, Madonna-like pop ballads to hazy, experimental tracks recorded on old-school tape decks. It's a 13-track soundscape that, when listened to in its entirety, proposes questions and sparks discussion about fear, identity, love, and loss”.

Source: http://www.elle.com/culture/music/interviews/a37713/shura-interview/

TOKiMONSTA

Location: Los Angeles, U.S.A.

Website: https://tokimonsta.com/

Interview: https://www.youtube.com/watch?v=f0pAV5Fz48E

PHOTO CREDIT: Jasmine Safaeian 

HANA

Location: Los Angeles, U.S.A.

Website: https://twitter.com/hanatruly

Interview:

“What made you decide to close that chapter of your career and start recording your songs yourself?

About two years ago, I met Mike [Blood Diamonds], and he kind of made me stop and think about everything. He was like, "So you just go out on the road, endlessly? Do you want to do this forever? Is your music where you want it to be?" And it got me thinking, Well, no. It's not. I would never sit and listen to my own music, which I think is kind of a sad point to be at. So I took a break, sold my van, and basically my goal was to learn how to produce. To get my music to the point where it feels like me, recorded. That's kind of the point where I'm at right now: I'm making music that I really, really love. It's completely my own writing, no other co-writes. And I think that's why this stuff is so special to me: because it's 100% mine. I'm singing exactly what I want to sing on top of music that I made that I'm super proud of.

How would you describe the production aesthetic you’re going for?

I'm almost trying to take away the production. My previous stuff was very, very produced. Because I have been writing songs that mean a lot to me, I want the lyrics and the melody to be what shine. And I've definitely not mastered production, but at the same time, I feel really confident in what I can do. I used to write with my guitar, which I still do sometimes. But now I'm writing more with piano and over tracks I've done in Ableton”.

Source: http://www.thefader.com/2015/07/30/hana-grimes-interview

Gina Turner

Location: New York, U.S.A.

Website: https://soundcloud.com/djginaturner

Excerpt:

“Music has always been a huge part of my life. I grew up in a time when New York had legendary places open, like Sound Factory and Shelter. I quickly fell in love with house music and began to buy vinyl and play around. However, I was always geared to be more of a radio DJ. So becoming a club DJ happened organically in college when I was studying audio production and radio broadcasting.” With several releases planned for the upcoming year, Gina stays true to her identity. “I’m still finding myself everyday”.

Source: http://edm.com/articles/2014/11/25/five-women-producers

Ronika

Website: https://www.facebook.com/ohronikagirl/

Location: Nottingham, U.K.

Interview:

“How did you get into production?

RS: I started getting interested as soon as I started listening to electronic music and hip-hop as a teenager - tunes where the production was just as important as the performers, if not more so. I'd listen to things on Warp like Squarepusher or Black Dog and wonder; how are they making that? How do you even do that with a drum machine? So, out of curiosity, I started to go to a studio in Notts to get learning. I'd already decided that it was important for me to be involved in all aspects of music making, that the beats and recordings were just as important as the songs themselves for me.

Was there a Eureka moment, where you realised you could actually do this?

RS: I'm still waiting for that! It's been a massive long journey for me and I'm still learning. With technology you're always learning because it's always changing. Making interesting music is always going to feel like a challenge. I don't think it should feel easy.

Did being female hinder your progress?

RS: When I was growing up, there really wasn't that many female producers I could be inspired by, and I didn't know why it was so male-dominated. There was a massive imbalance in my role models, and I felt that needed to change. And it has over the last few years. There's loads more of us now, which is great. But it was important to me to make sure that there was a solo female name on some of the production credits.

A lot of people in your shoes might have been happy to pass the hard work onto someone else.

RS: And I sometimes wish I'd done that, taken the easier route. There were definitely some big opportunities to work with important industry people, who wanted to take the production off my hands, that I've passed up along the way. But I didn't want to do that”

Source: http://thequietus.com/articles/15908-ronika-interview-selectadisc

Emily Reo

Website: https://www.facebook.com/emilyreomusic/

Location: Brooklyn, U.S.A.

Interview:

“AF: Now you’re branching into producing other artists’ songs, like Yohuna’s excellent “Para True”. How did that collaboration come about, and is that a role you’d like to take on more in the future?

ER: After I finished recording Olive Juice, I started using midi to create sketches for future songs. In the process, I got really interested in making beats and learned more about production. When my good friend Johanne (Yohuna) asked me last year if I would add a beat to her song “Badges” I was so excited. Next I added a beat for “Para True” as well as mixing the track, which was a first for me and a great learning experience. I definitely see us working together more in the future, it’s something we’ve talked about for a really long time and we’ve sent things back and forth to each other for a few years now without much follow through. Her songs are indescribably gorgeous and it’s so rewarding to contribute something that can take them to the next level”.

Source: http://www.audiofemme.com/interview-emily-reo-basilica-soundscape/

WondaGurl

Website: https://twitter.com/WondaGurlBeats

Location: Ontario, Canada

Interview: https://www.youtube.com/watch?v=mkfgjgBStFQ

Kito

Location: London, U.K.

Website: https://www.facebook.com/thisiskito/

Interview: 

“Q. Your music style has many diverse reaches that makes it hard to place it in one genre. How would you classify your music and do you have further intentions of experimenting even more?

Q. Leave us some inspirational words

I have all intentions to continue experimenting! I like that people find it hard to classify my music although I do wish I found it easier to describe it in interviews.. I think I’ll always be making electronic music. What I do with Reija I would almost call a pop project – it’s just influenced by a lot of underground electronic music and also R&B and hiphop.

Q. Any upcoming projects before the end of the year?

I can’t actually believe we’re talking end of the year already.. That always happens! It always creeps up on you! September is studio month and then I’m doing an Australasian tour with Reija Lee for the whole of October. Then the Mad Decent Boat Party is in November, which is going to be mental. And besides that I’ll just be in the studio, as usual!

Q. Which artists have really inspired you throughout 2014?

I’ve been really inspired by the stuff SOPHIE has been doing this year. Also Redhino’s new album sounds amazing.

Q. Which artists would you like to collaborate with in the near future?

I’d love to work with Lido, The Dream and Switch!

Q. Leave us with some inspirational words..

My words of advice to anyone out there aspiring to be a music producer or artist: go as far as you can without signing a contract with anyone. Be as free and in control of your project as you can be! And never stop raving - go get wasted in a club and remember why you wanted to do this in the first place. I need to take my own advice more often.”

Source: http://www.scorpiojin.com/kito-interview

Nina Kraviz

Location: Russia/U.S.A./Worldwide

Website: https://www.residentadvisor.net/dj/ninakraviz

Interview: https://www.youtube.com/watch?v=7gUmFJUpWvc

IN THIS PHOTO: Abra/PHOTO CREDIT: Alex Cretey-Systermans  

Abra

Location: Atlanta, U.S.A.

Website: https://www.facebook.com/darkwaveduchess/

Interview:

“Today, Abra is essentially self-sufficient: she writes and produces all of her music, though the closet in her parents’ house — where she used to record her earliest brushes with melancholic soul music — is now a thing of the past. Her new “studio” isn’t exactly more sophisticated: it’s a laundry hamper with a laptop and USB mic, located in the bedroom of her own Midtown Atlanta apartment. The rugged setup is as much a statement about accessibility as it is simply a comfort zone. “Production and recording yourself can seem like a monolith,” she says. “ [But] you don’t have to have all this crazy stuff to make cool music.”

Source: http://www.thefader.com/2016/07/27/abra-princess-awful-records-interview

NERVO

Location: London, U.K.

Website: http://nervomusic.com/

Interview:

“The Nocturnal Times: Did your upbringing influence your decision to pursue music and did you always know you wanted to work together?

NERVO: We have always had a passion for music and it was solidified at an early age when we learned to play the piano. From teenagers onwards though we started going to music festivals seeing the performers play was a great inspiration as well.  We will never forget seeing prodigy live and deciding right there that we wanted to be part of this.  Working together was a natural move for us as we have similar tastes, love to be together and are each other’s biggest supporters.

The Nocturnal Times: At what point did you realize you wanted to make the shift over from songwriters and producers to singers and producers of your own material?

NERVO: Well, we got our big break as songwriters and after our song for David Guetta and Kelly Rowland on “When Love Takes Over” won a Grammy, and we needed other challenges. Plus we had so many ideas and a lot of music on our hard drive so it just made sense to put it out ourselves, as NERVO”.

Source: http://www.thenocturnaltimes.com/the-nocturnal-times-exclusive-interview-nervo/

PHOTO CREDIT: Robbie Lawrence

Fatima Al Qadiri

Location: New York, U.S.A.

Website: http://fatimaalqadiri.com/

Interview:

“I've been consciously and unconsciously writing an internal soundtrack for that car journey ever since, attempting to capture the range of emotions I felt. Something about Gregorian chant and 8-bit video game choirs converged in me in that moment. An epiphany that the human choir is the greatest sound on earth, and all its manifestations—real, artificial, and distorted—are all equally beautiful, illuminating every edge of our past and current realities. A fragile reality that could be extinguished at any moment. In the years that followed, I’ve attempted to recreate choral music, using an array of virtual instrument choir pads or my own voice. For during that car journey out of Hell, my grandmother's spell was finally broken. My love of music was fully restored”.

Source: http://www.thefader.com/2016/03/17/fatima-al-qadiri-personal-history-brute

Magda

Location: Detroit, U.S.A.

Website: https://www.facebook.com/unmagda

Interview:

“Could you describe your creative process – how do you usually go about making a track?

It really depends on my mood. One day I might make something fast and busy and another day I might just work with one sound. Usually though, I come into the studio with a basic idea and start messing around with gear. Once I have a sequence or sound I like, I’ll jam for a while and record everything. Once I have all the parts recorded this way, I edit them down to make a track. I also like using found sounds and run them through various effects. This adds a certain richness that I like”.

Source: https://aiaiai.dk/blog/interview-magda

INTERVIEW: Sam Way

INTERVIEW:

 Sam Way

________

THE video for his new single, Share Your Stone, sees…

Sam Way handing out flowers to Londoners – an experience, as he explains, that was met with a combination of smiles and confusion. I talk to the model-turned-songwriter about the song and what compelled it. He discusses his week and how his forthcoming mini-album, Archetype, is coming along. Way provides access to his creative process and the people he has been working with; the music that has inspired him the most and how he has evolved as an artist.

I ask whether it was easy to transition from modelling into songwriting – and whether he gets recognised a lot – and what message he would give his legions of adoring fans.

_________

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

Hello. I’m good, cheers.

Well….this week, I’ll be in the studio for pretty much all of it.

On Monday, I swear we were recording ‘shakers’ on one of the tracks (on the new album) for three hours. It was depressingly slow progress.

Tuesday was a random one: I ended up partying in a small room with thirty other young creatives - as a ‘director' (he was a very loud man) shouted over the music - as he instructed, not only us - the unsuspecting cast of misfits that we were - but also a cameraman to create what must have looked like the best house-party of the year.

Wednesday; I was suitably hung-over and back in the studio, but my cellist was taking the reins that day - and has really brought some beautiful lines to the track. It’s starting to sound pretty exciting...

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

My name is Sam Way. I’m a singer-songwriter, hailing from Devon (why did that feel like I was standing up at an A.A. meeting…L.o.L.).  I like ninjas and dragons - in equal measure - I play the guitar and piano - and am just about to release my new mini-album, Archetype.

Share Your Stone, your new single, is getting a lot of praise. What was the inspiration behind that song?

I’m so happy that Share you Stone is moving people and I was overjoyed that Clash premiered the music video.

It’s a deeply personal song about loss and solidarity in the face of pain. I won’t go into it specifically (anymore) but I’m sure, if you hear the song and listen to the lyrics, you’ll get it and you’ll relate. 

Its video sees you walking around some of East London’s most noticeable sites spreading the love. What was the shoot like and did you enjoy working with Andrew Richardson on it?

Andy is a rising star and a friend of mine - which is a bonus.

He was great to work with and I’m so happy with how the video turned out. It was a gruelling process in a way: I was so done with giving out flowers at the end of the day!

In the video, you see loads of people being open and receptive - but I’m sure you could have watched even much more footage of me being refused!

That’s just Londoners for you: we think everything comes with a catch. 

The song follows Pretty Liability and your earlier E.P., Architect. Would you say you have matured and evolved as a songwriter since those releases?

The evolution is constant, I’d say - but not linear.

I also (just) find it interesting to work with other people and see what they bring out of you. I look back and smirk at my older recordings - though, I stand by them totally, too.

I feel like the best is yet to come...

Archetype is your forthcoming mini-album. What kind of themes and subjects do you address throughout?

They are a collection of stories - some of the ‘archetypes’ that exist in me and, I believe; in others, too. Relationships and conflict are always up there for me, as the things that inspire my words - and that is reflected heavily in the release. 

Is there a standout song/moment that, in your mind, defines the album?

The last chorus of Half a Heart – pretty much nails it as a moment for me – as it’s maybe the most honest, saddest; most-conflicted instance of the album. 

What was the recording experience like? What was it like working in the studio and seeing the music take shape? Tell me a bit about, in addition, some of the producers and people that helped bring it to life?

Cherif Hashizume was the principal producer of the record, with composer and producer Edward Abela producing one the other tracks on the release. We had Sam Thomas on drums; a four-piece string quartet; Sam Vickary (from The Cinematic Orchestra) on the double bass. It was such a joy to work with all this outstanding talent and seeing the record being brought together.

It’s always a process: sometimes it’s great; sometimes it’s challenging. I’m just happy we got there in the end.

I know a lot of the songs came together throughout last year. What was going on at the time that compelled prolific songwriting? Does the album mix personal insight and reflections on the human condition?

Songwriting is so much a part of my process; my emotional sounding-board – I know what was happening for me – but, I guess, it’s up to anyone that listens to the release to see if it echoes in their hearts...I feel they will.

So much of my heart is in this record.  

Many might recognise you from modelling campaigns. What was the reasoning behind coming from modelling to a life in music? Do imagery and the aesthetic play a big role in your current endeavours?

I have been known, yes, and the relationship is totally linked...

Without a career that, effectively gave me the time and the ammunition to start writing, my music and songwriting would have never been able to develop. It would be fair to say that, since a late-teens imagery and aesthetic have had such an overemphasis in my life, image was so tied to my sense of worth and success.

As I’ve grown up, I’ve moved into myself more; developed something that feeds my soul. I’m really happy and I think it’s important that my music can stand up on its own. 

You have a large following on social media. How important is the love of the fans and what message would you give them?

I fuck*ng love my crazy fans!

What tour dates do you have approaching? Where can we come and see you play?

I’m supporting Ships have Sailed on their London date in October - and have a few other private and charity dates in late-September (around the release). 

IN THIS PHOTO: Anna Pancaldi

Who are new acts you recommend we check out?

My bezzie and fellow singer-songwriter, Anna Pancaldi. Her voice will melt you into bits.

Phoria. They are rocking my world with some of the most beautiful songs I’ve ever heard. 

IN THIS PHOTO: Phoria

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

The Prodigy: Fat of the Land

I grew up devising weird theatre and drinking cider (underage at the Rugby club) listening to this. 

Fat Freddy’s Drop – Based on a True Story

For me, this is their seminal album…and the album I like to make love too… (*awkward grin*). 

Ludovico Einaudi – In a Time Lapse

Just incredible compositions from this genius. When I first listened to this, I think I had nothing else on in my headphones – and was at home for a solid two weeks.  I find this album an insight and an inspiration - whenever I hear it. 

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

Just do it - and keep on doing it. 

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).

Phoria – Saving Us a Riot

________

Follow Sam Way

Facebook:

https://www.facebook.com/iamsamway/

Instagram:

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

Twitter:

https://twitter.com/IAmSamWay

SoundCloud:

https://soundcloud.com/iamsamway

Spotify:

https://open.spotify.com/artist/0tzCFdlYBrUHjwFRIsUa78

YouTube:

https://www.youtube.com/channel/UCLdsQ1QUEPsZJBUVLez4CcQ/videos

FEATURE: Harmonies in the Left Ear: Poor Songs from Wonderful Albums

FEATURE:

 

Harmonies in the Left Ear: 

PHOTO CREDIT: Unsplash

Poor Songs from Wonderful Albums

________

IT is inevitable you’ll find an album…

IN THIS PHOTO: Blur/PHOTO CREDIT: Zanna

you adore and think every track could not be as good as the last – and, then, the horrid sensation when a rogue and ill-fitting song arrives in your earbuds. There are few albums that are flawless but there are those classic albums that are let down by a solitary number. Whether it is something in the lyrics – or it is repetitive and does not add to the aesthetic of the record – one feels obliged to skip and demarcate it from the (brilliant) herd. Fitting and timely of nothing: I have been thinking about those wonderful albums that, for some reason, have that small crack in them.

PHOTO CREDIT: Unsplash

It is fascinating examining and theorising what drives an artist to have that momentary weakness - let the quality slip for a bit and allow a poor song get into the mix. I have encountered very few albums, as I say, where all the tracks stick in the brain - but I am talking about those big and historic records - the kind that gets critics drooling and have inspired legions of musicians.

Here, for your delectation, is a select of less-than-incredible songs on rather-bloody-stunning albums…

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The Beatles: Run for Your Life – Rubber Soul (1965)

John Lennon claimed this was the worst song he ever wrote – or at least, up until that point. It is the finale from the otherwise-majestic Rubber Soul. Run for Your Life is not the worst thing The Beatles ever wrote but, considering the sexist, aggressive and offensive nature of the lyrics – this one could have remained on the studio floor, no?!

Pixies: La La Love You – Doolittle (1989)

It was rare for Pixies, in those days, to make such an error of judgement. Their early albums were paens to quality and consistency. It is a surprising that their most-famous album, Doolittle, contains such an obvious filler. La La Love You Featuring drummer Dave Lovering on vocals; it is an atonal, messy misfire that adds an acidic tang to an album that many see as one of the all-time best.

Led Zeppelin: Boogie with Stu – Physical Graffiti (1975)

We all know the place Physical Graffiti holds in the Rock cannon. It is a sprawling, masterful work from one of the greatest bands to stomp the planet. Physical Graffiti boasts sweat-dripping workouts like Custard Pie; epics such as Kashmir and euphemism laden cuts like Trampled Underfoot. Any double-album is going to have a weak track but in the case of Physical Graffiti, there is the one: the lumpen, forgettable and plain-ordinary, Boogie with Stu. One feels it could have been left off the album - it is the sole negative on an album of immense (and timeless) positives.

Kate Bush: Mother Stands for Comfort – Hounds of Love (1985)

Strange sound effects, wistfulness and experimentation are what we expect (and love) from Kate Bush. Hounds of Love, arguably her finest album, contains monster hits like Hounds of Love, Cloudbusting and Running Up That Hill (A Deal with God). The second side, despite being less popular than the first half, is a flawless conceptual suite that deals with a woman caught at sea – dreaming of rescue against mounting odds. On its first side, there is a notable weakness: Mother Stands for Comfort tries to win the heart but leaves one feeling a little underfed and unsatisfied.

The Beach Boys: Caroline, No – Pet Sounds (1966)

There is no doubting the chops of The Beach Boys’ masterful, Pet Sounds. It is a gorgeous and decade-defining record from an immaculate band. Among the embarrassment of riches is a rather disappointing swan-song in Caroline, No. Brian Wilson compared the song to the work of Glenn Miller – and his song, Hey Girl. There are various stories that explain the origins of the song but, whatever way you look at it; this does not remain in the memory. Alongside genius tracks like God Only Knows, Wouldn’t It Be Nice and Don’t Talk (Put Your Head on My Shoulders) it is a bit of a let-down – and not a fitting way to end one of the finest albums the music world has seen.

The Velvet Underground: The Black Angel’s Death Song – The Velvet Underground & Nico (1967)

I am one of those people who feel The Velvet Underground & Nico is an overrated album – not fitting of the immense praise and God-like acclaim people afford it. I, in my mired state, can appreciate the quality of the songwriting and why people relate to the record. I confess, there are some phenomenal songs but, let’s be honest, The Black Angel’s Death Song is not one of them! Lou Reed claimed the idea (of the song) was to string words together with no particular meaning – the fun of their sound rather than the purpose of their meaning.

Fugees: Mista Mista – The Score (1996)

There is no denying L-Boogie, Pras Michell and Wycleff Jean can produce a damn fine tune when they want. The Score is one of the classic Rap albums and contains Ready or Not, Killing Me Softly and Fu-Gee-La – No Woman, No Cry and Family Business in there for good measure! Mista Mista appeared as a bonus track on The Score and, to be fair, I am not sure why it is a ‘bonus’. Wyclef Jean whips the acoustic guitar out; repeats the same lyrics again and again and soundtracks a song that shouldn’t have made it onto an immaculate record!

The White Stripes: The Air Near My Fingers – Elephant (2001)

Detroit’s The White Stripes transformed the Garage scene in the late-1990s and 2000s. One of the most important artists of the past two decades: their unique brand of Rock/Blues/Garage has found few adequate comparisons since their split. Elephant is, quite rightly, considered one of the best albums of the '00s. There is, on the album, guitar exorcisms; tight and pointed songs and air-punching anthems (Seven Nation Army the definitive cut). Among all the fascinating and spectacular songcraft is a track which, even Jack White felt lacked killer-bite and necessity. The Air Near My Fingers is promising in parts but, on an album such as Elephant, sound weak and anemic.

Blur: Lot 105 – Parklife (1994)

During the white-hot heat of Britpop; the main pugilists, Blur and Oasis, were tussling for chart superiority. 1994 was the year both bands produced equal albums – Oasis released their debut, Definitely Maybe. It is just as well Parklife contained so many great tracks because, for some reason, Lot 105 was included on the record! It is a weird instrumental – Phil Daniels was meant to provide a vocal, I think? – and has no place on any album. If they HAD to include it, then put it near Bank Holiday. It is a mid-L.P. filler that left many scratching their head. What’s worst is Lot 105 followed the majestic, This Is a Low – a song that should have ended the album on a high.

The Smiths: Never Had No One Ever – The Queen Is Dead (1986)

Two things annoy me about The Smith’s Never Had No One Ever. The first is, when it was written; Morrissey was in his 20s.The song looks at a lack of sex and, literally, counting the days and years since he has been a virgin. One feels the balance has been redressed – he has had sex a few times, in any case – but there are some (naming no names!) who had to wait a lot longer before they got laid. The other downside of the song is the fact it is not very good. It is weary and tired; has very little point and could have easily been left off the album. It is the only blot on The Queen Is Dead and proof not everything Morrissey and Marr touched at that time was gold.

Green Day: Extraordinary Girl – American Idiot (2004)

Green Day’s American Idiot is one of the finest political albums of the modern age and perfectly articulates the annoyance and rebellion felt by large sectors of the U.S. public. It is an album that sounds perfectly appropriate for today – even more relevant, in fact – and possesses some extraordinary songs. The title track is a blistering and memorable anthem that sticks in the head for all the right reasons. Extraordinary Girl is a weary Beatles-esque song that never gets out of second-gear (its second-half - it is two songs welded, essential - Letterbomb, is a bit more like it). Its lyrics are pale and cliché; the music lacks any melody or bite – awkwardly stumbling around without making any impact on the listener.

Eminem: Ken Kaniff (Skit) – The Marshall Mathers LP (2000)

Forget all the debates and controversies surrounding Eminem’s immense album, The Marshall Mathers LP. It is an album that has divided opinion but, in my view, is a tremendous record from one of the most accomplished lyricists and performers of this generation. The Marshall Mathers LP is a near-perfect album that fully thrust Eminem onto the map. One of the reasons it is not (totally) perfect is the truly hideous Ken Kaniff. An uncomfortable, oral-sex reference ‘skit’ that, on an album that managed to make its interstitial pieces on-point and appealing, raised eyebrows and stomach contents. A noxious effort.

PHOTO CREDIT: Unsplash

Radiohead: Treefingers – Kid A (2000)

Kid A is one of my favourite albums – and one of the best of the '00s – and completes a remarkable one-two-three after The Bends (1995) and OK Computer (1997). One can marvel in the Electronic pioneering and groundbreaking material throughout Kid A. Four phenomenal tracks kick Kid A off. Everything in Its Right Place and Kid A are wondrous: The National Anthem and How to Disappear Completely even finer. The steam and momentum is taken out of the sails when Treefingers arrives. Optimistic arrives to restore order but there is something lamentable and sterile about Treefingers. It is the only weakness of Kid A and is a shame – the band could have jettisoned the song, one feels.

Nirvana: On a Plain - Nevermind (1991)

If one were bold enough to claim a song from Nevermind deserved execution – they would probably find themselves tied to a lamppost and all their body hair removed! Such is its place in history it seems sacrilegious highlighting any tracks for judgement. Nevermind is another of those records that is perfect...except for the one song. On a Plain trundles and, whilst Cobain’s lyrics are impressive and sharp, the composition is neither swaggering enough to bring the song to life - nor textured so it remains in the memory. It is as close as the album comes to ‘bad’ and is a song I always skip. Not one for the Nirvana ‘best of’ collections...

Michael Jackson: The Lady in My Life – Thriller (1982)

Thriller has, quite rightly, gone down in music history and is one of those albums ever serious music-lover should own! Whether it is on a par with Off the Wall is for debate but The Lady in My Life gives an advantage to Off the Wall. The taut and frenetic intensity of Beat It; the legendary status of Billie Jean; that remarkable opening number and that stonking title-track. The Rod Temperton-written finale is, without being unkind, not befitting of an artist of Michael Jackson’s status. It is a sleepy, formulaic and contains none of the hooks, qualities and nuances that make Thriller such an achievement. I can see why it was left until the end of the album but one feels Quincy Jones, when producing the album, could have forgotten to hit the ‘Record’ button.

The Jimi Hendrix Experience: EXP – Axis: Bold as Love (1967)

One of the best albums of 1967 – which, in turn, is one of the best years for music – should not contain something as forgettable and ill-advised as EXP. It a shot at ‘comedy’ that mocks-up an interview about flying saucers with accelerated vocals and stereo panning – perhaps Hendrix should have concentrated on the guitar rather than sub-standard humour. Mining the kind of zaniness/effects Benny Hill fans would find amusing – not a song that had any business appearing on such a fine and inspiring album as Axis: Bold as Love!

Björk: Headphones – Post (1995)

I am one of the biggest Björk but feel a song like Headphones does not represent her best side. Post, following the incredible Debut, put her new music to new audiences and proved what a unique and sensational talent she was. Army of Me and It’s Oh So Quiet are classics from the Icelandic innovator: Isobel and Hyperballad are two of her most arresting songs. Headphones is the final track and, rather than ending Post with a bang - sort of fades and dissipates without really saying much. There is much intrigue but not a lot of impact. It is as close to a ‘bad’ song as Björk has on the album - and one of her weaker songs from her early period.

The Libertines: Don’t Be Shy – The Libertines (2004)

Amidst the chaos, in-studio brawls and drug abuse, surprisingly, came an amazing album. Not as refined, epic and economic as the band’s debut, Up the Bracket – The Libertines contains a stinker in Don’t Be Shy. Pete Doherty is on lead vocals on what sounds like a post-pub effort. It is caterwauling and has no real purpose and profit. It is an aimless and drawling song that contaminates the remainder of the album.  The tensions and rifts make the band’s eponymous album such an exciting and unpredictable creation. Most of the songs and experiments hit the heart (and mark) but not Don’t Be Shy. How the hell it made it onto The Libertines is beyond me!

Neil Young: There's a World – Harvest (1972)

For such a prolific artist; it is understandable there will be one or two minor songs in the cannon. Harvest, however, is an album that defined Neil Young in the 1970s and was his high-point. Albums with such a legendary status should be free from filler. There’s a World does not stack up against gems like Heart of Gold, Old Man and The Needle and the Damage Done. Featuring the London Symphony Orchestra; there is something jarring and unusual about There’s a World. The Orchestral added a certain something to A Man Needs a Maid but royally soiled There’s a World. Timpani, harp and over-emotive strings do not really elevate any song: they make Harvest's seventh track cloying and saccharine.

The Stone Roses: Don’t Stop - The Stone Roses (1989)

The Manchester band released two albums: one of them legendary; the other a bit crap. Their debut is the one we all remember. The psychotropic experimentation and confidence; the head-spinning, mind-altering music that bonded a generation. Waterfall, early on the album, is one of those huge numbers that everyone holds dear to their heart. The band loved it so much they thought they’d rewrite in the form of Don’t’ Stop. The fact it appears right after Waterfall makes it a rather clunky and ill-judged track. It is similar to Waterfall but a bit bigger and, well…backwards. Maybe it is their attempt at a Tomorrow Never Knows-style head-f*ck. It is, when you strip it down, a rather lazy and wasteful track that brings an odd disrepute and poverty to an otherwise epochal record.

FEATURE: Vinyl Corner: Joni Mitchell - Blue

FEATURE:

 

Vinyl Corner:

 Joni Mitchell - Blue

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SOME records demand a feature of their own and…

a complete unpicking. I feel fewer of us are committing to vinyl in a romantic and impassioned way – prefer to hang them on the wall or keep them in the home (in case they increase in value or are needed down the line). The more prolific and intensifying digital music becomes: the contrary part of me reverts to a childhood state where vinyl was played irony-free and to the pleasure of all within earshot. This piece provides some words from others but I was keen to have my say on a record, I feel, sound peerless on vinyl. To me, the experience of listening to vinyl, is shutting other people away. That might sound antisocial but there are some albums one needs to experience alone. Joni Mitchell’s Blue is one of those records not really fitting for a social gathering. Of course, one wants to pass the songs through the ages but radio is made for that – Blue, on vinyl, is one of those experiences every human should go through. I share similar sentiments when addressing Paul Simon’s Graceland. To me, Mitchell is one of those artists that divide opinion. Her songwriting is beyond comparison – one of the finest from all of music. Like Bob Dylan; the voice is the aspect of Joni Mitchell that can cause some to wince. It took me a while to bond with her voice: such is its unique edge and bracing nature; it was a gradual process of ‘acceptance’. When she sings with beauty and tenderness: it is bird-like and sands away all the rough edges. It is the personality and physicality Joni Mitchell puts into each performance that reaches deep inside me. She is a songwriter that still inspires new artists and someone whose legacy cannot be tarnished. I wonder whether she will record more material: there is a demand for the kind of music/sound only she can provide.

IN THIS PHOTO: Joni Mitchell looking from te window of her Laurel Canyon home in October, 1970. PHOTO CREDIT: Henry Diltz/Henry 

There is a debate as to which Joni Mitchell record is her definitive moment. To me, actually, I switch between Court and Spark and Clouds. The latter is Mitchell’s second album and, although it contains Both Sides, Now and Chelsea Morning – it has not been received as rapturously as Blue. The same can be said for Court and Spark and, whilst it has Free Man in Paris and Help Me on it – it is shaded by the majesty of Blue. Court and Spark arrived three years after Blue (in 1974) and marks the end of her ‘Purple Period’. I name it as such because if one mixed ‘Blue’ with the red imagery of For the Roses – the album that arrived 1972 – you would get a purple-looking result. This is best defined in Court and Spark which pulls the best elements of Blue and For the Roses together. Those albums, in fairness, arrived in the middle of Mitchell’s finest phase. From Clouds (1969) to 1976’s Hejira – Mitchell produced album-after-album of peerless songwriting and priceless gems. I digress, but wanted to show what a body of work Mitchell has and why more people should listen to her. Blue is that critical favourite and the one many people bond with closest. Maybe it is the emotion and vulnerability; the incredible vocal range and the spine-tingling, vivid stories. If you have a chance to buy Blue on vinyl; I urge you to do so. It is a record one can listen to, lying on their back with the lights dimmed (candle, perhaps, burning with orange-scent against the flicker of a summer-framed curtain; stars blushing coquettishly in the nakedness of the night’s sky) and drift away. The mere formality of setting the scene conveys poetry (or my attempt at it) and heady wordplay. That is the effect Blue has on the unsuspecting and initiated alike: it is a masterpiece whose immaculate arrangements are best enjoyed through vinyl.

I said I’d bring other interpretations into the mix and, before discussing some of the themes and background behind the record, wanted to source an article I discovered recently. Four years ago, writing for The Atlantic, Jack Hamilton argued why Blue is the best ‘relationship album’ ever:

“For better or worse, we live in a culture where lifelong, monogamous commitments are widely held to be the desired ends of romantic life: Romantic comedies end in weddings, and Hallmark doesn't make Valentine's Day cards for open relationships. For those who buy into this norm, the downside is that in our best-case scenario—our best-case scenario—every single relationship we ever have, except for one, will end and end badly. Otherwise, as they say, they wouldn't end… Blue is a confessional that implicates us in its crimes, and in doing so ever so slightly absolves us of our own. And if at times it holds a brutal mirror to our collective inadequacy, it's not without its fairy tales. Immediately after "River," as if from some other world, comes the album's most unabashedly joyous song, "A Case of You." It's one of Mitchell's most beloved compositions, covered by artists ranging from Diana Krall to Prince. There's a moment at the top of its second verse, the one that begins "I'm a lonely painter / I live in a box of paints," when the entire track seems to suddenly swell and almost burst, a beautiful shock of intensity that recedes almost as soon as it appears. And in that one heart-racing, vanishing instant everything makes sense, because if we can only find our way back to that, that moment, that feeling—to find that would mean to be happy forever.”

I have condensed and created a portmanteau because – read the full piece to get a less impressionistic truth – it has a resounding heartbeat: Mitchell’s 1971 magnum opus comes from her soul but can be extrapolated by everyone.

I shall come to the ins, outs and technicalities of the album – before offering conclusion and summary – but one need understand the fragile state Mitchell was in recording Blue. She has experienced painful breakups with Graham Nash – whom she was deeply in love with – and James Taylor. Both exceptional songwriters but each relationship was very different. In the case of Taylor; Mitchell was with him for a short time – when the songwriter was in the throes of heroin addiction – but it has intensity. The confusing and heartbreaking contrasts of each relationship had a profound effect on the young musician. She was able to articulate a sense of beauty, acceptance and retrospect in Blue’s finest moments. Three of her finest songs - A Case of You, River and The Last Time I Saw Richard - have desperate sadness and that need for escape. She was living in the public eye and her creative existence was a transposed and skewed mirror against the polemic fracture of her personal life. To journalists and music-lovers; she was an icon and was being elevated to goddess-like realms. Walking a tightrope in private: she was frail, fragile and near the point of constant teariness. Mitchell’s success, following Blue, meant fellow West Coast-based confessional songwriters like Carole King and James Taylor provided something incredible to music in the 1970s. In a career-spanning piece regarding Joni Mitchell’s music; Sean O’Hagan, writing in The Observer, offered some of his keen observations about Blue:

“Blue, though, also signalled in more subtle ways the more dramatic musical shift that was to follow. Listen to the way she enunciates the very first notes of the title song, settling on the word “blue”, stretching and bending it across an octave or two in the manner of a seasoned jazz singer. Then there’s the joyous lilt and sway of Carey, one of several songs of wanderlust that, across the years, testify to a relentlessly restless spirit. The term folk singer no longer contained her, nor increasingly did singer-songwriter which, by then, was becoming synonymous with a certain kind of plaintive Californian narcissism”.

Following the success of her first three albums – and songs like Woodstock – and a painful breakup with her long-term boyfriend, Nash; Mitchell embarked on a trip around Europe. Holidaying on the island of Formentera; she began to write songs that would appear on Blue. The ghosts and scars of her twin breakups were incorporated onto the album but it is the tracks Blue and All I Want that refer to James Taylor and the intoxicating bond they share. In fact, Mitchell was in a happy frame during the initial stages of the album’s creation. There were difficulties between her and Taylor – exasperated by the third person in the relationship: heroine – but she felt Taylor was the man that would anchor and stabilise her. When Taylor’s fame exploded – albums like Sweet Baby James (1970) catapulted him into the limelight – that caused friction in the relationship. The album is viewed as one of music’s finest so it was not a surprise to see Taylor, following the success of the record, become a lot busier and changed. The inevitable break-up devastated Mitchell who foresaw a happy and secure life with Taylor. Mitchell explained, in interviews years after Blue was released, there was not a dishonest note on that record. She compared herself to cellophane wrapper on a pack of cigarettes. That is an image perfectly fitting and one that could only be expressed by Mitchell. She was a protective layer around a noxious box: an outer-layer exposed to destruction and discarded ignorance. She was a without secrets and, such was the enormously open and devastating nature of Blue, it led some to wonder how much she was keeping for herself. One of the reasons I adore the album because it has that classic, tight and economic layout. It is a ten-track record with short titles. Songs, predominantly are three/four-minutes-long and, quality-wise, there is even distrubution. The longest-titled song ends the record (The Last Time I Saw Richard) and the title-track appears at the half-way mark. River; inarguably sad and touching, is the antepenultimate track and there is a real and intuitive knowledge of where each track needed to be.

PHOTO CREDIT: Henry Diltz/Henry 

If the songs were rearranged (order-wise) and the record would be weaker. There are five tracks on each side and one would be hard-pressed to say which side is stronger. Each song on Blue has its own story and heritage. Mitchell wrote Little Green in 1967 and it relates to her daughter – who she placed for adoption in 1965 where she was a poor Folk singer in Toronto. Mitchell was in no fit state to raise a child at this time. She was dirt-poor and struggling. Mitchell was reunited with her daughter in 1997 but Little Green is a heartbreaking and refreshing number about a hard time in the songwriter’s life. Carey was inspired by the time she spent with a group of cave-dwelling hippies on Crete. Many feel the song is about James Taylor but Mitchell revealed it was, actually, about a character called Cary Raditz – a cane-wielding chef with vivid red hair she met in Malta (when travelling Europe in 1970). The title-track has that immortal stand-out: "Acid, booze and ass/needles guns and grass/lots of laughs". Maybe it is about a romantic partner or a certain time. In any case; it is an intoxicating and incredible song. California, the second single after Carey, features James Taylor on guitar and was written when Mitchell was living in France. She was longing for the creative climate of California and, so distant from home, would go to extreme lengths to be reunited with home – even kissing a policeman which, to a counterculture icon, is an act of betrayal and ambiguity. The song is Joni-back-in-control-and-looking-ahead; it is her groove and determination – a dream to be in the bed of California and entwined in its muscular legs, warm arms and hair-stroking tenderness. The stream-of-consciousness lyrics, similar in nature to Carey, depart from a statelier and structure-led song like Blue. The tango-flow and verse-bridge structure excited critics. The artist, wherever she would travel, always yearned for the familiarity and comfort of home. This Flight Tonight, a simple regret about jumping a plane and leaving behind a lover is still, despite its obvious story, full of deep-woven tapestries and delicate stitching.

PHOTO CREDIT: Henry Diltz/Corbis

I will not examine River forensically as, I believe, one needs to hear the song and simply hear it. In any case; it is Mitchell’s most-recorded song and an incredible portrait. One of those songs that elevated her above her peers and showed why there was/is nobody like Joni Mitchell. A Case of You, many have theorised, is about her time with Graham Nash. The ingénue Canadian artist and the British musician Graham Nash seem like an unlikely match but, it seemed, shared more in common than most married couples do. A lot of the lines hint at origin and truth:

“Oh you are in my blood like holy wine/You taste so bitter/and so sweet, oh/I could drink a case of you darling and I would/Still be on my feet/Oh, I would still be on my feet”.

The Last Time I Saw Richard, could I guess, could be about her brief marriage to Chuck Mitchell. One of the advantages of the ‘Internet age’ is one can learn about these songs and become more involved with the music. It is great interpreting and having your own ideas but, knowing where these fantastic pieces of music originated, provides a much deeper and more educated aspect. I listen to Blue and am hit by the emotion, exceptional vocals and stunning compositions of each. The sheer sophistication and beauty of her music – especially on Blue - set Mitchell aside from her peers. She is, forty-six years after Blue’s release, one of the finest writers in music and constantly compels and inspires young songwriters emerging. I know so many and, before leaving this piece, wanted to distil what Blue means to me – and why it is an essential vinyl purchase everyone should have. One can, in all good record shops, finds Blue and get it for a reasonable price. The optimum listening environment is, as I said, alone in a room with eyes half-closed – the way one would do when bathed in the hazy sunshine of a summer afternoon. It does not matter if it’s after-dark or enveloped in the bright light of the day.

There are, perhaps, better albums than Blue but there are few that provoke the same fascination and addiction. It is fitting, given its indirect links to heroin, there is that un-putdown-able nature of the record. One cannot help but repeat songs and become entranced. It is an album that stems from a personal time and place (and space) and, as other journalists have remarked, is a universal offering. We can all, in our own way, identify with many of the lines and expressions Mitchell voices. If one cannot directly relate to the songs of heartbreak and bitterness: we can all appreciate the music and the divine beauty of Joni Mitchell. Her voice, as I said, is one reason many do listen to her music but it is her greatest tool. She elongates syllables and gives each line her utmost consideration. Her voice is not an oil painting or boring creation: it is an impressionist, Dada-esque; stunning work of Romanticism that treats words as cherished possessions. At a time when so many singers waste words and have no ear for expressionism – musicians like Joni Mitchell show what happens when treating language and personal poetry with the respect it deserves. There were albums that had the same ambition and quality as Blue in the 1970s: today, there are far fewer records that have the same gravitas, colour and history as Joni Mitchell’s masterpiece. It is a record that defines an era but has a timelessness that is seeing its progeny (the artists it inspires) go out into the world and learn from it. Make sure you get yourself to a record shop; remove its sleeve – with all the allure, excitement and tease it warrants – and drop the needle. From there, as the first track crackles from the speakers; you will hear those first few words: “I am on a lonely road…”. Listening to those words, and the album, and one is on a road. It is not lonely: it is packed with adventure, vistas and wondrous possibilities. A timeless and near-peerless record…

EVERYONE should treasure.

INTERVIEW: The Girl Folder

INTERVIEW:

 The Girl Folder

________

IT has been a fair while since I featured…

an Australian band on my blog. The New South Wales clan, The Girl Folder, talk to me about their new single, One More into the Night, and the story behind that. Given the fact their singer is from England – I ask how the band got together and whether it was an instant bond. The guys, Matthew especially, discuss their work and the sort of artists/sounds that influence them.

I wonder whether there is a big scene where they are and, whether, we can catch them in the U.K. anytime soon. I ask The Girl Folder about the artists they all grew up with and whether they get any downtime - to chill in the surf and sand of their homeland…

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

Hectic but enjoyable. Lots of interviews and live radio sessions.

Plus; rehearsals for upcoming gigs.

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

We are a five-piece Indie-Rock band from N.S.W., Australia.

Matthew, the lead singer, is from England, originally - and relocated a few years back.

Scott Clayborough is on Lead Guitar and Backing Vox; Adam Gathercole on Drums; Dave Evans on Guitar and Keys; Dan Cordrey on Bass.

Can you tell me how the name, ‘The Girl Folder’, came about?

Matthew: Literally…folding girls!

My young daughter and I had a game where she would lie on my lap - and I had to try to fold her in half. A game of strength and endurance! Haha. Anyway...after a while, she started calling me ‘The Girl Folder’.

It sort of suited the feel of the band in a really strange way.

Tell me about the single, Once More into the Night. What is the song about and how did it come together?

We have two processes for writing.

One is where Matthew writes and records the track and brings it to rehearsal - where we thrash it out. The other (in the case of Once More into the Night); Dave had the music and gave it to Matthew to work on the vocal line.

Dave: Once More into the Night has some Dave Gilmour-inspired chord-phrasings - but played, rhythmically, in a way that Icelandic band Agent Fresco might do. However, the greatest part of this songwriting process was giving this idea to the rest of the band with no context - and seeing where they took it.

Hearing their own X + Y = ? influences and interpretations - that’s what makes it less of a formula and more of a collective art work.

Matthew: As soon as I heard the music for Once More', I literally dropped everything and started work on the vocals. It consumed me for a week or so. I loved the uplifting epic feel to it and wanted the vocals to match. The song has two defined parts but the feel is similar. I felt it was my job to marry the two together.

I didn’t want it to get too above itself until the last passage - where the music allows me to push a little harder. I’m pleased with the result.

I’ve always had a fascination with the night - otherworldly things and undercover acts coming to life when most people sleep. Films like Eyes Wide Shut and After Hours, especially, convey this for me. I tried to couple this with a failed relationship: trying to play it straight for a partner and failing; knowing that normality isn’t for you.

Hence, Once More into the Night: back to the shadows where you feel at home.

There is a video for the song as well. What was it like filming that?

Yes. This is the first film clip that features the entire band.

It’s our third clip, filmed at Sawtooth Studios, Newcastle. The song has so much life and energy - we wanted to put that on the screen, so made the decision to film the band performing the song. It’s always an enjoyable experience creating film clips. Usually, we spend months planning and storyboarding it. The actual filming and editing seems to be the easy part. The planning takes the time.

I’m sure, after our tenth film, we might be a little jaded… but, at the moment, we love it!

Newcastle is the band’s base. Is there a good music vibe there? What is the local scene like?

Really good and always growing.

The venues there are always willing to give new bands a go. There are so many new bands: it makes going out really interesting. Also, playing is great, as we get to hear a couple of new bands play. We can honestly say we have not played with a band we have disliked. Alt-Blues is popular in Newy but there’s also a cool Indie scene (which we love).

There’s, also, little festivals popping up all over the place which we have been lucky to play a few. It’s a good city – plus, bar prices don’t cost the earth.

Priorities…

Was it easy getting the band together? How did you all find one another?

Matthew: Not at all.

I relocated from the U.K. and it took a while to get to know likeminded musicians. People mean well but, sometimes, it’s not always the right fit. Initially, in Forster N.S.W., I started on open mic. night to meet musicians. It was there that I met with Scott - who came along to play and sing. From that point, it sort of snowballed.

I first saw Dave when, for some reason, he popped up in my Facebook feed. He did (and still does) occasionally post a ‘guess the song’ - where he would play a fairly obscure riff. I can’t remember the song but the style and sound really impressed me. I said ‘hi’ and sent him a link to our first single, Call a Halt. Luckily, for us, he jumped on board.

After a couple of changes; we met up with Adam and Dan (the rhythm section). They knew each other but had never played in a band together. 

 It seems like you all grew up with a wide array of artists. Who are the groups and acts you all fell for growing up?

For me, growing up in the U.K, I was that kid dressed in black; writing lyrics in my room - and my music reflected that.

I listened to The Cure, Pixies; Ride, plus, other not-so-miserable stuff such as Guns N' Roses, The Rolling Stones; The Beatles, Prince…

The rest of the band was listening to Led Zeppelin, AC/DC; Sigur Rós, Red Hot Chili Peppers; Silverchair.

Very eclectic!

How important is melody when it comes to your music? It seems like an ethos and philosophy you all live by…

Yeah; It's an unwritten rule.

I mean, we have sections where there are huge waves of sound - but the vocal melody is still there. Growing up listening to The Beatles - which is like an institution in the U.K. - ingrains their melody and approach into a lot of bands; just reinforces the whole melody thing. We always try to write every track like it’s a single.

We don’t always succeed and those tracks will still make it onto the album.

Melody is what the majority of people gravitate towards when listening to music. But, we try to avoid clichés wherever possible - musically, lyrically and melodically.

What comes next for you chaps? Is there an album or E.P. in the works?

Well. We’re not done with singles just yet...

We are three singles in but, literally, have at least another five potential singles. The issue is that we are quite prolific: we recorded fourteen songs. During that recording period, we wrote another three, so, we recorded those (also). Then, another two arrived!

I’m pretty keen on the very latest song, Our List of Demands: a politically-motivated, call-to-arms – but, it’s always that way with songs. The very last you wrote is generally your favourite.

So...they’ll be at least two-three more single releases before the album sees the light of day.

Are there any tour dates approaching? Where can we see you perform?

Always…

We are always playing the N.S.W./Newcastle/Forster area so check out the Facebook page for listings. We would love the chance to play the U.K. and U.S.A. and are looking to head overseas next year.

How do you all chill away from music? Is there a lot of time to detach from the day-to-day demands of music?

Luckily for us, we live in a beautiful place - so we spend a lot of time in the great outdoors surfing, swimming; walking etc. But, to be honest, any spare time we get feels like a wasted musical opportunity: always trying to get in the studio. It’s how we relax.

Maybe we should get a hobby!

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

(After some discussion….)

Disintegration by The Cure.

For me; it’s their best album. I love the synths being used as an orchestra. Plus, it has some of their best songs on there: Lovesong, The Same Deep Water as You; Plainsong, Lullaby etc. Robert Smith wrote (pretty much) the whole album and at the time whilst suffering from depression - so the whole album has that tone…which I love.

Adam: Physical Graffiti by Led Zeppelin

Due to the sheer size of the album. There’s so much going on: it never gets boring.

Scott: Freakshow by Silverchair

Not only did the lyrical content resonate with me. I liked the music and riffs so much I sat down and learned them all without any musical knowledge at all. It’s how I learned to play guitar. I still love to play through that album today.

Dave: Ágætis byrjun by Sigur Rós

Because it made me realise that there was more to music than bar chords and straight rock beats.

Dan: Californication by Red Hot Chili Peppers.

I didn’t get the band until this album was released. I was fifteen and started playing bass around that time. We were playing a lot of songs from that album in my first band - which opened my eyes to playing music for enjoyment and passion.

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

There are soooo many bands and sooo many platforms: it’s difficult, sometimes, to stand out in the crowd. Hopefully your material will help but it’s not enough just to release a single to friends and family. Make a noise!

Get help with promotion if you’re not good at that - whatever it takes. Persevere. Every band takes knockbacks…

Sometimes, bands don’t make it for decades. So don’t stop.

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

We had a gathering after a gig recently and we were all singing this at the top of our voices - even though a couple of us hadn’t heard it before. Live...they’re exceptional…

Ride – All I Want

________

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TRACK REVIEW: Circus Wolves - Judas

TRACK REVIEW:

 

Circus Wolves

 Judas

9.2/10

 Judas is available at:

https://www.youtube.com/watch?v=TV-_VT6uAXA

GENRES:

Indie

ORIGIN:

Manchester, U.K.

RELEASE DATE:

9th August, 2017

_______

LIKE yesterday’s review of Party Fears…

there is going to be some constructive criticism - and then some positives. Looking at Circus Wolves and it seems there is a real opportunity for the guys to strike and claim big success. I shall come to that but, for now, a look at artists who need a few tweaks and improvements of their social media. I mentioned this when addressing Party Fears – the Berlin-based band – who, despite their great music, had very little information about them. This is the case with Circus Wolves who, I feel, need a lot more information online. The way I review: I pick artists that have an interesting story and aspects I can write about - whether that is where they are based or the theme of their latest track. Those points give me things to write about and a new aspect to delve into. Circus Wolves have a past and they met at some point; their music is influenced by various artists and their latest track, Judas, has a background. It would be nice to see this information revealed online so people like me – and fans discovering their music – had something to work on. The same can be said of photographs as the guys have nice faces: get a camera out and let’s see more photos online. A lot of bands put live shots online because they feel that best represents who they are and what their music is about – feeling awkward regarding posing and having official shots. All the best bands have to have photoshoots and, if done with someone you trust, it can lead to some great results. It is something I am saying more and more to artists: it doesn’t matter if you are brand-new or are releasing your first song: everyone has enough money and resource to get photos taken (no excuses).

In an age where iPhones and technology are rife; we call can, and often do, snap our daily lives. Professional photographers are less prevalent and demanded than before so it is necessary to preserve their great work and employ them. Getting some great images and shoots online makes the social media pages more attractive. It, literally, puts faces to names and means people can connect with a band/artist more easily. There is such a weight of artists emerging who all offer something slightly different. There are going to be acts that have lots of photos and information and, to me, I am a lot more likely to go their way. I hope Circus Wolves take encouragement because they have a lot of positives. There are a few snaps online but they could benefit from putting a couple of dozen genuinely good ones up – taking advantage of their natural surroundings/city and getting a profile photo of all of them for their Facebook. The same goes for biography: put some effort into that so journalists are more likely to come their way and contact them. Anyone who says their music will do all the talking and save the day is severely naïve and arrogant – not that the boys are claiming that. I hear artists that say this and, rather weirdly, I hope they fail so they realise how crucial the visual/written aspect of music is to success. I will move on from this point because, when going forward, I want to address band/artist names and distinction; Manchester and the music of the North; building a local fanbase and how this year’s mainstream music is impacting the underground. I will start with the band’s name, ‘Circus Wolves’, and alongside their music, it is a huge positive.

I am far less interested in those artists with few fans/information/songs because, not to blow my own, there are loads of blogs out there who are happy to review the minnows – I have been doing this nearly six years and have a very visual blog that requires those artists who appreciate that. The boys of Circus Wolves appealed to me with their name because, in the industry today, we are seeing so many artists pick predictable options. I am not sure what a ‘circus wolves’ might be or whether one should have them in that environment but that juxtaposition is attractive. Maybe there is a particular relevance but, unless the band has revealed it in an interview, I am not too sure. Again, like images and information, one might think a name is not that important – you’d be wrong and feel free to punch yourselves in the face on my behalf, son! These aspects are EVERYTHING and if you have few images, little information and a predictable name, people are going to walk straight past you. When I compile my weekly Playlist – a collection of all the best new tracks released in the week – I do come across new artists that I have to put through Google. This week, I encountered three acts who had the exact same name as others! Others had ridiculous names – all in capitals or all in lower-case – and you get depressed at the lack of thought and intelligence. I like Circus Wolves because the is something that stands in the mind. It is always hard naming a band and ensuring you do not go for the obvious. Luckily, the guys do play a combination of circus music with aimless, snarling Rock sounds. They have a more sophisticated sound but I am hooked to the name and where it might have come from. Alongside images and information; I find a lot of depth and interest in a name. There is always a reason for calling yourself something or other and it is a tag a band/artist carries with them everywhere. In terms of definition; there is a definite sense of intensity and physicality with Circus Wolves – a playfulness and melody that balances out the harder moments. I shall leave this point now as I wanted to move on to Manchester and the music coming from there.

This year; the city has faced more challenges and hardship than any other time in living memory. Its football teams might occupy two of the top-three places – Manchester United at the top of the summit – and the people are going about their merry way but, a few months back, Manchester was subject to an awful act of terrorism that claimed multiple lives and immeasurably injured many others. I bring this up because there is a resilience and tenacity to the city that is deeply impressive. That attack, outside an Ariana Grande concert, hit the Manchester Arena and shook the city. It was an awful happening and one that could have broken the people. Instead; they came together and showed an immense amount of love and strength. The determination to continue life as was always the case is one of the reasons so many people, myself included, love Manchester. It is a wonderful place with some of the nicest people around. The music scene reflects a certain resilience and passion one can apply to the people. A lot of attention is paid to the musicians of London but we all know how strong the scene is up in Manchester. Current mainstream artists like Everything Everything show what Manchester is capable of but there is a new wave of artists emerging putting the city firmly back on the map. Cabbage and Lungs are two acts that have gained attention from BBC and look set to make a huge break very soon. Cabbage, especially, are getting a lot of airplay on the BBC and appealing to stations like (BBC Radio) 6 Music and (BBC Radio) 1. Pale Waves and Tom Walker are very different acts but are getting people talking. The former mixes sounds of the 1980s – drawing comparisons to Madonna and Talking Heads – whereas Walker has a commercial polish but, happily, there is enough personality and originality to make you think he could be a standout songwriter in years to come. BBC Radio 1’s Huw Stephens has already tipped Dantevilles for great things and it seems like that faith is being repaid – the boys have played some big dates this year and look set to break into the mainstream before too long.

PHOTO CREDIT: Chris 'Badger' Drayton 

Take a listen to Black Helicopters, False Advertising; Josey Marina, Maddy Storm and Rose & the Diamond Hand as there is a collection of eclectic acts that deserve your time. I shall not go into detail about each and every one of them but, suffice to say, there is ample quality in that collection. Circus Wolves can rank alongside them and show what vibrancy and quality is coming out of Manchester. It is a city that grows and explodes with life, wonder and appeal. This year has been a stellar one for Manchester acts and, I think, they have produced finer music than London. Maybe it is a turning of the waves but Manchester is showing greater consistency and diversity than London right now. I might be missing something but that is the way I view things. Circus Wolves have that perfect base to grow and build from. Not only do Circus Wolves have a host of nimble and exciting artists around them: the live scene is bustling and there are so many great venues they can take advantage of. I am not sure what their touring schedule is like but, remaining in the city, they have a lot of venues that would welcome them. The Deaf Institute is one of the best small-to-mid-level venues in the country and a natural go-to for the finest acts around. I am not sure whether the guys command the same level of demand needed to fill that space but it is somewhere they should definitely consider. It is a fantastic space and has played host to come terrific musicians. They also have The Castle. Located down Oldham Street; it is an old-style pub that has been rejuvenated and refurbished to give it a modern twist. Gorilla, down Whitworth Street West, is a fantastic space for live music and possess great intimacy and warmth. Conversely; Soup Kitchen – down in the Northern Quarter – is a little darker and more ‘characterful’. Night and Day and Gullivers are a couple of smaller venues that would be perfect for Circus Wolves – they have played the latter but seems like a spot they should play a lot more.  I am not certain what the band is planning for later this year but it seems they can string together a winter mini-tour of the city. I do not know how long it will take them to fill The Deaf Institute but they could certainly play all the other venues I have mentioned. They are not reserved to Manchester but I know they have a few gigs around the city – supplementing these with spots at, say, Gullivers and Night and Day, might afford them more attention and new fans.

PHOTO CREDIT: Chris 'Badger' Drayton 

I will move on to the music very soon but, before going on, I wanted to look at local attention and how the mainstream is impacting music. I know Circus Wolves have been getting a bit of love from BBC Manchester Introducing. They have just spun Circus Wolves’, Judas – which I shall come to soon – and there has been a great reaction from people on social media. It seems like they are being heard and getting under the skin of the local tastemakers. Trafford Sound, a local station, are playing their music and it seems, slowly but surely, the band are building a reputation. It is vital, if you are in a city like Manchester, learning to walk before running. Many might want to shoot out into the world and get themselves out to the masses. You cannot do this without gaining that local support. In order to do this; one has to make their music visible and create sounds that people want to play. The chaps of Circus Wolves are getting these plaudits and it all seems very positive. I imagine, when Judas gets even more exposure; they will be under the radar of stations in London and the bigger options down here. From there, they will get gig demands and be able to jaunt down here and play some of the awesome venues in the capital. I would like to see Circus Wolves play here but, for now, they have a city to conquer. There are, as I have shown, so many great artists in Manchester so it is vital keeping focused and busy. The band are not going to rest anytime soon but, looking at their local peers, it seems many bands have their own site and a lot more information on social media. I hope Circus Wolves go hunting for a label/management because they have the quality and innovation to reap big rewards. I am not certain what they have planned in that respect but getting their music to the ears of the independent labels in the city would be a good start. They could approach P.R. companies and labels in Manchester and see whether they’d consider backing the boys. It is not being pushy or too forward: merely, a way of showing confidence in their music and proving they want to succeed.

The last point I wanted to raise concerns the mainstream and how tastes are changing. Last year, in terms of the best albums, I felt Hip-Hop and R&B were the more favoured genres. Certainly, in terms of the finest of the crop: these were the genres that saw the finest results. This year, whilst there has not been the same explosion in R&B as last year – there are other genres and sounds starting to get attention in the mainstream. Last week; Queens of the Stone Age released Villains – to massive critical acclaim and approval. It is one of the band’s best albums ever and, in a Rock scene that seems to be wilting, they have given it a huge boost. I am confident there will be one or two other big Rock releases very soon – Jack White is working on stuff – and there are some fantastic Indie bands making waves in 2017. Pop still has a huge place but I am pleased to see some Indie/Rock options coming back into fashion. Whilst Rock is still in trouble – some weak releases and few great records to cling onto – there are Pop-Indie, Rock-Indie artists that are intriguing me. The success of certain genres/artists impacts on the underground. They will see what is happening in the mainstream and take encouragement from that. Circus Wolves are a blend of Indie and Rock and, if those genres were in severe trouble, might feel a chance to ascend to the mainstream was not a possibility. It seems their brand of music is in-demand and capturing plenty of minds this year. Judas, Circus Wolves’ current single, is more lo-fi than a lot of sounds coming from the mainstream and is a perfect song to get the live crowds involved and engaged. I predict the Manchester band will continue to grow and evolve their sound and time goes on. The artists that do best in the mainstream are those who change things and grow with every release.

Let’s consider Judas – as it has been getting a lot of great press the last few days. The openings chords and percussion gives the song a spirit and appeal. It is an instant start and a strong opening salvo. The percussive crack signals the guitar come forth and do its work. That is what happens and, within a few seconds, you are in the midst of a busy and appealing song that, without a word being sung, seems to compel imaginative interpretations and visions. It is a crisp and clean sound that has a polish to it – whilst being edgy and muscular enough to please the Rock elite. Mixing Indie and underground Rock embers together is a hard thing to do but that is how Judas starts out. It has a bit of gloss but the passionate and strong opening from the boys provides the testicular conviction to separate it from the alcohol-free alternatives in the mainstream. The likes of Radical have reviewed the single already and raised some interesting points. The band seemed destined to return to nine-to-five jobs and fading back into normal life. Judas is their reaction to a potential black hole and, whilst they do not reinvent the wheel; they do provide a much-needed kick of excitement into a genre that is becoming predictable and stagnant. Local contemporaries such as Cabbage provide a fierier and more political sound: Blossoms a more shiny and mainstream sound (one I am not a fan of). They seem to be fans of U.S. bands and the guitar music of the late-1990s/early-2000s. What one gets is nostalgic blast combined with a flavour of the Manchester streets. One, in the song’s title, hears biblical relevance and the nature of betrayal. Lead singer Guy Davies seems positively louche and lizard-like when backed with twinkling strings and multifarious sonic fabrics. In terms of tonal comparisons; one can see a little bit of Jim Morrison and Ian Curtis in his voice.

PHOTO CREDIT: Chris 'Badger' Drayton 

There is a sense of struggle and confusion coming from the frontman. He is not getting his voice heard and maybe, whether it is a relationship issue, he is not getting the attention he deserves. Having done everything possible; there is that sense of anger. It is never fully articulated in an outburst: more a reserved and defeated acceptance. It is nice hearing the balance of coffee-hue vocals – they are dark chocolate and have huskiness to them – and the lighter composition. It is never a slight background: each note and element adds to the central dynamic and drives the song forward. There is a contrast between the nature/pace of the vocals and the composition that means Judas differs from most songs out there. It is, I have said, not a radical reinvention of the Indie music but does show how many different sides there are to the Manchester sound. What one gets from the early moments is a song that accepts love has hit the rocks. The vocal gets more intense and impassioned as the penny drops. Maybe there is a sense things could be salvaged and rebuilt. It seems (the hero) needs to leave the girl and go on his way. Perhaps unwilling to accept things have ended; that pain and loss come out in the vocal performance. The band is not willing to follow in anyone’s footsteps and stamp their identity and D.N.A. right from the off. It is a complete performance that does not put too much focus on the vocal. So many bands are reliant on the lead but there is such a brotherhood and connection within Circus Wolves. They have played together for a while but there was a fear, given the gap between releases, they’d be a bit rusty. That does not seem to be the case here. Producer Bob Cooper brings the best from the band and, with the gigs they have performed over the years, the guys have enough experience and expertise to produce a song that convinced and endures. The hero has borrowed heartstrings and is living to forgive. The song moves through a distinct set of stages.

PHOTO CREDIT: Chris 'Badger' Drayton 

The first pieces together the breakdown and coming to terms with what is happening. From there, there is the processing portion. The aggression comes through and an execration – that release is palpable and electric. Now, we see the hero accepting and progressing. It is almost like he is going through the stages of grief – without the overt depression and denial that one usually experiences. The wordplay gives the song freshness and differs from a lot of the cliché-ridden sounds one hears from many acts. One would not expect – looking at promotional shots of the boys – that sort of vocal to come from the frontman. They are all hirsute chaps and have a friendly and loveable demeanour. The intensity and sound that comes from the vocal remind me of the powerhouse American performers of the past. Judas has that old-world evocative nature but is a song that sounds modern and relevant. There is a definite lust after U.S. sounds and stadium-sized ambitions. The girl is not a machine, it is said – that tells our man what he can dream about. The skin is peeling and, maybe rashly, there is that anger and denial that follows acceptance. One would like to see some moving on but, in this moment, there is that recrimination and judgement. The girl has not been pure and honest; still trying to dictate and control the hero – this is causing all manner of emotions and possibilities. It is fascinating seeing how the song evolves and goes through these cycles. Towards the end; the vocals continue to growl and drive with anger. Our hero accepts he has to move on but cannot help be caught in a web. The girl is not the sun above: she is “death from above” and continues to make his life harder than it needs to be. There are few bands that can pack as much into a song as Circus Wolves. They have penned a song that can ably work in an arena or larger venue; create atmosphere in a small space and get the local crowds jumping. It has the appeal to go further and get airplay on various different stations. It is not too niche and reserved for a particular demographic. I can imagine it doing well down here and the BBC radio stations – it has a wide appeal and impossible to dislike. Hopefully, Judas signifies a new phase of creativity from the Manchester band – they have been away from the scene a little bit. Despite the break, they sound as fresh and engaging as they did back in 2015. They have picked up new sounds and inspirations; strengthened their core and seem determined to remain in music for years to come – there is every sign that is a very real possibility.

PHOTO CREDIT: Chris 'Badger' Drayton 

One would like to hear a production sound a little less polished as, at times, it does seem a little too slick – maybe, stripping away some of the gloss would afford the song a more natural platform and augment the true emotion of the lyrics/sound. The instrumentation and vocals are superb and they do not require that much attention and machinery. Cooper’s main strength is getting the lads together and producing a song focused and professional. Few would have expected that given a two-year hiatus but that is a credit to him. Judas continues to amaze and scintillate as it goes past the half-way stage. Guitar breaks provide the vocal a chance to rest and demonstrate the strength of the strings. These parables/passages provide more story and give the song a real emotion and physicality – you keep imagining the story and how it is progressing.

PHOTO CREDIT: Chris 'Badger' Drayton 

I shall wrap things up soon but wanted to see what lies ahead for Circus Wolves. They are one of those Manchester bands that feed and vibe from the city. The people, the sounds and smells: all powerful sources of inspiration for a group producing music that differs from anything out there. Earlier on; I laid out a series of artists and venues that seem to define what Manchester is all about this year. I think there are opportunities for the boys to either support or collaborate with a lot of those acts. One cannot deny how busy and dynamic Manchester is so there is a lot of potential for the band. Their Annie Baby E.P. was released a couple of years ago and, since then, they have been playing and releasing the odd single here and there. It is time for them to strike and, whilst most artists release albums/E.P. in spring/summer – so they get those festival call-ups and release music when gigging most – there is a lot of potential releasing material in the winter months. I am desperate to get myself to Manchester because I appreciate what a rocky year its people have had. That notable tragedy is still fresh in the memory but has not dampened the spirit and strength of the population. They are spirited, together and loving as always: this is reflected in the music that is among the best I have heard in many years. What I am seeing, in Manchester acts, is a diversity and consistency many cities lack. I have mentioned London and, has been the case in previous years, they have stolen all the headlines. There are some hungry and wonderful artists coming from Manchester – a chance for the northern city to gain some acclaim and attention.

The Circus Wolves lads will be looking to get as many gigs as they can and are working hard to ensure they are kept in the local mindset. In the past; they have played spots like Dublin Castle and The Deaf Institute – not packing it out but a respectable crowd – and have played on local stations and some great spots already. I am encouraged to see they have already rocked some of the best venues in Manchester so let’s hope they keep the momentum strong. I am not sure whether there will be an E.P, arriving but it seems, given the success and attention Judas is getting; they will want to release something full-length- maybe a three/four-track E.P. would be appropriate? That is down for them but one thing they do need to do is get their social media sorted. The boys have gained a lot of love from Manchester but, to keep their name in the minds of people further afield, people will want to find something a bit more image-focused and informative. I stated how difficult it is finding out the band’s history and what they are all into. There are few professional shots and, given the fact the band has played some fantastic dates in the past; promoters and labels will want to see a selection of great images they can use for their posters/promotion. I shall put this to bed now but, before doing so, it is worth saying how well Circus Wolves are doing and the ground they have made up. This past year has seen them make big strides and perform around Manchester. They have a lot of ambition and energy and it would be great to know where the guys are heading right now. Maybe there are a line of gigs coming up but, looking at their Facebook, I cannot find a set of dates. They seem content and happy in the camp and that all comes out in their music. Judas is their strongest offering to date and a slight change from their older material. The sound is a little more polished and fresh but it does not come across too glossy and mainstream – containing the right amount of swagger and rawness to appeal to their loyal fanbase.

The mainstream Rock/Indie best are doing their hardest but I have seen so many disappointing albums arrive – from artists you expected would do a lot better. It is the underground, unsigned acts that seem to be producing the best music. Maybe they have less to lose and are freer to maneuver (unsigned acts) and I am a very pleased to see so many promising artists get kudos. I am not sure which of them will get to the mainstream – and when that will happen – but the likes of Circus Wolves have the ammunition to do the job very soon. The boys have played some great spots around Manchester but I feel there are a lot of fans around the North that would want to see them visit them. Down here; we have some great venues in London they have yet to play. That demand will come when the band releases an E.P. so, when that happens, I feel they’ll get the attention and gigs they deserve. The homecoming gig at Gullivers was a triumph and it seems like the lads have a lot of buzz and potential. I would like to see that continue and ensure they remain focused and consistent. The fact they have new material will please people – leaving a gap after an E.P. of that size can be a big risk – and see how the remainder of their 2017 pans out. Judas is a strong and engrossing song that hints at new direction and ideas. It is all in their hands now and, in one of the best cities in the world, they have the support behind them – so many places they can play and local stations they could get their music heard on. Judas is a defiant statement from a band who are becoming local heroes. They need to get more material out but I am sure that is a matter of time. When that does happen, I have every confidence they will...

GO very far indeed.

_______

Follow Circus Wolves

 Twitter:

https://twitter.com/TheCircusWolves

Facebook:

https://www.facebook.com/CircusWolves/

YouTube:

https://www.youtube.com/channel/UCO6ng1fsttQAtlvuYqhgzGA

SoundCloud:

https://soundcloud.com/circus-wolves

Spotify:

https://open.spotify.com/artist/2Qym7h5FGsxJ9xE6pWoTfA

FEATURE: Crowd Surfing: The Best Performances from Reading and Leeds Festival

FEATURE:

 

Crowd Surfing: 

 The Best Performances from Reading and Leeds Festival

________

IT is fitting marking the best sets from the iconic…

IN THIS PHOTO: Queens of the Stone Age at this year's Leeds Festival/PHOTO CREDIT: NME/Andy Ford

Reading and Leeds Festival as, over the years, there have been so real corkers. I say it is fitting because, twenty-five years ago; there was that now-legendary 1992 rundown. Nirvana’s infamous and epoch-defining antics were part of a heady and definitive year that saw some of the world’s biggest acts jostling for attention. This year, perhaps, there are fewer corkers but we have seen Queens of the Stone Age slip into Leeds – one suspects, they are at Reading right now!

The totality of Reading and Leeds’ stellar reputation cannot be boiled and defined in a few performances – but there have been tongue-wagging sets that have scorched the memory and been hard to top. I am basing this run-down on my own recollections – and sharing consensus with other journalists – and present the best and brashest sets from Reading and Leeds’ illustrative history…

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Nirvana (1992)

In a year where Nick Cave, Manic Street Preachers and PJ Harvey were on the bill – not to mention Public Enemy, for that matter – there wasn’t a set that could rival this career-defining Nirvana performance! Entering the stage on a wheelchair - sporting a blonde wig and hospital overalls - Kurt Cobain silenced rumours of a no-show with an epic set that included a particularly fired and intoxicating rendition of Smells Like Teen Spirit.

Suede (1997)

It was at a time when Britpop was starting to wind-down and a new phase ushered in – one where American guitar music was taking more of a hold. Bands like Blur would continue and change their sound but the balloons and party poppers of Britpop were waiting to be swept up. The endless energy and defiant set from Britpop mainstays Suede kept the spirit alive and reminded people why Brett Anderson and company were/are among the finest live bands ever. It can only be a matter of time before the band is invited to perform a career-spanning set at Reading and Leeds?!

The Libertines (2010)

Like Arctic Monkeys; here is a band used to the topography and portaloo queues at Britain’s premier Rock festival. We all know how The Libertines ended and why this performance – reunited after a six-year hiatus – was an emotional affair. The capricious and unpredictable Pete Doherty could have derailed the show but, focused and understanding the importance of the occasion, rose and shone. It led to an official reformation in 2014 – a triumphant show that was more than a pay-cheque for the boys. It was a chance to reclaim the sort of fascination and attention that afforded the band when they first burst onto the scene.

Queens of the Stone Age (2005)

Josh Homme and crew have played Leeds Festival already – sneaking in to perform a rapturous eight-song set yesterday. Homme, delighted to be there, warmed the audience up with a singalong to Afternoon Delight – the band entered the stage to the stage of Dean Martin; whipped through some Villains material and peppered some classics into the mix – to the delight of the huddled and delirious attendees. It was that kind of raw energy, personality and fun that made their 2005 set such a delight. The band played the Main Stage at Reading and, following the release of the album, Lullabies to Paralyze, it was a set that included Go with the Flow, No One Knows; Little Sister, Burn the Witch – thirteen nuggets that left the crowds very happy that night!

PHOTO CREDIT: Andy Willsher/NME

Arctic Monkeys (2005)

Not long after Sheffield’s Arctic Monkeys were the band on everyone’s lips – they were afforded the opportunity to thrill the crowds at the new bands tent with a set-list that included A Certain Romance, Mardy Bum and their biggest-ever hit, I Bet You Look Good on the Dancefloor. The band went on to make several appearances at Reading and Leeds but there was something about the smaller setting and the impending fame – that stand-out song not really synonymous at that point – that made their performance one of the festival’S finest.

IN THIS PHOTO: The band in 2000

Rage Against The Machine (2000)

This is one of two inclusions for the legendary American Metal/Alternative guerrillas. Arriving six weeks before their initial split; it was a set charged with emotion, tension and imminent shift. The fact the weather was less-than-reliable meant the mud-soaked surroundings added an extra layer of grit, intensity and evocativeness to a charged and electric performance. Guerrilla Radio – one of the finest renditions the band had ever performed – was a highlight that washed away the rain with ease. Surely, one of the finest live sets from the band’s later-period!

Frank Turner (2011)

It took a little while for Frank Turner to rise to the big stage at the festival but Turner, having made his way around every other, was ready and primed to deliver. Joined by his Sleeping Souls: his set was greeted with warm and smiling sunshine; reflected by a crowd that was left in awe of a musician at the height of his powers. Playing the highlights from Turner’s third album, England Keep My Bones, it is one of the most memorable performances in Turner’s career (to date) and a moment he was born to fulfil – someone who had dreamed of ascending to the biggest stage and not disappointing when he did!

Radiohead (2009)

Again; another band that are festival regulars and have had their fair share of career standouts – including that generation-defining turn at Glastonbury in 1997. Forward the clock twelve years and, a couple of years from In Rainbows; the band had a lot more material at their disposal (than the 1997 turn). They are not regulars at Reading and Leeds and one wonders whether they are due a return to the festival. In 2009; they, rather surprisingly, started with Creep, before producing a minimal, tight set that blew the crowds away and showed the adaptability and variation the Oxford icons could produce through the years. I do not think they have reproduced the configuration they did back then - a unique set that helped make 2009 one of the best in Reading and Leeds’ recent history.

Oasis (2000)

There is not much to say about this aside from the fact it was one of the final great performances from the Manchester band. Standing on the Shoulders of Giants was released earlier in the year and, whilst not one of their best albums, there was more demand for their classic material. The band responded with a bombastic and exceptional set that contained the same majesty and command as their early best. Despite the fact their best days were behind them: the band showed they were a consummate and evergreen live band who were capable of bringing the magic year-in-year-out. The band would release three more albums up until 2008 but this was one of their final truly great performances. Many could see the tide was turning but Oasis’ 2000-turn stands as a key moment in their esteemed and vivid history.

PJ Harvey (2001)

This set, like so many of PJ Harvey’s, was defined with a lusty and almost-masculine set of Blues/Goth songs – a set that mixed the instantly enthralling and quirky. Clad in a rather ‘memorable’ outfit – you’ll have to dig through photos of her turn – it was a set as memorable by its visuals (as the sonics). All said and done; PJ Harvey showed why she is one of music’s true originals. Nobody was complaining and, even more than that, many were buzzing and talking about her set for weeks to come. She has, perhaps, turned out better sets but Reading had not seen anything as brilliant and baffling from PJ Harvey. 2001 was not the finest years for music – or society, as a whole – but the rare magic only PJ Harvey could provide turned a, potentially average day, into something spectacular.

IN THIS PHOTO: Zach de la Roch

Rage Against the Machine (2008)

The reason for including Rage Against the Machine for a second time was to show, eight years from that epic decade-starting set, the U.S. band returned and kicked the sh*t out of the stage! Arriving in Guantanamo Bay-style boiler suits: the boys provided a staggering set filled with energy, explosion and nuance. Zach de la Rocha, in a particularly confrontational mood, spoke out against the atrocities and injustices around the world – using the stage as a pulpit on which to preach and educate. This verbal diatribe was matched by Tom Morrelo who, stealing the show, produced some of his finest guitar fireworks and workouts to date. A truly tight, impactful and blissful set from a band, whilst past their recording best, showed they had lost none of their live chops.

Arcade Fire (2010)

The Suburbs – the Canadian band’s third album – can be considered one of the final truly great albums. They were not afforded a big crowd in 2010 but, following the freshness of the album (I think it had only been out a few weeks) it was not a big surprise. The technically-perfect and monumental set warranted a big audience but that did not matter: the band put jaws to the floor and showed why they were a critical favourite. This year’s Everything Now is a bit of a downturn from the once-immense band so one wonders whether they will get a chance to return to Reading/Leeds.

Biffy Clyro (2007)

Here’s a band due a return to Reading and Leeds but, back in 2007, they kicked up a hell-storm of biblical proportions. Puzzle was the album they release that year and, armed with a back catalogue of three other albums; it was ample ammunition to fire at the expectant and adoring gig-goers. A rare outing of Folding Stars – usually reserved for special occasions – was a highlight from an unusually intimate set. They were performing at the Radio 1/NME Tent and, following the success of Puzzle, would not play anywhere that intimate again. Maybe that was what made their set so memorable: it was a smaller space and meant all those epic strings and rapturous vocals had no place to go – except the lungs and minds of those lucky enough to capture the Scottish band

IN THIS PHOTO: Foo Fighters in 2005

Foo Fighters (2005)

A band who seem comfortable and confident playing headline sets: a 2002 appearance, to many, is the defining moment of their festival-attending lives. Opening with In Your Honour; they launched into All My Life, Times Like These; My Hero and Best of You – a hits-packed set that wowed the Main Stage at Reading and was the perfect follow-up to their acclaimed album, In Your Honour. At a time when the band was going from strength-to-strength; they could have provided a rather run-of-the-mill set. As it was; the guys upped their games and got the people moshing, jumping and singing. The definition of a perfect Reading set – few bands have managed to rival Foo Fighters’ 2005 spectacular.

PHOTO CREDIT: Andy Willsher/NME

Muse (2006)

A year after Foo Fighters tore the roof off Reading: one of music’s most dependable and planet-straddling live acts had a go. The words ‘Muse’ and ‘bad gig’ do not really go hand-in-hand. Matt Bellamy refused to believe they had ‘made it’ until headlining Reading. In 2006, following the release of the sensational Black Holes and Revelations, it was the perfect moment to shine. Huge songs on that album – Supermassive Black Hole and Knights of Cydonia – were fresh in the mind and, with three other albums before that, there were enough epics to get the crowds pumped. Perhaps that is why Muse finally made it in 2006 – an album like Black Holes and Revelations was the final part of the jigsaw that would guarantee a headline-worthy gig.

PHOTO CREDIT: Andy Willsher/NME

The boys, eleven years after that set, are preparing themselves as we speak. They have rocked Leeds and played a hits-packed set yesterday. The start of their set brought songs from Drones, their current album, together with songs that span their entire career. They provided an encore of Uprising and Knights of Cydonia and Bellamy, in eccentric clothes/shades and at his shredding best ensured everyone went home beaming – bodies aching and ears ringing. The guys will play Reading’s Main Stage tomorrow and are likely to provide a similar set to that of Leeds – it will be a wonderful thing to see. 2006 was a pivotal year for Muse and, faced with the daunting expectation of the Main Stage...did not disappoint.

INTERVIEW: Dog in the Snow

INTERVIEW:

 Dog in the Snow

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BRIGHTON is a fertile Muse and a city…

producing some of Britain’s most original and passionate musicians. This is the case with Dog in the Snow. I speak with Helen – the woman behind the moniker – and what it is about Brighton that provokes such consistently alluring music. She talks about the new single, Child, and the story behind it. The song is taken from the album, Consume Me, so I was keen to know about the album’s creation and the ideas that go into it.

She will be touring alongside (former Cocteau Twin) Simon Raymonde’s side-project, Lost Horizons – the dates and venues we can catch Dog in the Snow play. I ask Helen to choose the albums that have impacted her most and the musicians that have influenced her most.

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

All good here, thanks!

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

I make music and write songs under the moniker 'Dog in the Snow' - and am currently based in the seaside city of Brighton.

What is the story behind that moniker, ‘Dog in the Snow’? What does it represent to you?

It's inspired by The Trial by Franz Kafka – specifically, with what happens to the protagonist at the end of the novel and his final exclamation of “Like a dog!”

I liked the darkness and existentialism I felt behind that phrase  - and how that actually contrasts with how surface-level cute one may assume the project title is.

Child is your new single. Can you reveal the story behind it?

I was just thinking about the idea of protesting in the twenty-first-century and how you can still feel powerless.

I grew up in Singapore, where it is illegal to protest (unless you ask permission beforehand, which very much defeats the purpose) - and I still feel just as powerless as I did then.

So, I thought; in a very idealistic way, wouldn't it really say something if every woman in the world just refused to have children - until humanity actually sorts its short-sighted, patriarchal; selfish bullsh*t out.

That'd really put the ball in our park.

How easy was it to put together? Did you have to slowly piece it into a whole or was it quite a quick process?

It was very quick!

I wrote the words, phrases and ideas to the whole ten songs when I was out touring in the U.S. - in my friends' band, Fear of Men, last year. When I returned; the melody and structure for every song was very intuitive.

I can't really even remember the specific writing process to Child. I definitely remember that recurring bass-line coming first, though.

The song seems to gain control of your body – not be threatened to express, reproduce and do as you please. Was there a particular occasion or event that compelled the song?

Nothing personal - nor any particular event.

A lot of my ideas stem from more universal thoughts and happenings - which I, then, try and break down.

 PHOTO CREDIT: Clémentine Blue

It seems like it is a protest song and, in a humorous way, rallies against discrimination and judgement. What is your view on the way we live - and how issues like sexism are treated? Is it something that needs to be tackled more proactively and productively?

All forms of discrimination need to be tackled all the time until the end of humankind...

Society still thinks it can find its identity in the archaic ideas of borders and boundaries. I think that's where the problems stem from.

Child is taken from your album, Consume Me. What sort of themes do you address in the album? How influential are subjects like consumerism and human connection to you?

Finding the ‘real’ in the consumerist-age is a goldmine of ideas and thoughts; they most certainly have influenced the album. Environmental issues are a big influencer, too. How will humanity continue to sustain itself on this unsustainable path?!

The fact that climate change can still be denied as fact is ridiculous.

Give me an insight into your beginnings. Who were the artists you grew up to and fell for at a young age?

I was born in the U.K. but I spent all of my childhood and teenage life growing up in Singapore.

It was an interesting place to grow up in: always mixed feelings. I was a massive Neil Young fan from a very young age but was then side-lined for a few years by MTV during my teen years. I started to think, maybe, I could try and create music after my dad introduced me to Sufjan Stevens' Illinois album – which, thankfully, put me back on track...

Sufjan's music allowed me to really think about melody and arrangement in a way no other artist has.

Brighton is your pace and, to me, a place one can reconnect with humanity and feel at peace. What does the city do to you and why are you based there?

No doubt, being by the sea creates a sense of re-invigoration and calm: it's most certainly part of the reason I'm here - amongst more practical things.

The city does have its problems - as does everywhere else, though. There's a lot of homelessness, which I've noticed has gotten worse over the years.

How inspiring are the people and musicians of Brighton to you?

Brighton is a bit of a conveyer-belt when it comes to musicians: a lot of the people I used to know here have all moved away. There's a lot of people in Brighton, who I find inspiring, for sure, but I don't see it categorised nor different - because of them just being in this city.

PHOTO CREDIT: Rob Orchard

In the past, you have supported artists like D.D. Dumbo. Does it feel weird seeing how far you have come and how positively people are responding to your music?

The music world is far too saturated for me to ever feel weird about my music being out there. It's, of course, nice when people find a connection and appreciative understanding of it.

Can you reveal the tour dates coming up and where we can see you play?

I have two headline L.P. launch-shows and, then, I'm going on tour with Simon Raymonde (Bella Union boss and Cocteau Twins)'s new project, Lost Horizons. I'm, also, part of the live band - so it's a double-duty for me!

25.10 - Human Performance Presents: Dog In The Snow, London†

28.10 - Spectrum: Dog In The Snow LP Launch, Brighton†

18.11 - Lost Horizons at the Rialto, Brighton*

19.11 - Lost Horizons at The 100 Club, London*

20.11 - Lost Horizons at Brudenell Social Club, Leeds*

21.11 - Lost Horizons + Dog In The Snow, Manchester*

23.11 - Lost Horizons + Dog in the Snow (Ex Cocteau Twins), Ramsgate*

†Album-launch show

*Supporting Lost Horizons

IN THIS PHOTO: Mother Me/PHOTO CREDIT: Pandora Jane

Who are new acts you recommend we check out?

There's a lovely Brighton Indie-Pop duo called Mother Me who makes delicate, but powerful, tunes.

/please/, from Bristol, is the project of Ellen Davies…dreamy gems.

Tony Njoku, from London, is super. If you ever get a chance to see him live, I really recommend it.

IN THIS PHOTO: Tony Njoku/PHOTO CREDIT: Theo Williams

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

Mirrorball by Neil Young (and Pearl Jam)

The album I used to be obsessed with as a child. I used to invite friends to my house; play the album and jump maniacally on the sofa. They never returned.

Come on Feel the Illinoise! by Sufjan Stevens

It turned me on to creating music. Chicago was, maybe, one of the first songs which made me cry.

Actor by St. Vincent

I loved the story that Annie Clark wrote this all on GarageBand with headphones on - because her neighbours wouldn't let her make any noise. That's when I started properly paying attention to recording software; writing, recording; arranging on the computer.

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

Work really hard; don't expect anyone owes you anything. Do it because you love it.

If you want to make money you're in the wrong profession. Oh...and appreciate people and be nice, please!

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).

4 DEGREES by ANOHNI

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Official:

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FEATURE: Lady Gaga: Taller than Most

FEATURE:

 

Lady Gaga:

  Taller than Most

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OVER the past few days…

PHOTO CREDIT: Kevin Mazur/Getty Images for Live Nation

Lady Gaga has been teasing clips from her forthcoming documentary Gaga: Five Feet Two. The Pop megastar reveals, in clips and in the documentary, is seen as larger-than-life but, in reality, is very human. I wanted to look at why the documentary is so important and how Lady Gaga, in her revelations and bravery, is going to inspire so many other people out there. Before that, thanks to Billboard for summarising; a look at what one can expect:

“Lady Gaga is hitting a screen near you come September with an original Netflix documentary calledGaga: Five Foot Two, the pop star announced in a series of teasers on social media today (Aug. 24).

“I’m known for being larger than life, but really I’m just… #GagaFiveFootTwo,” Gaga tweeted, posting several raw, intimate trailers that offer a rare glimpse into the off-stage life of the "Million Reasons" star.

The first visual features a tearful voiceover of the singer confessing her loneliness: "I'm alone, Brandon, every night. And all these people will leave, right?" Gaga says. "And I go from everyone touching me all day, and talking at me all day, to total silence." Then, in the captivating second video, we watch the singer ascend on stage wires for her Super Bowl performance earlier this year”.

There is a lot to suggest things in Lady Gaga’s world might not be all that bad. Billboard have looked at her recent tour – in support of the album, Joanne – and the success it has brought her. The article addresses how lucrative the American singer is right now:

“The first box office counts of Lady Gaga’s Joanne World Tour have been reported to Billboard Boxscore, with $8.7 million earned from the trek’s first five shows. (See Hot Tours ranking, below.)

The Joanne World Tour kicked off on Aug. 1 at Vancouver’s Rogers Arena and is slated to play 59 shows through Dec. 18. (The tour has 53 arena shows and six stadium shows on its schedule.)

With sellout crowds in attendance at the first four venues on the 20-week trek, the tour took in $8.7 million in ticket sales at the box office from 78,530 sold tickets at five performances, based on reports by promoter Live Nation”.

There are two sides to Lady Gaga in a life that is far from binary. Many assume, looking at Pop stars and the success they accrue, are going to be adjusted, satisfied and smiling all the time. One does not realise how draining and demanding a modern music career can be. Gaga has not long let the dust settle from her headline appearance at Wrigley Field and the historic nature of that. She is the first female to do so – her social media feed attested as to how tiring it was – and attacked that responsibility with passion and courage (“Welcome to the mother*cking womb” was her bellicose lay-down to any doubters). There is no denying her status and celebrity has helped her become a pioneering and groundbreaking artist. Joanne is Gaga’s most-recent album (2016) and, by some, seen as a mixed affair. One cannot argue with the figures and performance of the record upon its release:

In the United States, Joanne debuted at number one on the Billboard 200, selling 170,000 copies in its first week, and 201,000 total album-equivalent units according to Nielsen SoundScan. It became Gaga's fourth album to top the chart following Born This Way (2011), Artpop (2013), and Cheek to Cheek (2014). The album also was 2016's second highest debut for a female album in the nation after Beyoncé's Lemonade opened with 485,000 copies. As a result, Gaga became the first woman to have four US number one albums in the 2010s.[128] The album-equivalent units for Joanne consisted of 135,000 song sales and 26 million streams along with the traditional 170,000 album sales.[129] The debut of Joanneprompted Gaga to rise to number 1 on the Billboard Artist 100 chart, which measures artist activity across the publication's most influential charts.[130]

The album sales dropped by 70% to 61,000 units in the second week, consequently it fell to number 5 on the Billboard 200.[131] By April 2017, the album had scanned 515,000 in sales.[132] Following Gaga's Super Bowl LI halftime show performance, Joanne arose 66–2 on the Billboard 200, selling 48,000 copies and 74,000 total album-equivalent units (up by 818%).[133] Joanne debuted at number 2 on the Canadian Albums Chart with 17,500 album-equivalent units, behind Leonard Cohen's You Want It Darker. According to the Canadian SoundScan, the album had the third highest on-demand streams in the country.[134] On November 4, 2016, the album was certified gold by Music Canada for shipments of 40,000 copies in the country.[135] Like the United States, the Super Bowl performance also had an impact in Canada, where Joanne vaulted from 54–2, making a total of 524% gain in album-equivalent units.[136]

PHOTO CREDIT: Beats 1 Radio

In the United Kingdom, Joanne debuted at number 3 on the UK Albums Chart, with first week sales of 26,694 copies, behind Elvis Presley's posthumous release, The Wonder of You, and Michael Bublé's Nobody but Me.[137] On the UK Album Downloads Chart, Joanne entered the chart at number 1. It also reached number 2 on the Official Albums Streaming Chart, and number 5 on the Official Physical Albums Chart.[138][139][140] The following week, it exited the top-ten, dropping to number 14, with sales of 9,602 units.[141] As of February 2017, the album has sold 90,624 copies in the nation, and has been certified Gold by the British Phonographic Industry (BPI) for shipping 100,000 units.[142][143] Following the Super Bowl performance the record moved from 88–11 on the chart with sales increasing to 5,289 copies.[144] Joanne debuted at number 3 on the Irish Albums Chart.[145] The album had a less than expected debut in France, where it entered the album chart at number 9, with sales of just over 8,000 copies. Pure Charts website theorized that the moderate performance of the lead single, "Perfect Illusion", and the absence of Gaga in the media during album release week, contributed to the low debut.[146] By the year end, they deemed Joanne as one of the commercially disappointing albums in France, achieving total sales of 12,000 copies.[147]

Critics noted how strong Gaga’s voice is throughout the album and the genre-fluid nature of the material. It remains a strong album and one with plenty of highlights. Gaga co-produced the album with Mark Ronson and BloodPop and, between them, managed to make songs like Perfect Illusion, Million Reasons and John Wayne as strong as any material in her back-catalogue. Some felt the songs and themes addressed were too calculated and meticulous – perhaps, not as much freedom and independence as her earlier records. I am not a huge fan of Lady Gaga’s music but appreciate the effect she has on her fans and how different she is when compared with the Pop mainstream. Joanne is a more stripped-down affair than Artpop (her previous record) and veers between Dance-Pop and Country songs. There is more sophistication and vulnerability on the record. The bangers and dancefloor classics have not been abandoned: they have been mixed inside more adult and personal tracks. There is only three years between the albums but a lot happened in the period between the records – more on that later. Joanne, maybe, signals a new direction for Gaga: from the eye-catching Dance-Pop leader to someone taking the lights down – and the volume – and less constricted. Joanne allows energetic expression but it has time for softness and tenderness. It is less concerned with fitting into moulds and repeating what has come before.

PHOTO CREDIT: Ruth Hogben

It is Lady Gaga’s first two albums – The Fame in 2008 and Born This Way in 2011 – that took her from obscure singer to a global icon. Her debut, with a few co-writers/producers, possessed plenty of hits and distinction. Paparazzi, Poker Face and LoveGame as solid and original and fresh Pop hits that shook up the scene and introduced a rare and colourful plumage – an artist that did things differently and provided a definite degree of interest and fascination. I remember when that album arrived and, not a fan of Pop at the time, was drawn to the talk and attention the album was afforded. Irony-filled, huge and dramatic: no surprise the record topped the charts in multiple countries and sold by the bucket-load. Three years is a long time between releases but, from 2008-2011, Gaga was working on new material and bringing styles like Rock and Electro into the mix – making sure she retained her identity but evolved between albums. Sexuality, freedom and religion are all addressed on the record and, from its alluring and biker-chick cover - is a sexier and more defiant work. The step-up in quality and confidence can be heard on songs such as Born This Way and Judas. There was criticism of the album – its brazen use of religious imagery (mixed with sexuality) offended some corners – was washed away by a sea of positivity.

Even those critics outside of the Pop world – NME and a lot of the broadsheets – poured praise on the record and how passionate Gaga is throughout. Every song gets an epic and personal performance full of excess and strength. Each song is nailed and there is so much life and drama. Judas is one of the best songs from the past ten years – regardless of any genre and artists. From four-on-the-floor House to Disco; Funk and Soul; Pop and Electro – so many sounds and genres seamlessly stirred and poured into an incredible album. Themes look at racial equality and feminism; equality and strength in society – not judging people and challenging those who do wrong and are insincere. Not only are albums like The Fame and Born This Way accessible and popular Pop albums – they are a lot deeper and sophisticated than most of what is out there. It is small wonder critics were impressed by the wisdom, depth and potency of the lyrics. I love the music and the performances but it is what Gaga sings about that endures. She is not someone that wants to leave the serious and hard-hitting at the door. Even from her debut; her music has challenged stigma and broken down barriers. It is important providing music that gets into the heart and head but, one of the big reasons her fanbase included a wide range of ages and sorts, is the fact her lyrics were/are brave and compelling.

To people like me – men who are a bit older – there is a lot to take away. Each of her albums has gained enormous success and, at either end of the creative process, there is a lot to take on and do. The work-rate required to record the songs – from someone who puts her all into the music – is enormous. After that; Gaga would promote and tease songs from the record. Interviewing and promotion right unless release date – it is an exhausting and never-ending circus of sound-bites, articles and repeated answers. Behind all the glamour and excitement of the record, one has to remember she is a huge artist whose time and body are demanded by all. There would not have been a lot of time for her to decompress and detach from music at that time. When the albums were released; there was the promoting, still, and tour dates. It is when the recognition and sales come when the pressure mounts. It is rewarding being an inspiration but there is a downside to the allure and acclaim. Those big world tour – she is on one right now – are necessary to ensure people around the world get to see their favourite star up-close and personal. From the U.S., she travels across the continents and to thousands of people. Ferried between towns and locations for the people: what is the true toll on the person in question?!

PHOTO CREDIT: Greg Noire

I did not want to get too involved in the blow-by-blow of each album for a number of reasons. There are those big videos and songs online – and will include a few at the bottom of this piece – and we all know the chart positions and how the albums were received. If one wants to know the themes, producers and complexities of those albums - they can look on Wikipedia and fill their boots. I wanted to talk about the positivities around the music and how affecting her music is. Lady Gaga is the antithesis and remedy of the shallow and vacuous Pop performer. There are so many who flaunt their bodies and are addicted to Instagram and whoring after fame. This is a cancer that needs to be eradicated because it means artists like Lady Gaga are being lumped in with them. To me, her music is maybe second or third down the list of reasons why she is so essential and influential. The girls and young listeners who take her music to heart are not repeating mantras and choruses aimlessly. They are connected with a very real and human personality who reveals a lot about herself. I mentioned how the tours bring pressure but that is only the tip of the iceberg. Every new album campaign and cycle is exhausting and hugely involving. Artists like Gaga give their everything and are dragged around the world. There is not a lot of time to see family or take time to relax. Scrutiny and pressure is on their shoulder.

PHOTO CREDIT: Harper's Bazzar

If one looks a typical interview - there is that demand to be professional and keep everything on-point and not too offensive. People want to know about the music and what goes into it but not a lot about the artist and what they are like away from music. There are few asking how Lady Gaga handles the endless pressure and what she is like away from the glare and excitement of performances. Away from the multi-million-dollar revenue and success of her tours: there is a vulnerable and real woman that people forget about. A U.S. video questioned whether Lady Gaga should reveal herself so explicitly in the documentary. Those seeing clips are wondering whether that brutal honesty and no-holds-barred aspect to her personality will have a negative effect on her fans.

PHOTO CREDIT: Lady Gaga

I do not feel there is any consideration of her fans: the people who love her will watch it and give their hearts and tears to her. She is not looking to exploit her celebrity and get attention from anyone. I implore people to search YouTube and Google for interviews she has conducted over the years. There is rarely a sense of struggle and someone suffering beneath it. Every time she gives an interview there is something memorable to take away. She is such a fascinating personality but, to many, she is a ‘brand’ – not someone who warrants any safeguarding and human connection. So many want to trip her up and ask asinine questions. The reason Gaga: Five Feet Two is causing ruction is because it is the result of a young woman showing people she is as real and relatable as anyone out there. If an ordinary human made this documentary, there would be few objections.

PHOTO CREDIT: Harper's Bazaar

It is upsetting seeing a famous person reveal themselves with such brutality and lack of filter. I am going to be interested seeing how the Netflix documentary is received and how her established fanbase takes to it. Most will applaud her courage for tackling mental ill health and the downsides of fame. We all know about Lady Gaga’s anxiety and the fact she has wrestled loneliness and demons for many years. This is not a new occurrence but has exacerbated since she came into music. The more successful she gets; the worse her depression and anxiety become. I know many people who feel a personal connection to Gaga because she represents a struggle many of her fans go through. Seeing a star articulate the issues and problems many keep closeted: that provide so much heart and comfort to them. If musicians shut themselves away and maintain a smiley and one-dimensional façade – this is going to give false impressions to the people who love them. Recent suicides – Chris Cornell and Chester Bennington – have shown how musicians, we feel are okay and successful, take their own life. How culpable are we, as fans, for the downfall and emotional torment some of our most beloved musicians face?! One cannot exculpable themselves but, naturally, the problem is more complex than a simple accusation. As a social media obsessed generation; we are becoming less connected with humans and a lot more demanding. Lady Gaga is a champion for mental health and wants betterment and restructure. She knows the profound and prolific problems people like her face and the need for conversation.

PHOTO CREDIT: Harper's Bazzar

Many of us see the glamorous, gorgeous and successful young woman fill stadiums and see her albums go to number-one. The snippets from her 22nd September-due documentary highlight one clear-cut fact: Lady Gaga feels very alone. She has millions of adoring fans but, when she goes home at the end of the day, she feels alone. Maybe love and realistic relationships are impossible given her position and the fact her every move is scrutinised means she cannot really enjoy the benefits of a conventional and substantial relationship. Maybe there is physical gratification but she is not someone going out and spending the night with random men. She wants a long-lasting and true relationship. Not only to make her life feel complete but relinquish a lot of the burden she has on her shoulders.

The endless glare of the paparazzi – the same she was documenting on her debut album – will not let her be and, as we have seen, judge her when she is open to the public. I laid out the sales figures and the commercial success of Joanne because it shows the numerical value of her success – without addressing the personal costs. Those numbers and are black-and-white and seem, in the media’s eyes, to define an artist. Gaga has earned her places as a revered and special human because she offers help and support to so many – supporting the L.G.B.T.Q. community and making anxiety and loneliness more visible. The reason Gaga: Five Feet Two is so important is because it lifts a lid on the realities of modern music and how we treat artists – never considering how they feel and how fame affects them.

IN THIS PHOTO: Lady Gaga speaking at a vigil for the victims of the shooting in Orlando on the steps of City Hall

Gaga is someone who is like you and me – albeit, blessed with incredible talent and passion for what she does. It doesn’t matter how much money she makes and how her tours do. That is a reaction to her popularity but that, in turn, is the catalyst for a sense of expectation and isolation. If the likes of Chris Cornell had been given the chance to reveal their depression and fears in a documentary – would his life ended as soon and heartbreakingly as it did?! That is for debate but I think it is brave and much-needed having an artist as big and known as Lady Gaga (literally) showing her bruises and scars to the camera. We get so absorbed with social media and how meaningless it can be. Even typing this, I am being grated like cheese - given the fact so many people post so much crap. From endless videos and pointless sharing: there is nothing social and real about it. That makes isolation less visible and meaningful – compared to ridiculous videos and status updates. Lady Gaga’s existence is based on streaming figures, dollars and fans – she is rarely afforded the chance to tell her story and ask for time off. Her documentary is not a cry for help or a cheap publicity stunt. It is an ego-free and uncompressing examination of a complex human who, despite her wealth and tremendous backing, does not feel as supported, loved and enriched as she would hope. In 2017 – when there is still a stigma around anxiety – we need more revealing documentaries to make one aware of the extent and reality of mental illness and the simple devastation of loneliness.

PHOTO CREDIT: Beats 1 Radio

One cannot objectify and question Lady Gaga’s aims or feel it is too revealing. We show films with all manner of sex, violence and profanity but when it comes to real and more common incorporations – menstrual blood, the realities of council estates and struggles in communities – that is overlooked. It is not ‘cool’ or what the media want us to see. Yes, anxiety is not fashionable but, then again, how much irony would there be if a star like Gaga succumbed to her loneliness and that was spread in the media. There would be a combination of gaudy voyeurism and trolling – mixed with genuine heartbreak and questions. People would ask why this happened and whether we could do more. This, as I said, is not her cry for help or giving up: a portrayal and expose of a person who is very different to the brash and confident artists commanding stages around the world. The media is so obsessed crunching numbers and spreading rumours. They are relatively uninterested in personal struggles as that, they see, is not part of their job and appeal – feeling they have fame and success so what do they have to be upset about?! Breaking these arguments down – and opening minds to physiological issues becoming rifer in music – is a big and positive step towards better mediation and awareness. Lady Gaga, in her music and humanity, has given so much to the people. She is, as the documentary states, a mere five-foot-two but, in heart and courage, is a giant of a person. Gaga: Five Feet Two will spark debate so let’s hope it is more positive than negative. Despite her loneliness, pains and struggle: Lady Gaga is certainly a hell of a lot…

TALLER than most.

TRACK REVIEW: Party Fears - Sun King

TRACK REVIEW:

 

Party Fears

IMAGE CREDIT: @etags_desig

 Sun King

 

9.3/10

Sun King is available at:

https://soundcloud.com/igotpartyfears/sun-king

GENRES:

Indie; Pop; Punk

ORIGIN:

Berlin, Germany

RELEASE DATE:

27th February, 2017

Performed by Maggie Devlin, Alberto Alba; Mike McGrath, Tyler Ryan; Rhiannon Shepherd and Brad Wheeler

Produced by Brad Wheeler, Robert Kelly and Maggie Devlin

Engineered by Brad Wheeler at Union Studios, Seoul

Mastered by Richard Bradley at Long Range Mastering, St John’s, Newfoundland

Mixed by Robert Kelly at Union Studios, Seoul

Cover photo by Rah Petherbridge Photography

Design by Adam Brennan

The album, Party Fears, is available at:

https://igotpartyfears.bandcamp.com/album/party-fears

_______

THERE are a lot of things to cover in the review…

but, to start, a couple of points that need addressing. I will speak about artists that move location; Berlin and why it is becoming popular; Pop bands and different sounds there; feminism and using music as a useful platform – a bit about variety and mixture of bands (in terms of nationality and tastes). I want to start with social media and organisation as, again, it is something I am forced to bring up. Party Fears are a great band but, looking at my diary for the next few weeks; there is a notable and evident problem that I see: artists not really covering social media and organising their links into one. It is something I often bring up but, for artists, I think is quite useful. One of the most important things I must stress for artists is how disrupting and inconvenient it can be having to scrabble around for social media links. I know Party Fears have lots of sites but, if you are going to discover them all, one must not have to hunt for them. I have had to go to their Facebook and then do a Google search for the remaining sites. They do not have, as far as I can see, an official website, so it is incumbent on them to put all the relevant links on Facebook – or SoundCloud, if that is easier. In any case; they need to make it easier for people like me to see where they are and where I can discover their music. If one has to work hard to put the piece together: that means a certain annoyance will come in and it means I go elsewhere. I have a lot of positives to cover but, in an age where competition is fierce, it is things like this that can see an artist slip behind the pack.

The artists that impress me most are those who have a rich and well-stocked social media portfolio. They might have an official website but, in any case, ensure there are loads of good photos and information on Facebook. For Party Fears; the music is terrific but there is little known about the guys. Unless you track down management/P.R. companies – how it one likely to get the necessary background about them?! I know they all emanate from various areas but, when it comes to their histories and favourite sounds – there is nothing to suggest what they would be and anything to do with that. Photos are numerous but, in terms of quality and variation, it is quite tricky. The photos I have used are the best I could find but it would be beneficial for the band to get some professional shots done and get a lot of current, good images shot – the ones they have, the good ones, are older, in any case. That would give people like me more to work with in a review and provide a visual representation of them. All those social media links and music-sharing websites need to be central and easy to access. If they balance this with a full biography and links to interviews – this would afford them a fuller cupboard and be much more attractive to reviewers/journalists. It sounds like I am having a go but there are so many promising artists that are failing to require something as elementary and easy as this. The next few reviews I have are pretty light in terms of visuals and information. The thrill of finding an artist that has loads of images and great background information is rare. I wonder whether musicians are relying too heavily on music and forgetting how influential social media is. Speaking with Party Fears’ drummer, Eilis, it seems like there is a lot of excitement in the camp. That is pleasing so, with the group becoming more determined, they will need to get their online sites fuller and more information-led. Their music is fantastic but, to stand ahead of the competition, getting these areas addressed is crucial – as soon as possible, really.

I said there were positives so, after a bit of a telling-off; moving on to them. Looking at Party Fears and where their members hail from – there are so many different nations in the camp. I will come to look at that more, soon, but, given the fact they are based in Berlin, it means they are in a wonderful city for music. That wasn’t always the case and, rather oddly, they were based in Seoul. If one looks at South Korea; you will not find a lot of bands like Party Fears. Maybe there are but, doing a quick search, it seems Pop rules the roost. Girls’ Generation are the biggest Pop force in the country. The nine-piece are a sensation there and command huge audiences at their gigs. Bands like BIGBANG and Wonder Girls have gone down in the country’s history and made a huge impression on the music scene. It seems K-Pop and mixing Western Pop with Eastern imagery/culture seems to be a popular currency. I can understand why a band would move to Seoul but, in terms of opportunities, it really depends on the kind of sounds you are producing. For Party Fears; they have a Pop aesthetic but it is less commercial and twee than a lot of Korean artists. They have an importance and socially-aware palette that needs a more aware and multi-cultural audience. It is pleasing to picture Party Fears in the city, playing to the people. I have never been to Seoul so I am not too sure how varied and deep the music scene is. I get views of Pop and something quite sugary but, in actuality, there are quite a few genres represented there. The biggest move was when they all convened to Berlin and settled in the German capital. That is a radical and unexpected shift. The mindset to go from Asia to Europe is quite dramatic. It is important to keep moving and go where you feel most comfortable because, I feel, too many of us get stuck in a rut and remain somewhere we are unhappy. The band, knowing Berlin is a more stable and opportunistic base, upped sticks and are settled in a wonderful city.

I see a lot of artists who move cities but, largely, this is in the same country. There are a few that move across the seas but few are quite as itinerant and bold. If I were to depart the U.K., I would either go to L.A. or Melbourne. The former has that wonderful music scene and is a perfect slice of the U.S. West Coast. There is so much for a musician/music-lover to discover there and is a very attractive possibility. Melbourne has a full and variegated music scene and, like L.A., boasts warm weather, wonderful sites and a great way of life. I could, down the line, see myself going there and spending a few years in either area. The U.K. is great but it is important to keep moving and experiencing different parts of the world. That is the only way one can become fuller and a more rounded human. Party Fears’ lineup mixes nationalities so they needed to go somewhere that has like-minded internationalism and blend. Berlin seems the perfect place for them to push their music and learn. There is evidence to suggest the band have a bright future so Berlin, with all its venues and fellow bands, is a lot more promising than somewhere like Seoul. I have spoken about the city before and am always struck why people move there. It is not a bad place – one of the best cities on Earth – but I never really considered all its merits and sides before. I guess, in music terms, there is a growing scene and so much diversity. It is appreciable and understandable Party Fears decided to make their home here as the city is bursting, vibrant and safe. Moving and relocating can be unsettling but, when you get it right, it makes a huge difference. I hope Party Fears have found their home and are very settled in Berlin. There is a big community in Berlin and they are in the perfect place to build their music and get it to the people.

There is something about Berlin that is luring a lot of artists in. The last artist I interview – that moved to Berlin – decamped from London and now feels he is in a better place. There is less stress and it is a more affordable way of life. Maybe the music scene is not quite as impressive and varied in Berlin but there is something about the politics and buzz of the city that pulls you in. More democratic and secure; the people a little less harried and pushy – this can make a huge difference to the mindset. If you are in a place you feel secure and relaxed; this has a profound effect on the music and the creative outlook. Party Fears, with their eponymous album, seem to take from their past and present but it feels like an album about where they are now and hope to head. I mean, there is not going to be a geographical shift but, given they are in Berlin; I feel they will exploit the city and make good use of all the venues they have around them. I will not go too much into Berlin – as I have covered the venues and artists in previous reviews – but I feel the way of life and people there are as appealing as the music coming out of the city. The average Berliner, compared to a Londoner, would be, I guess, more polite and a little less physical. London is the best city for music, in my mind, but, because of that, it is more compact and busy than any other. That stressed nature means many people are finding living quite stressful. Many are leaving the city and going somewhere else. The band started when Northern Irish native Maggie Devlin moved from Seoul and, with her, brought Australian Eilis Frawley with her. I know the guys have a mixed and fascinating line-up in the band but it is those ‘central’ duo that inspires me. They have conducted interviews speaking about Berlin and their transition. Seoul, it seems, is still in their blood and a bigger factor on their music than Berlin.

IMAGE CREDIT: @natalisucks

It appears there were some great bands in South Korea they jammed with. The way of life there is vastly different to where they are now. I stated how peaceful, compared to London, Berlin is but, perhaps, there is still a lot of stress and issues in the Germany city. It is a cosmopolitan area so, as such, you will get a lot of rush. I feel, long-term, Berlin will be a better fit because it brings to mind another band. ZAP!/Zap! (depending on how angry you are) is a trio that brings together Australian and Greek roots. Its lead currently stars in the Trivago adverts and the band provides a sound quirky and fascinating. You will have to check them out but they moved from Australia and are based in Berlin. It seems they are more at-home here and bonded to the people. I will have to go to Berlin but there are a lot of aspects that are drawing people like bees to pollen. The fact Germany’s leader, Angela Merkel, seems to represent the people and is a strong figure – compared to our P.M. and the U.S. President – means the nation is in safe hands. Because of that; the economy is safer and Germany is keen to be an integral part of Europe – compared with the British, it seems! There is history and culture in Berlin; a lot of mixed nationalities and some of the best music in the entire world. One cannot underestimate the importance of stability and politics in terms of music. Going somewhere that is stable and ‘of the people’ is a great comfort. I feel that is why so many are leaving areas like London and coming to Berlin. It is a city that offers the same level of excitement and opportunity but there is far less uncertainty and division. Party Fears, they say, feel more connected to Seoul at the moment but that will change as they become more immersed in Berlin.

Party Fears are a Pop/Indie/Alternative band but their sound manages to mix so many different possibilities and cultures. They take a slight fleck of the Rock and Pop bands from Seoul and sprinkle that with the current flavours of Berlin. Having Irish and Australian members in their band; they take from the music scenes of each country and mix that all into the boiling pot. The genre of ‘Pop’ seems a very diverse one and it gets a bad reputation. We associate it with a certain commercialism and mainstream lust. That would be unfair because there is a lot of Pop music that has credibility. Party Fears melt Pop and Rock together and produce something different and credible. The band is not the sort that is going to be looking towards the charts but they want to connect with as many people as possible. Some genres are quite rigid and defined but there is a lot of flexibility with Pop. It is hard to compare Party Fears with anyone in sheer terms of sounds – they are an original group and not keen to be lumped with anyone else. I guess the best way to assess them is the fact they have actually taken some influence from K-Pop and the great bands of Seoul and are integrating that with all the sounds they are discovering in Berlin. If one listens to a station like BBC Radio 6 Music – I know I seem to mention them in every review! – you will find a lot of Indie/Pop bands that are original but bring elements of other artists into their sound. Party Fears have a definite grit and energy to them but their chorus and vocals have an accessibility and sweetness that perfectly balances the harder aspects. It is hard to define and explain but I feel Pop is widening and changing perceptions right now. Modern mainstream artists like Lorde show you can play a mixture of Indie and Pop but not fall victim to the worst traits of the mainstream – the manufactured and plastic sounds that aim for Spotify figures rather than credibility.

Feminism and consciousness are important aspects of Party Fears’ music. The band uses their music to write about important themes and tackle sides of society many do not. They are a feminist band and, the fact Maggie Devlin is their central lead, means you have a strong female voice at the forefront. I know their eponymous debut has been getting a lot of great reviews: many highlighting how deep their music goes but the fact the band is original and striking. They have Punk elements and fuse that with Pop/Indie to create music both rousing and colourful.  Few can deny how promising Party Fears are because they manage to step away from the mainstream followers and create their own brand of music. Listening to songs like Sun King and one dives into the lyrics but is stunned by the complexities and simplicities of the music. They have that Pop core but incorporate the grit of Punk and something hard to pin down. There is a chemistry and connection in the rank that adds a little something special to the music. I have mentioned the mix of simple and complex: that is not something to overlook. Many artists, I find, lack the ability to make their music easy to understand and accessible – whilst performing songs that have various layers and nuance. Party Fears are relatable and I can see their music becoming very popular on radio stations around Britain. It is hard to ignore them and not fall for their incredible songs. I have rambled about Pop but that is the magic of it. It is a genre that gets a bad rap in this day but is a lot more interesting than many give it credit for. I listen to Party Fears and know Punk is as important to them. I am not sure which artists they grew up listening to but one imagines there is a blend of the 1970s and present. They have a fondness for big choruses and getting their words into the brain.

I will end this introduction by looking at Party Fears and what makes them unique. It is hard, when collating pictures and information, knowing where the band starts and ends. Devlin and Frawley are the centre of the group but there are other players in the mix. Maybe some of the photos in this piece are outdated – having changed since their Seoul days – but I have to go on what I find online. I know the Australian-Irish alliance is the main drive but, considering the whole sound of Party Fears and we get a variety of players and sounds. In any case, returning to my main point, it is that mix of Irish and Australian that intrigues me. Many bands take their members from different nations but one of the reasons that make Party Fears fascinating and strong is the fact they source from different nations. I know there is a great music scene in Northern Ireland but not as many opportunities as one would hope. I can understand why Devlin would move there and go somewhere a little busier and more spirited. Frawley, emanating from Adelaide, has had to say goodbye to all the surf, wine and women. Well, as the drummer himself said in a recent interview: the city has its share of murderers, churches and wine – one wonders whether they are all linked or need to separate themselves from one another! I have always wanted to go to Australia but know, again, it depends on where you go in order to gain success. There are few cities as promising as Melbourne and Sydney. Adelaide has some great music and Brisbane is a definite hot-spot. I guess, when you are looking ahead, you need to think about security and success. If the guys remained where they were – or stayed in Seoul – would they be able to progress their music?! It is debatable but it is what they have taken from their nations/past that makes them the force they are now. Not only do they take from their home-nations and backgrounds but have taken ingredients from Seoul. Stir this into the brew that is Berlin and you have a band that differs from everything else out there.

The initial seconds of Sun King see twee notes mingle with spectacle and spirit. There is a blend of 1980s and 1990s Pop-Rock – some Art-Pop and Indie of today thrown in. Devlin’s unique voice comes in and provides plenty of character and body to the song. It seems the song’s subject needs to tell their story and come among the people. Whoever this person is; the heroine lets her breathy and sweet voice implore and supplicate. Maybe it is a political figure – or subject known to the band – but, right away, you see visions of this person come to mind. The figure looks taller “from the undergrowth” and it doesn’t matter what they are doing now. The words intrigue and spring from the microphone. In Devin; they have a singer that puts so much personality, character and quirk into the vocal. You get her natural accent but, considering the song/album would have been conceived whilst in Seoul – how much of the city’s music go into Sun King. There is a charm and spirit one might find in K-Pop – without it being bubblegum and too mainstream. The music of Party Fears brings together so much distinction and eclecticism so it is hard to label it alongside anyone else. Their feminist aesthetic makes me think, perhaps, there is a mixture of cynicism and gender-switch in the song. Maybe the ‘king’ figure is a man and not as wise as he should be; perhaps a female and someone who has a lot of rare insight to offer. Perhaps I am jumping to conclusions but I cannot help applying some interpretation to their feminism. The central figure has a lot to offer – it seems the band/hero/heroine knows very little – so there is that need to drink in this wisdom and instruction. Whilst I pick the words apart; there is twanging and luscious bass that sits with colourful and expressive electronics. That pairing of Art-Rock – the type Talking Heads purveyed in the 1980s – and 1990s’ finest Pop-Rock makes it a heady brew.

The more one gets into the song; the more interesting and deep things get. From the opening skip and rush comes a composed and delicate segment that, I think, sees Devlin talks about the hero having nothing to say – some of the decipherability gets lost given the sweetness and preciseness of the performance. It is a beguiling and unexpected parable that takes the energy down and takes the song into a new phase. It is a twist that one does not see coming and takes you by surprise. Devlin’s voice is at its purest and conveys immense passion and entrance. I wonder what the new segment represents and whether it is a darker turn in the story. The opening looked at taking lessons and learning but, now, there is a feeling of emptiness and disillusionment – maybe they are not as sage and learned as one hoped. The drums kick up and a there is a funkiness to the song, now. The head is empty and the eyes are wide: it seems the hero is not as regal and reliable as he presents himself. Against this attack; we get squelchy electronic and keys with random notes and angles. It is a fascinating and full composition that puts so much together. Devlin’s songwriting chops are assured but, here, they seem to hit their peak. I listen to the song and feel it is addressing political figures, men, who are leading people to dark places. Maybe it is a look at prominent men and how much power they wield. Just because they are in positions of authority; does this mean they have all the answers? They are “too far blind” and gone to realise they are dead/lost. Ominous backing vocals accompany funeral organs and the song, mixing in precise and pulsing beats, gives the track such allure and variation. Aching and strummed electronic guitar with a single vocal – “You say nothing” – keeps the song fertile, agile and unexpected. Sun King goes through so many different phases it is hard to nail it into place. That is good because it provides a physicality and evolution that few bands provide. The song’s subject is being taken down and questioned. Everyone will have their own perspective but I think there is a judgement levied at high-powered men and the way they operate. Maybe more personal aspects are being presented but that is the joy of the song – and how it will strike people in different ways. By the end, the band keeps the sonic mobility strong and fascinates the senses. Sun King is a fantastic song brilliant and compelling song that shows how strong and promising Party Fears is.

PHOTO CREDIT: @natalisucks

I will end this now but, before closing things, want to look ahead and see where Party Fears are heading. Their name suggests anxiety in the face of social integration – the outsiders that stand against the wall and prefer to clock off early. They are not the kind of people you’d find assimilating into the mainstream and compromising their ideals. Maybe I am over-reading things but they seem like a group that is determined to make a big difference and doing what everyone else is doing is not the way to do things. The band are in Britain at the moment so seems like the perfect day to review them. Recently, they have played Belfast and, I think, rocked Scotland yesterday. Tomorrow, they play alongside The Last Days of Elvis in Leeds’ Wharf Chambers and will see them play the third country in a week. It must be exhausting for the band but shows they have a lot of love and backing behind them. Few groups manage to command that kind of attention and popularity so soon. After Leeds; they play LOUD WOMEN Fest 2017 on 3rd September. Devlin was excited returning to Belfast and, it seems, that importance was not lost – connecting with her home crowd and proving what she has taken from the country. The band plays Scotland tonight, it seems, so, when they have a chance to breathe – they’ll be preparing their set for LOUD WOMEN Fest 2017. Given the fact Party Fears project a strong feminist message: playing an event like that is really crucial for them. There are not as many feminist/women’s festivals as there should be – more are coming through – so there are not many opportunities like this for the band. I know they are buzzing about the chance and are playing alongside various acts on the bill. You will have to go to Party Fears’ Facebook page – link at the bottom of the review – to catch up on all their exploits and gigs.

I started by roundly admonishing them for not having their social media in order. To be fair to them, they keep people updated on their gigs and developments but they should have an official website together. That would allow them to pop all their links/social media bits together and a portal for all their videos and songs. Maybe there is one out there but it is has been difficult collating all the necessary information. I would not usually expend this much energy debating this point but it is down to the fact Party Fears have that promise and strength I mention it. They are playing around the world and have a huge British following. People here will want to know more about them and where they are heading. Social media is the most effective way of doing this so, let’s hope, the guys do a bit of housekeeping and get some more current photos done – a good shoot that means journalists like me have some good images to pop in a review. The band has a lot of photos on their Facebook but I wonder how many are current and relevant – hence the reason the thumbnail is their cover photo (and does not provide the faces of the band members). Their line-up has changed – and they have worked with various personnel – so I am not sure exactly who plays with them in the studio and on the road. In any case; I am seeing their music develop and get stronger with each release. When Party Fears head back to Berlin in a few days; they will take a lot back in their luggage. The experiences from the road will impact their future music and they would have taken inspiration from the people they have met the last few day – and what they have in-store for the coming day. I didn’t have the chance to review the entire album – not able to expend adequate time and energy to feature all songs – so chose Sun King as a representative of the L.P.’s themes and strengths.

It is a stunning song and centrepiece of the record. I recommend people seek Party Fears out in full and discover what all the chatter is about. I have seen few bands as compelling and varied as them. Not only do they have that international membership but have lived quite a life. They are in the U.K. now but head back to Berlin. They have come from Seoul and met a lot of great acts when they were there. Who knows how inspiring and important that time was but it seems to have fed into their ethos and music. Berlin is their new home and it seems like, when they get to grips with the city, it will drive them and lead to some more wonderful music. The eponymous album is a good coming-together of where they have come from and where they are now. There is a great spirit in the band and they are enjoying getting their music out to the people. That thrill of being on the road is not lost and they seem to be enjoying travelling to new places – even if the accommodation does vary in terms of quality (the life of a band, eh?!). A few important gigs approaching so; if you can see the band play, get yourself down and witness something special. I will end this now but feel Party Fears are one of those acts that can be a mainstream force in time. They are making themselves visible and ensuring their music is different from anything else around. Party Fears is a tremendous album and, together with feminist messages and incredible songwriting, mixes Punk, Indie and Pop into a heady brew. Such is the force and nuance of the album; you find yourself revisiting it and discovering little nooks that were not there before. This quality and standard of songwriting is what will see them progress to the mainstream and add their own unique D.N.A. in. I feel there are few Pop bands that manage to convey anything meaningful and interesting. Party Fears are a necessary and inspiring band that we need to hear more from. Best of luck to them and I hope they have a lot of fun on the road. If you can get out and see Party Fears; you will witness an incredible and memorable show from…

ONE of our finest new bands.

_______

Follow Party Fears

  Twitter:

https://twitter.com/igotpartyfears

Facebook:

https://www.facebook.com/igotpartyfears/

Instagram:

http://www.thepicta.com/user/igotpartyfears/2314940536

YouTube:

https://www.youtube.com/channel/UCE-bxPdwMITgOgH7ZfEobFg

SoundCloud:

https://soundcloud.com/igotpartyfears

 BandCamp:

https://igotpartyfears.bandcamp.com/

INTERVIEW: Andi

INTERVIEW:

 Andi

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CANADIAN artist Andi talks to me about her…

life in the country and how she evolved into the artist she is today. Half Home is her latest single and being met with acclaim and huge love. She has, in the past, crashed in her car between gigs: now, she is part of a large group of musicians that offer the support and incredible confidence!

I find out how her early life, and keen mind, led to the rich sound we hear in her music.

Her debut E.P., Sketches, was released last year and, since then, she has been busy – more tour dates are coming up.

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

It’s been crazy-busy!

I’ve been on tour playing a show every day this week; so, sitting down to chat with you is, pretty much, my first resting moment…

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

I’m a singer/songwriter/producer who creates progressive Pop music. I draw inspiration from many genres - from RnB to Electronic to Noise-Rock.

Half Home is your latest single. It deals with transition and youth. It has quite personal relevance. Was it natural penning the song or was it quite difficult looking back?

I actually wrote that song in my uncle’s apartment with an old electric guitar.

The song was a natural write: I wrote it all in one sitting. It wasn’t difficult to pen. The song helped me make peace with the uncertainty and self-doubt that comes with my line of work/my age in this business.

At the time – which you allude to in the song – you were crashing in your car between gigs and living a rather modest life. Was it quite a struggle or do you think it helped shape who you are? What is touring life like now?!

I never felt it was too much of a struggle because, at the end of the day, I was living my truth and making my passion my career.

It definitely helped shaped who I am - taught me to be resilient and resourceful.

Touring life is great because, now, I’m surrounded by an incredibly wonderful and inspiring band that supports each other. There’s nine of us all together - and living with them is such an enriching experience.

PHOTO CREDIT: Francesca Ludikar

Half Home is the first song since releasing the E.P., Sketches, last year. Is there any more music in-the-works?

There is a full-length debut album well on the way!

Keep an eye out in 2018…

Sketches landed in the top-four of the national CBC Searchlight competition. How did that make you feel (receiving that honour)?

I was very grateful and It’s opened a lot of doors for me...

At that point in my career, it was perfect timing to showcase my first single, Caffeine (ft. JonoJosh).

How involved are you in the complete cycle of a song? Do you involve yourself in the production side, too?

I write the melody, lyrics, and most chord progressions...

Production-wise; I am absolutely in the driver's-seat. I start the production of every song and then flesh out the tune with my other producer and band member, Paul Barton.

With the new album, I’m just starting to involve more players with writing opportunities - it is a new and organic process for the project and the involvement of others varies depending on the song.

I notice a lot of styles and sounds in your music. Which artists and albums did you grow up listening to?

I spent a lot of time with Jazz when I was younger. I started studying Chet Baker, Ella Fitzgerald; John Coltrane, Billie Holiday, etc.

I listen to every genre, now.

Canada is your home. What is the music scene like where you are and do you think it differs massively from the U.S.?

I am proud to be a Canadian artist.

So far, I’ve found the scene to be diverse and supportive: there’s a real sense of inclusivity and opportunity for all genres and type of sound.

I can’t say I have a strong stance on the U.S. scene since (the scenes) vary strongly - depending on the state.

However, right now, there is more freedom for artists of all backgrounds/ways of life to express themselves in Canada.

You have just completed a string of Ontario gigs to promote Half Home. What was that experience like?

It has taught me a lot about leadership, community and performance. It’s also brought the live show to a new level.

I’m so grateful to have had the experience.

You brought the live band on the road with you. How important is it playing with the guys and how did you meet them all?

It’s very important, to me, playing with these members – because, the personal style of each musician is becoming an integral part of the sound-palette for my project.

I, now, design music with them in mind - and their ideas and personalities shine through in the arrangement.

Also; singing and integrating choreography with three backup-singers for the tour has been a dream-come-true. I met them all through connections via Humber College in Toronto (where I did one year of school).

Any more dates in the diary? Can we see you in the U.K. anytime soon, perhaps?!

We’ll be back performing in Toronto regularly starting with Indie Week in November.

If all goes well; I hope to bring my next album to the U.K...

Who are new acts you recommend we check out?

My last Toronto gig was with my good friends and killer project, Babygirl.

Also...check out the feature on my last E.P., JonoJosh.

Both bands are definitely worth a listen.

IN THIS PHOTO: Babygirl/PHOTO CREDIT: Josie Fiegehen

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

Actor by St. Vincent; Choose Your Weapon by Hiatus Kaiyote and The Golden Echo by Kimbra.

The first is an album whose lyrical style/subject matter relates to me very closely on a personal level.

The second inspires me rhythmically and reminds me of my musical roots/the future soundscape of Soul music.

The third album, to me, is a great representation of progressive and alternative sound in Pop - this production and D.I.Y. method of the artist really excites me.

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

Surround yourself with a good support system: be open to criticism from those who you respect.

Learn to fight the fear that comes with creating art. Always be humble - while never underestimating the value of your time.

Never stop working hard.

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’ve been jamming super-hard to Laura Mvula’s Phenomenal Woman

That song has been giving me the strength I needed this summer...so play up!

________

Follow Andi

Official:

http://andimusic.com/

Facebook:

https://www.facebook.com/officialandimusic/

Instagram:

https://www.instagram.com/andi.music/

Twitter:

https://twitter.com/andisounds

SoundCloud:

https://soundcloud.com/andimusic-591512475

INTERVIEW: Iskwé

INTERVIEW:

 Iskwé

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WHEN discovering out who Iskwé is and what makes her tick…

it is like discovering a new way of life! The stunning musician addresses the hardships of the North American Indigenous community – those who flippantly fail to legislate against the draining of the waterways and desecration of the land – and the politicians who put people second. Her new single, Soldier, is deep-cut, bottom-heavy in its intensity. It has beauty and depth but is one of those songs that seem to represent generations yet to come – a cautious warning and statement of intent.

I ask Iskwé about her album, The Fight Within, and what provokes music inside her. She discusses pairing genres like Hip-Hop and Soul; how certain sectors of Canadian life (where she is from) are overlooked and endangered; the inspirations inside her music and where she will be performing in the coming months.

_________

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

Hey, Sam!

I’m wonderful and had a great weekend - thanks for asking!

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

Tansi, waseskwan iskwew nitisin~ihka'son (Hello, my name is Iskwé).

I am a recording artist from Treaty One Territory, Canada and work, mostly, in Electronic-ish music! I released my first album back in October 2013 and am excited to release my second album this coming October!

I have always gravitated towards darker, deep-cut; bottom-heavy sounds that’s (just) what resonates with my creativity I am hugely influenced by that fundamental darkness that came alive in bands like Massive Attack and Portishead - as part of the Bristol sound - but I also love strong, bold women like Björk and Erykah Badu.

I speak up on issues impacting my culture and community (I am a mix of Cree (Indigenous of Canada) and Irish) and am passionate about the necessity of such conversations being had - in order to move forward collectively from the past.

Soldier is your latest single. What can you tell everyone about its themes and inspiration?

It's impossible to know what shape our planet will be in several generations down the road. What I do know is that we need to do better...Soldier is for all the protectors of our land, our water - and our future generations.

I created and edited a lyric video for this song: compiling footage of the natural world; including forests, fields; water and sky. There are, also, clips of humanity's interaction with the land - including traditionally dressed First Nations people; a fisherman and Queen Elizabeth's face on a crisp, $20 bill.

Many subtleties and some in-your-face imagery - all meant to raise awareness to how we are treating this planet and, in turn, treating our future generations.

It is taken from the upcoming album, The Fight Within. Can you reveal any of the songs/ideas that will be expressed on the record?

A major theme I’ve been addressing over the past few years is that of Canada’s Missing and Murdered Indigenous Women. We are at an all-time high - with thousands of unsolved cases of death and disappearances in this country impacting our women more than any other demographic. We make up one of the smallest populations yet have the largest number of unsolved deaths and disappearances - it’s an epidemic that is taking place, presently. 

My goal is to raise awareness on an issue that’s taking place here at home – far too often we think the rest of the world holds the problems facing humanity...but this isn’t true.

We need to look in the mirror first and ask what it is we do every day to make this a better place to be for EVERYONE - not just ourselves.

It seems our natural resources – human and otherwise – are paramount in your consciousness. Do you think our planet is in a lot of danger right now? Should we all be more aware of what is happening around us?

Yes, I think we’re in trouble...

I think our egos are where that trouble begins and, until we can collectively learn to put our future generations as a top priority, we will continue to take and deteriorate from one another (including the land and water).

What provokes a song, in your view? Do you sit down and plan a song or does it come together in unexpected moments?

It really depends on the song! 

Some have seemed to fall out of the sky and end up a full-production within moments - whereas others can take months to build on from either a simple lyric or melodic idea. I’ve found the only consistent factor is that I have no set way of writing!

Hamilton, Ontario (Canada) is your home. What is the music scene like there?

I’m still pretty new to Hamilton. 

I’ve been living here for a year but have been touring quite heavily this past year- so haven’t been home much. From what I hear, this place has a massive scene…I’m still peaking around for the way in.

Listening to your music; I notice elements of Hip-Hop with R&B/Soul. It matches light and dark. Can you tell me what kind of music you listen to - when not creating your own?

I actually listen to a lot of Classical music...

I LOVE string instruments like the cello and violin and, actually, write a lot of my songs based around these two instruments.

I also love those bass-y, bottom-heavy sounds in down-tempo, Trip-Hop; Electronic-like music - those ones are perfect for moody vibes!

Can you remember when music first arrived in your life? Were you exposed to music at a young age?

I was!

Music and art were always encouraged in my home growing up. When I was a kid, I sang for the city choir - in school musicals, etc. It wasn’t until I was a teenager that I veered away from music and found other creative outlets – I focused on dance and visual art during this period; finding my way back to music in my early-20s.

There are a lot of Canadian tour dates approaching. Any particular dates you’re excited about? Can we see you in the U.K. anytime soon, perhaps?

I’ve actually toured the U.K. a few times now and would love to come back! 

I believe we are looking to return in the summer/fall of 2018 - so I’m going to cross all my fingers and toes; it’s one of my favourite places to tour!

As for the Canadian dates; I’m super-excited (to be holding) my official album release party in my hometown of Winnipeg, Manitoba!

This means a lot to me, to be around my family and friends, as my first album release took place in Toronto.

How important is live performance and conveying your music directly? Is it strange transitioning between studio and the stage?

I love performing: it’s the best part of my job! 

I mentioned I had been a dancer back in the day so I’m finding now, more and more, that performance has become this all-inclusive way to express my art in a final form. I find it far more free and liberating than I do in the studio - it’s as the studio recordings are the template I use to share my thoughts and ideas.

Performance is where people can come to experience the full thought-process.

IN THIS PHOTO: Once a Tree

Who are new acts you recommend we check out?

I think you should check out Once a Tree - another Canadian downtempo act; consisting of married duo, Hayden and Jayli Wolf. 

Jayli is also a strong, Indigenous female who writes strong, beautiful songs!

And, of course; if you haven’t yet heard of Tanya Tagaq – check her out (you won’t be sorry!).

IN THIS PHOTO: Tanya Tagaq

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

Portishead: Dummy

This record is, probably, the most influential on me as an artist, overall. My mind was blown the first time I heard this - with the full strings, bassy undertones; floaty vocals…I loved everything about it! I also found their story inspiring - in how they came together and avoided press; to how nervous Beth Gibbons would get before performing.

Björk: Vespertine Live

This album took so many of my favourite songs - and paired them with a live orchestra. Heaven!

Erykah Badu – New Amerykah Part One (4th World War)

The political tone on this record, and the strong, strong woman that is Erykah Badu, gave me strength and encouragement to follow in a similar footpath.

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

Make sure to learn the voice of your intuition and inner-guide - so that you follow your own lead.

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).

Once a Tree – Howling

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Follow Iskwé

 Facebook:

https://www.facebook.com/iskweMUSIC/

Instagram:

https://www.instagram.com/iskwe/

Twitter:

https://twitter.com/iskwe

SoundCloud:

https://soundcloud.com/iskwe

YouTube:

https://www.youtube.com/channel/UCHXQ2U-lXZuid9CD7zJnVjQ

INTERVIEW: SuperGlu

INTERVIEW:

PHOTO CREDIT: Pete Hewitt 

SuperGlu

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MANNINGTREE seems rather remote and, well…

it actually is. Finding a band from that part of the world would seem unlikely. Luckily, SuperGlu adds a bit of spark to the near-deserted Suffolk town - and have released the video for their awesome track, Welcome Home. The guys released their E.P., Horse, last year and are building their profile with every new release.

Their bass player, Krista, guides me through their coming-together and the inspiration behind their music...

I was keen to know the artists SuperGlu are influenced by and what the future holds for them; if there is a music scene in Manningtree and any advice they would give to upcoming musicians.

_________

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

Good, thanks.

Had a day off (today) and ended up throwing away all my clothes. Feel purged but not really sure if I've got anything to wear tomorrow....

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

We are SuperGlu: a four-piece Indie-Rock act from South-East England.

My name is Krista. I am the bass player of said band and taller than an average chest of drawers.

Sitting next to me is Ben Brown. He is at playing an unplugged electric guitar and is (a) probable lactose intolerant.  

Nice to meet you…. 

Welcome Home is the new single. What can you reveal about the track and its origins?

It was written with a hangover after a house-party.

Ben thinks it sounds a bit like Yankee Doodle. There is a park in Mistley (swans; smells like malt) called the 'Welcome Home' field. Perhaps it's a bit about that...

That…and being in love... or whatever songs are normally supposed to be about.

You all formed in Britain’s smallest town, Manningtree. How did four people with such similar sensibilities and ambitions find one another in such a small place?

There are only around thirty people that live in the town. There are three pubs and two Indian restaurants.

To be honest, I'm surprised it took us this long to find each other!  

Is the reason you have such a big sound to counteract the confines of where you hail from?

Not really.

It just kind of happened. If you play loud you get noticed in a bar/go deaf.

Is it true, between you, there is a regional Disco-dancer; a boat-dweller and abstract painter? It sounds like a film waiting to happen, surely?!

It's true!

Though, I haven't danced in a while. Ben W. lives on a boat with his ex-wife and her kids (don't ask!). Ben Brown recently opened his first solo exhibition (of what look like stolen children's paintings) at the Minories Art Gallery in Colchester.

Alex is soon-to-be an official marathon runner.

What do you have planned in terms of E.P.s and albums?

We are currently finishing something - we aren't sure if it's an E.P. or album. 

There are elements of Ramones and Japandroids in your music. Are these artists you grew up listening to?

Someone sent Rockaway Beach (a year ago) to Ben Brown and he listened to it in a traffic jam - as it was the only C.D. he had.

He was driving past Stonehenge. 

PHOTO CREDIT: Yakub Merchant

Huw Stephens, of BBC Radio 1, has championed your music. How important is his backing?

Loads.

I remember the first time Diving Bell got played on his show. We were all dancing around the living-room, shouting really loudly and, probably, pissing off our neighbours.

Do you think the music industry is becoming too digitised and sterile, in a lot of ways?

I really miss the feeling of opening up a C.D. case and listening to an album back-to-front on repeat. But, then again, streaming has enabled loads of artist to get themselves out there.

Who knows...?!

With such varied hobbies; how do SuperGlu unstick from the music? Do you all hang away from the band?

Yeah... 

The Browns are brothers - so they have to kind of hang-out.

We have quite a large group of friends around the Suffolk area - who we live to drink with on the weekends.

Balancing social life, band and working nine-to-five is pretty hard, though.

Are there any new artists you recommend we check out?

There's, also, a new band called Oasis everyone's raving about - has two brothers in; a bit like Ben and Alex. 

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

(Selections chosen by Krista).

Jeff Buckley: Grace

It reminds me of the past present and future - and, every time I listen; I hear something new.

For Ben Ward….I am guessing anything by Blink-182

To make himself feel young again.

Alex; probably something I've never heard o - but I'll say anything by Pete and The Pirates

As we were listening to them the other day in the car and, judging by his shouting and cans of beer drank in the back seat, he likes them quite a bit. 

For Ben Brown…I'll make him choose Support Mistley Swans by Dingus Khan

Because it's the best album on the planet.

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

Don't give up your day job. 

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).

Krista: Fade into You by Mazzy Star

<

Ben Brown: Made a List by Dingus Khan

Ben Ward: What's My Age Again? by Blink-182

Alex Brown: Mr Understanding by Pete and the Pirates

________

Follow SuperGlu

PHOTO CREDIT: Yakub Merchant

Facebook:

https://www.facebook.com/supergluband/

Twitter:

https://twitter.com/SuperGlu_band

Instagram:

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

SoundCloud:

https://soundcloud.com/supergluband

Spotify:

https://open.spotify.com/artist/5EqIrmwX29iNZq3OxAldSR

BandCamp:

https://supergluband.bandcamp.com/

YouTube:

https://www.youtube.com/channel/UCMaB6O5bI2SBVW181okoyGw

FEATURE: Memory Tapes: How Music Defines and Shapes

FEATURE:

 

Memory Tapes: 

 How Music Defines and Shapes

________

UPBRINGING and parental guidance are as key to moulding a human…

PHOTO CREDIT: Unsplash

as society and the people around them – how they dictate their life and the decisions they make.  I have spoken about music before and how instrumental it is to one’s development. Many of us do not realise how powerful and multi-purpose it can truly be. I find myself, now, in a position where I require guidance and comfort as much as any time in my life – the solitude turning to loneliness. Music is a synthetic form of human contact and unable to tackle the complex maelstrom of emptiness. Loneliness and depression are, in themselves, powerful forces that can immeasurably disrupt and change someone’s life. The lexicon and unquestioning love of music is a remedy that is not being harnessed quite as fervently as it should be. I, myself, struggle with a variety of psychological concerns and find music, whilst not a cure, provide accompaniment and unbiased guidance. Again, I am not suggesting if one gets into music at a young age they can avoid pitfalls such as criminal recidivism, social anxiety and depression – these are factors influenced by surrounding, unique D.N.A. and societal factors – but few are being indoctrinated to the potency and passion music’s variegated banquet offers. To me, it has been a lifeline and purpose: it is debatable how life would have shaped itself were it not for that ‘spark’. An interesting piece, from Mid-day.com, supports my claims how much can enrich and nourish the soul:  

“Kamakshi and Vishala Khurana, who founded a company called The Sound Space, which practices music therapy, believe that music has a miraculous power to heal and that sound has the capacity to influence every aspect of a human being from the time of conception. They conduct specialised workshops including sound for better concentration, music therapy and an easy and fun filled introduction to Indian Classical music for children.

PHOTO CREDIT: Unsplash

"Music should constitute a major part of our lives. Listening to the right music has innumerable benefits such as lowering stress levels, reducing depression and anxiety and maintaining a happy, balanced and calm home/office/travel environment. There's nothing like too much music. Very loud music can adversely affect the ears. But music only benefits our brain by releasing endorphins, which elevates one's mood. It is in fact a wonderful stimulant," says Vishala Khurana, co-founder, Sound Space.

Ashutosh Phatak, founder and teacher, True School Of Music asserts, "Life is full of music and there's no better way to live it. It doesn't have to mean sitting down and consuming albums, but there's music everywhere — in the rhythm of a local train's movement, or in the sound of the waves at high tide. People tend to watch more music than listen to it these days." He feels that if more people listened to music all the time, they would be calmer and better disposed to handle stress”.

It is interesting the effect music has and, in a scene that, sometimes, is hypotonic and anaemic – realising how evocative and restorative great music can be is a wonderful thing. I feel the young need to be initiated to the depth and true scope of music as young as possible. There is a fear, among many, we are becoming less adventurous and backwards-looking the less prevalent physical forms of music are. The browsing culture is being (more and more) limited to online channels and radio discovery. Both are valuable sources of discovery but I wonder how broadminded we are as consumers. Every day, I rediscover a song that escaped my mind – caught up, as I usually am, with what is brand-new. I suppose, doing what I do, the majority of my musical assessments are with new acts. I am a big fan of stations like BBC Radio 6 Music – who provide a perfect balance of older and fresh sounds – but I feel we are all becoming time-limited with regards music. I have a worry the new generations are going to be brought up on streaming services and modern radio – the lost art of vinyl heritage is becoming a rarity.

I, like many of my generation, grew up with our parents’ record collection and sounds of the time – whether that be modern artists on C.D. or cassette; vinyl crackling in the background. My evocative and genre-straddling upbringing spanned as far back as the 1930s; right through to the present (1980s and ‘90s) and, as I went through school, the wonderful transition from twentieth to twenty-first-century. I have not forgotten the music I grew up on and, if anything, I am discovering new nuances and lessons. Not only does music of the past connect us to memorable times and periods: it helps inspire contemporary artists and ensures music has that rich variety. I am concerned we are becoming too modern and relying on sites like Spotify for our music suggestions. It is as good as any way of turning on to the new artists out the block but, if one wants to immerse themselves in the fullness and endless fascination of music’s annals – how easy is that to do?! I am finding few people, younger than me, taking the trouble to reconnect with older music and the artists they would have heard growing up – and those their parents experienced when they were young. Before I continue my point; I wanted to explain how meaningful a single album/song can be. For various reasons, I have been listening to my favourite album quite a lot: Kate Bush’s The Kick Inside. It stands as a tremendous album but, to me, it represents so much more. It is what I am saying regarding music’s powerful allure. That is a record, released in 1978, that came to my ears round about 1986 (or there about). It instantly hit me and amazed me with its beguiling beauty, strange vocals and fairy-sweet flurries. It, as the years have progressed, gained new sides and qualities. I do not think an artist of this age could produce a record as timeless and enduring. Maybe it arrived at a time when I was more impressionable and uneducated. If I were hearing that album as a teenager; I do not feel it would be any less potent.

PHOTO CREDIT: Fish People/Kate Bush

I shall not go into the album bit-by-bit but, that record alone, has done more to me than every album released this year put together. My fondest music memories arrived when I was going from primary to secondary school. I was experiencing the incredible Dance and mainstream music of the early-1990s and all the innovation available. I feel music hit a rare high in the 1990s so it is no surprise the sounds of that time have remained with me. The retinue of eclectic artists that produced incredible records helped me through tough times: at a stage when I was adapting to growing up and all the fears and uncertainties associated. Not only did I behold the songs of modern artists: the music of my parents – which helped instruct and inform them – was an invaluable source of knowledge and compassion. It is hard to explain how impactful and important music has been to me – from such a young age, too. One of the reasons I am so itinerant and deep-digging when it comes to new music is because I feel there is so much hidden potential. Even if you are a fan of a particular genre; it is always wise seeking out sounds you might not otherwise have considered. In every genre, there is something that strikes a different part of the imagination. I am a big fan of modern Folk and songwriters that articulate subjects such as love and self-examination with such beautiful and entrancing tones. I am not criticising modern music but find, it alone, does not fulfil me. I remember songs like Everybody Wants to Rule the World and where I was when I first heard it – my first memory of life and, hence, the first musical experience – and why Bush’s Swallowed is particularly emotional. All of us grew up with music and realise how important it is but I think a lot are putting the past on the shelf and too concerned with that is current and popular.

IMAGE CREDIT: Getty Images

There are, to be fair, people who explore music from past and present but I wonder we are letting history slip by. I would not be where I am (and who I am) were it not because of the way I was brought up and how music was instilled in me. It is such an essential part of life and has helped me overcome so many obstacles. Music is a stunning force that can lift the mood and, more importantly, give purpose to a life and save people from harsh realities – I have seen many, on the point of suicide, saved by music! If one limits themselves to the sounds of today; it does not give the individual the best and variation music provides. Streaming and social media are big players and many are exclusively discovering music through these platforms. That is good – if one wants to only listen to new stuff – but it denies the soul of so much brilliance. I am thankful for the way music was taught to me and the passion I developed young. Artists like Kate Bush – who I have rhapsodised over and with good reason – who has been a pivotal Muse and constant companion. I cannot state how fulfilling and enriching music can be if you open yourself to it and swim in its warm and vast ocean. If we ignore and pass by everything that has come before, we are going to raise generations unaware of how music has developed – and how it began. In every possible connotation, sense and aspect: embracing music with open arms really does…

PHOTO CREDIT: Unsplash

MAKES a huge difference.

INTERVIEW: Adam Prince King

INTERVIEW:

 Adam Prince King

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THERE are few characters like Adam Prince King in the music industry.

As I prepare a Kilimanjaro-esque climb up a mountain of reviews and interviews; I am weeding out those that will require some embellishment and visual flourishes – augmenting and uncovering hidden depths and bringing the shine to the surface. That is not needed for Adam Prince King - as he is someone immured from boredom and the mundane: a veritable human-festival of eccentricity, fun and fascination.

I talk to the London-based songwriter about his latest tune, Before the Sun Goes Down; its video – since the questions were sent; a video has appeared – and what it feels like having the critical ear firmly lodged against his chest (or mouth: whichever is less weird/more appropriate).

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

I'm really good and really sh*t all at the same time! Life's funny like that.

I'm good because I'm looking forward to the release and people seeing my new video - and sh*t because releasing music petrifies me…ah, life!

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

I'm Adam Prince King. I'm a London-based music producer and singer - with a fondness of avocados and an addiction to hooks and melodies. 

Before the Sun Goes Down is the new single. What can you tell me about it?

It's happy and sad all in one; bleak yet hopeful.

What do you think about it? I want to be the interviewer! (I like it - Sam).

Will there be a video for the single? What future plans do you have for it?

The video is ready to be put out anytime now...

My plans are to go to number one; win a Grammy and live in a beach hut (with WiFi) in Barbados - but the universe may have other plans, so I just do my thing and see what happens!

What's that saying...we make plans and God laughs at us (or something like that)?

It follows on from the previous song, Flamingos, but has a different vibe/sound. Was there a conscious decision to create something different from that single – whilst retaining a unique 'Adam Prince King sound'? 

I hate pigeonholing my sound and creating the same song over and over...

I feel like it's evolve-or-die for my creativity. I agree, the production is simpler and more restricted but also feel my essence, my lyrics and voice tie the songs together. 

The single has buzz and uplift but moodiness and emotion. Is it difficult being open and raw in a song but keeping the overall textures accessible and engaging?

I have always loved writing raw lyrics but to an uplifting piece of music: I love juxtaposition. The Smiths did that really well.

Were you shocked Flamingos went viral and got such a huge reception? Did that motivate you to keep striving and working hard?

It's a double-edged sword.

You feel like, woooooo! People like what I'm doing and it's motivating but then the little head-Devil pops in and says "It's a fluke, you silly little man; people will soon find out you're a fraud and that you’re an awful artist."

But, then, you have to find a way of pushing forward regardless.

I believe an E.P. is out later in the year. What can you reveal about that?

It has five tracks on it and my favourite one is a track called Witches.

It should be released through a really cool label - that mainly deals in getting music into T.V and film - but I can't fully confirm yet as we are still negotiating.

Can you tell me about some of your musical influences and the artists you grew up listening to?

I grew up listening to a lot of Cypriot music and, also, lots of old Elvis and Cat Stevens records - when I was very young.

I can hear bits of David Bowie’s work in your own music. Is he someone influential to you? 

Yes.

David Bowie is my father; Kate Bush is my mother.

You sport quite a, let’s say, 'peculiar' look. What was the reason for adopting this style and do you think it adds to your musical style? 

Is it the moustache!?

I guess I'm quite eccentric but it's not something I overly-think about. If I see something that resonates with me I wear it - I love colour and vibrancy, both in my music and in my fashion choices.

When I was a kid, I used to dress myself and go to primary school in a shimmery waistcoat paired with a red bow tie and Albert Einstein hair – so, I guess I've always been peculiar.

Any tour dates approaching? Where can we come see you play? 

I hope to play Sofar sounds in London pretty soon.  

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

Joni Mitchell - Blue

The lyrics, the melodies; the voice - Joni just knows.

The Darjeeling Limited: Original Soundtrack

Because it's one of my favourite films - and I love all the songs.

Britney Spears - Blackout

Amid her breakdown; she produced one of the best Pop albums I'd heard in years - the production was slick. She worked with the best producers.

I have a soft spot for Britney - don't judge!

Are there any new artists you recommend we check out?

Do you know what: I'm so out of the loop!

I need to listen to new music! I'm stuck in the '70s and '80s at the moment!

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

Keeping on the Britney theme: you better work, bitch!

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).

This could be fun. Hahaha! 

Ummmm…the theme from Buffy the Vampire Slayer, please! 

________

Follow Adam Prince King

 Official:

https://www.adamprinceking.com/

Facebook:

https://www.facebook.com/adamprincekingmusic/

Twitter:

https://twitter.com/adamprinceking

Instagram:

https://www.instagram.com/adamprinceking/

SoundCloud:

https://soundcloud.com/adamprinceking

Spotify:

https://open.spotify.com/artist/2RPMdwteLtPo3OVltehKFX

YouTube:

https://www.youtube.com/channel/UCxr0Aa5Vc9X4ycUBsyStVLQ?sub_confirmation=1

FEATURE: The Return of The KLF

FEATURE:

PHOTO CREDIT: Built by The JAMs  

The Return of The KLF

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EARLY this morning; The KLF’s Jimmy Cauty and Bill Drummond…

PHOTO CREDIT: Faber & Faber

launched their new book, 2023: A Trilogy by The Justified Ancients of Mu Mu. The launch, in Liverpool, saw the duo arrive in a battered ice cream van with a spooky jingle. The rules set down – to those attending the launch – included (the fact) people could kiss them (but no tongues allowed) and they would get their book stamped – none of this signing malarkey! It was a typically unique and quirky spectacle that, perhaps, indicates a new phase for the Scottish innovators?! I have been following the duo since their early days and am amazed at how many guises there have been. We all know the time they set a cool-million on fire – more on that below – and an infamous stage appearance. where they fired a machine gun into the crowd (nobody was injured in that publicity stunt).

They are not an act that entertains conventionality and predictability. Over the last few months; there has been rumour and chatter something is happening in the KLF camp. Before I go on further, sourcing a couple of articles from The Guardian today, news and revelations concerning The KLF’s new book. The first looks at the publicity stunts and ending their career – providing an extract from their new work:

“So why exactly did the KLF set £1m on fire? It’s been a burning question for 23 years, as pop’s greatest provocateurs chose to let rumour, conjecture and myth around the publicity stunt – held on the Scottish island of Jura and ending their career on 23 August 1994 – swirl about unanswered for two decades. Until now.

PHOTO CREDIT: @Popjustice

GoogleByte v Beyon-Say: an exclusive extract from the KLF's chilling novel about the world in 2023

The KLF, the band that burned £1m, are back – with a futureshocker in which AppleTree and GoogleByte are global powers. But is a shadowy group called the Illuminati actually in charge? And is it true J-Zee and Beyon-Say are members? 

The project formed by Bill Drummond and Jimmy Cauty in 1987, which has lain dormant in a self-imposed moratorium of 23 years, returned at 00.23am on the morning of Wednesday 23 August. As Drummond and Cauty drove into a backstreet of Liverpool in an ice-cream van to begin three days of events, their first new work – a trilogy of dystopian fiction, an “end of days story”, called 2023: A Trilogy – simultaneously dropped online.

IN THIS PHOTO: Bill Drummond and Jimmy Cauty

Yet this is not a book for those looking for straightforward answers, and is as obtuse as the KLF themselves, who have published it under their other moniker, the Justified Ancients of Mu Mu. It is a multi-layered, self-referential meta tale, starting with two undertakers, Cauty and Drummond, who discover a life-changing book called 2023: A Trilogy on a hotel bookshelf. It was written by “George Orwell”, the pseudonym for one Roberta Antonia Wilson, 33 years ago. “What you are about to read is what they read – well almost,” reads the preface, adding that it has been translated from Ukrainian.

It is a tale which switches between the diary of the author, Roberta, in April 1984, and her fictional novel set in 2023, in the tax haven of Fernando Po, which is the last nation state on earth (on a small island off the coast of Africa). “It was once part of Equatorial Guinea, before Equatorial Guinea did their lucrative deal with Wikitube,” notes the book.

It is littered with bastardised references to 2017 culture in a nod to the grim future that could befall us all – the Big Five who rule the world are GoogleByte, Wikitube, Amazaba, FaceLife and AppleTree. Winnie, the main protagonist, has had an affair with Julian Assange in her younger years, and now uses an iPhone23; Michelle Obama has been the first female president of the US in 2020 but now models for Damien Hirst; Putin was crowned (ceremonial) czar of Russia; Simon Cowell was murdered by a former contestant live on China’s Got Talent in 2017. An alternative history for the Beatles and their role in world peace is also offered. Yet for all the technological progress, today’s social flaws, particularly the degradation of women, remain unchanged in 2023.

PHOTO CREDIT: Unsplash 

KLF’s re-entrance into the world on Wednesday night in their battered ice-cream truck also almost exactly mirrors a passage of the book, which points to a note scrawled on a warehouse wall in Liverpool. “I found myself in a dusty, sooty city. It was night and winter and dark and rainy. Then I saw an ice-cream van pull around a corner and pull up beside a derelict building.”

While the book is not specifically about Cauty and Drummond, they crop up as self-referential characters, at one point referred to as “men in their late sixties” who “meet up in a red brick two up, two down terraced house in Northampton, alongside comic book author Alan Moore. It is the first time they have been in the same room together since 1994.” In the book, these three men withdrew £1m in £50 notes and burn them in a bonfire in front of the Houses of Parliament. What follows is a passage which is the closest to an explanation for the publicity stunt that the KLF have ever offered”.

PHOTO CREDIT: Unsplash

The second article gave us an exclusive extract from the book: providing a sense of what it is about and the fascinating imaginations of Jimmy Cauty and Bill Drummond…

“09.27 Sunday 23 April 2023

There are some who have decreed order is the natural order of not only the human condition but of everything that has ever existed and is ever likely to exist.

And there are those who have proclaimed chaos is the natural order not only of the human condition but of everything that has ever existed and is ever likely to exist.

And there are those who have made it their lives’ work to exploit our natural hunger for order.

And there are those who have made it their lives’ work to exploit our natural hunger for chaos.

It is a free market for all of you living in the free world.

Whereas I am on the island of Fernando Pó, off the west coast of Africa. It is where I was born and bred. I may have disagreed with the island being a tax haven, but I so abhor it being bought by AppleTree. Or, for that matter, by any of the other Big Five. I am totally and completely against what they are doing with the world. Womankind needs to have war, famine and inequality to function properly: without them we as a species will be over within a couple of generations. As for religion, we need as many as we can have to compete for our souls. The more radical the religion, the better.

That is why I am here with these five dolls I have made to represent the founding mothers of each of the Big Five, and over the next few days I will be sticking my needle made from bamboo into them. You may think this is a futile and primitive approach to bringing about world change, but it worked for my ancestors and it already seems to be working for me. Last night I began testing the process by putting a needle just a short way into the doll that is Stevie Dobbs, and I think it was successful. I can already sense her days are numbered”.

Tom Robinson is paying tribute to The KLF from 1 P.M. on Sunday. Catch that BBC Radio 6 Music show as it provides better revelation what is happening in their creative process. It is going to be intriguing see if there is anything coming from Cauty and Drummond. Whether the book is a prelude to a new album; maybe the guys are planning a retrospective gig of some degree. The reason this current release appeals to me as it provides chance to celebrate one of the most influential acts in the House/Trance movement. After 1987 (What the Fuck Is Going On?) was released in June of that year – the boys were on the map and, at that juncture, known as The Justified Ancients of Mu Mu (The J.A.M.s).

IN THIS PHOTO: The album cover of Chill Out

All You Need Is Love was their first single and, with that, they began their memorable, if controversial career. It is not considered their best album but did put them in the critical mindset. The fact the samples they used on the album were plagiarised sparked a huge debate. Now, an artist could not do that without facing a barrage of legal bills and court cases. It is debatable, if artists like The KLF had been more judicious with their sampling – asking the artists for permission – such strict rules would not have come in. The plagiarism on the record was a cheeky bit of creative license but did, in as much as anything, show they were willing to do whatever it took to succeed and be remembered – or maybe they got lazy and thought nobody would realise! There were some good songs (on the record) but is seems far less engaging and innovative than their later recordings. Unfortunately, owing to the reckless, unauthorised use of samples; ABBA objected to the duo’s use of Dancing Queen – all copies of the 1987 were destroyed and it led to the self-deprecating and revealing, Who Killed The JAMS. It was holy nihilism and a production of self-deprecation and pathos. Many critics were impressed by the response to media criticism and legal issues – that blighted their debut album.

It was, too, a creative and sonic step from the duo and led, with compilation and remix-albums in-between, to their third studio L.P., Chill Out. Many see that Dance album as one of the genre’s best: most agree it is a huge sonic leap with wide-open spaces and intriguing sonic complexions – developed and intricate electronic imaginations. Birdsong, womb-music (as one critic called it) and grandly epic music. It was an ambient and downbeat song that juxtaposed a lot of the more mindless and pointlessly upbeat offerings. At this point, The KLF’s creators – they were calling themselves ‘The KLF’ at this point – were more jurisprudent and were using samples more intelligently and conscientiously.

There were samples from Elvis Presley (In the Ghetto) and Fleetwood Mac (Albatross) but, unlike their debut, The KLF were not forced to delete it – not being chased by vengeful Swedish Pop groups! I am stalling and hovering over important swathes of The KLF’s genius but, in truth, the height and apex of their music career was their final album, The White Room. I am typing this whilst enjoying the Tammy Wynette-heightened banger, Justified and Ancient. It is such a strange and rousing song that puts sound-effects, ice cream van-referencing lyrics – heading into Mu Mu Land – and one of the most hypnotic choruses of the 1990s. The KLF disbanded in 1992 – there were plans for a darker version of this album – but, what they left, was astonishing. The Stadium-Pop/Trance/Dance/Electronica anthems were conceived as a road film (coinciding with their film of the same name) that was The KLF’s search for the mystical ‘White Room’. It was, by anyone’s judgement, the artist peak of the late-1980s/early-'90s Acid-House movement.

The 1991-release, in its definitive forms, contains some of the biggest songs of The KLF’s career – covering the earlier incarnations, for that matter. What Time Is Love, 3 A.M. Eternal (Live at the S.S.L.) and Last Train to Trancentral are absolute classics of the time. Justified and Ancient, with that peculiar but essential Tammy Wynette turn, helps create a wonderful and hugely spellbinding tune. Yeah, there are some fillers on there – Church of the KLF and Build a Fire are not exactly essential – but it is those four tunes with, say, the title track, define an album. It was a perfect finale for Cauty and Drummond. Reviewers often include it as part of their favourite one-hundred albums ever. It is not only a definitive statement from the 1990s: it is one of the most enduring and spectacular albums from all of music.

Take away the machine gun-toting Brit Awards spectacles and money-burning stunts; the mayhem and the chaos – it is the music that overcomes and outshines all of that. Of course, being The KLF/The Justified Ancients of Mu Mu; the theatre and scene-stealing goes hand-in-hand with their music. We all miss those heady days when the duo were running riot and, away from the headline-grabbing antics – they were creating some of the most unifying and influential sounds of the day. Maybe The KLF’s dystopian and future-focus novel – in all its forebode and allure – is a standalone event but one would hope for more. Maybe there will be another album: that must be what everyone is wishing right now! The ice cream van arrival and bespoke publicity campaign cannot be for a book launch, alone! I have been compelled to look back at the legendary duo and what they have done to music; how they have changed the culture of Dance music and those incredible highlights. Whatever is coming next, you just know, it is going to be…

 IN THIS PHOTO: The KLF's Bill Drummond at the 1992 Brit Awards/PHOTO CREDIT: Richard Young/Rex

BLOODY bonkers!

INTERVIEW: Glam Skanks

INTERVIEW:

 Glam Skanks

________

THE captivating and eye-catching quartet of Ali, Veronica; Cassie and Millie…

makes up Glam Skanks. They have been described as an all-female band-version of The Rocky Horror Picture Show. Their album, Glitter City, mixes theatre and spectacle with mixes of older-days Glam-Rock with the sort of mainstream sensibilities that makes them an accessible option. It is their infectiousness and unique personalities that are alluring audiences and marking them out for big things.

I talk to the U.S. band about supporting Adam Ant and lending Alice Cooper their make-up. They talk about enviable Rock and Roll memories and how they hope to redress the gender imbalance in music; their favourite albums and songs and their treasured memories of the road.

_________

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

Glam Skanks: We’re great!

Just got done filming a new music video.

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

Yeah. We’ve got Ali on Lead Vocals; V. on Lead Guitar; Millie on Bass and Cassie on Drums.

Can you tell me how Glam Skanks got together? Have you been friends for years now? How did that band name come about?

Glam Skanks started when V. and Ali met on Craigslist...

They had both posted, almost identical ads, looking for female musicians - for a Glam-Rock-inspired band. After a few years of playing with other girls, Millie and Cassie - who had been playing in bands together since their early-teens - joined up.

The band name came when we booked our first gig. We didn't have a name and knew we needed something to start promoting. After a friend joked about making 'lamb shanks' into ‘glam shanks’, the name ‘Glam Skanks’ came up - and we thought it perfectly fit our vibe.

I know you played Camden Rocks. What was that experience like?

It was incredible.

The whole experience of going to England - and playing in another country - was amazing enough and then, to add playing such a well-known festival, was a dream come true.

PHOTO CREDIT: Dave Cox

Any more dates coming later this year?

We’re working on something...

We have a gig with Adam Ant at The Roundhouse (in London) in December - and were hoping to book a tour around it.

Some have said Glam Skanks are what a Rocky Horror Picture Show house-band would be like. Do you think that is a fair assessment? Is that film/show something you girls are a fan of?

That’s a great description of us...

We’re huge fans of The Rocky Horror Picture Show. We grew up going to midnight showings all dressed up - and always thought we would be a great fit to play before the movie started.

PHOTO CREDIT: Dave Cox

In addition to opening for Alice Cooper; you supported Adam Ant on his U.K. tour - and you’ll be back to open his show at The Roundhouse in December. What is he like to work with? How did that invite come about?

He’s great to work with: a true showman and an absolute professional.

We share some mutual acquaintances with Adam and, when they had shown him our videos, he liked us enough to ask us to come along and tour with him.

I heard Alice Cooper asked to borrow your make-up. What was your response to that?!

At first, we laughed, because we thought he was joking!

When we found out he was serious, we, obviously let him use whatever he wanted.

In Kevin Smith’s film, Yoga Hosers, you had one of your songs featured. You have hung with Aerosmith’s Joe Perry. How do things like this happen? Is there a standout memory from all these crazy experiences?

We’re lucky that we have some connections that run in the family. V’s dad, Bruce Witkin, is a member of the Hollywood Vampires and has produced and worked with a lot of famous artists.

One standout memory was the night we opened for the Hollywood Vampires. We got to jump onstage with Alice Cooper and sang School’s Out with him and the whole band.

Glitter City is the new album. What can you tell us about the themes and ideas that compelled the record?

There wasn’t really any particular theme or idea: we just wanted to make a record that sounded like the music we love - but with our own twist.

That said, there’s definitely an underlying tone of female empowerment. Even though there are not many songs that are explicitly about that; we went in with the mindset of wanting to inspire other girls and women with our music.

Veronica. You grew up in a unique Hollywood Rock and Roll family. Was it possible to have a ‘normal’ childhood or was it quite strange? What is Hollywood like for a young and ambitious artist?

I don’t know if anyone, technically, has a ‘normal childhood’ - but mine didn't feel that different from anyone else’s.

Hollywood is hard for any young artist but I was at least lucky enough to have a bit of a head-start since I'm from L.A. - and have the advice and help from my dad.

PHOTO CREDIT: Dave Cox

Millie. You almost didn’t join the band. Why was that and what changed your mind?

I was super-busy with other bands and had just moved to Los Angeles - so, I wasn't sure about joining another group.

The girls won me over with their passion and drive for music and fun personalities - so I gave it a shot.

Listening to you girls play, your music and power can match any male band. Why do you feel there is still gender inequality and sexism in music? Is that something you are keen to tackle?

Thank you...

Unfortunately, there’s still gender inequality and sexism everywhere in our everyday lives - so music isn't going to be any different, especially when Rock ‘n’ Roll is considered a boys-club.

That’s something we hope to change, not just in the music industry, but everywhere - so all girls and women are treated fairly and equally no matter their race, social status or sexuality.

Your brand of music, 'Glitter-Rock', has changed since the early days. What have been the main changes and do you feel more bands should play in the genre?

It’s funny because, to us, Glam and Glitter-Rock aren’t really a sound but more of an attitude and, in that sense, it’s never changed.

It’s about the stage-show and the spectacle - and that is one thing that more bands these days could use.

I can imagine you have your fair share of touring anecdotes! Any particularly vivid or ‘memorable’ ones?!

Yes!

We had a night in Manchester where we stayed at a sort of tavern and we were immediately thrown off when we walked in - because there were Christmas decorations up in the middle of May. We didn't think too much of it but, later that night, we noticed our door didn't really lock and, when we tried to move our beds together, we found blood splattered on the walls.

We decided to not-so-gracefully sneak out at 4:30 A.M.

Are there any new artists you recommend we check out?

Right now, we’re into The Lemon Twigs.

They put out a great record last year.

IN THIS PHOTO: The Lemon Twigs/PHOTO CREDIT: Riku Ikeya

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

Veronica: That’s so hard because there’s so many that have had a huge impact on me, but, I guess I’ll have to choose The Rise and Fall of Ziggy Stardust and the Spiders from Mars by David Bowie.

Every song on that album is perfect and the concept of youth and alienation still hits home.

Ali: Probably Rumours by Fleetwood Mac

I just feel so happy and inspired when I listen to it. Every song is perfect. I never get sick of listening to it.

Millie: I never have just one album that I fall back on because I'm always changing what go-to album – but, for sure, one of my favorite albums is Panty Raid by Fabulous Disaster: an all-girl Pop-Punk band from San Francisco - where I grew up and saw as a teenager.

They have inspired me to play music and get in an all-girl band. Their songs sing about heartbreak, annoying preps. (and etc) - everything I can relate to!

Cassie: I would say Deloused in the Comatorium by Mars Volta

Just like Millie; it's hard to pinpoint one specific album or artist because I'm influenced by so many different styles of music - but this one is definitely top-five because of the instrumentation. It really influenced me to push my drumming.

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

Just go for it!

Don’t be afraid that it might not happen or ‘I might not make it’: you can’t start a revolution if you don't go out and try to make it happen.

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

Veronica: Anything by David Bowie

Ali: Please play It's Late by Queen - this song is brilliant

Millie: Please play Free Money from Patti Smith

Cassie: Please play Take a Chance on Me by ABBA

That’s our backstage pump-me-up song whenever we're on tour.

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Follow Glam Skanks

 Official:

https://www.glamskanks.com/

Facebook:

https://www.facebook.com/Glamskanx/

Twitter:

https://twitter.com/glamskanks

Instagram:

https://www.instagram.com/glamskanks/

SoundCloud:

https://soundcloud.com/glamskanks

Spotify:

https://open.spotify.com/artist/4u6p3yHcVdgmzAiArcbfEc

YouTube:

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

INTERVIEW: Farrago

INTERVIEW:

 Farrago

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FARRAGO are an exciting and rock-solid…

Alt-Folk/Indie band that marries lush cinematic sounds with powerful acoustic guitars and silky bass – plenty of expressive percussion and epic vocals. I talk to lead singer Ian (in the photo above) about the band’s career and recording their E.P., Oh, Beautiful Darkness, at Abbey Road Studios. He tells me about arriving in London in 2012 – having started his music lust in Brisbane; having walked out of a fruit-picking job – and how they all found one another.

I learn more about the E.P. and what one can expect on 7th September at The Finsbury – where the video for Better Than Real Life will be projected during the performance. Ian discusses the musicians that matter most to him and each of the band picks a song to end the interview with.

ALL FARRAGO PHOTOS: Sebastian Trustman (unless indicated otherwise)

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

Hi! It has been great – and hectic.

Lots of exciting work going on with the new E.P. - which is being pressed at this very moment.

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

I’m Ian Bennett: lead singer, guitarist and songwriter of Farrago – an Alt-Folk band made up of myself plus Tina Longford (on Violin and B.V.s); Simone Feroci (on Bass and B.V.s) and Jack Robson (on Drums).

The music is a real mixture of Folk, with Rock, Indie; Jazz and Blues thrown in for good measure.

PHOTO CREDIT: Mr. Fizzy

I am interested in Farrago’s origins. I believe it was 2009 and a busking outfit birth? Can you expand on that and how you became the band you are now?

Farrago was born on the streets of Brisbane, Australia - after walking out of a fruit-picking job.

It was just two of us back then – me on vocals and guitar and my partner, Ruth, on melodica. It was amazing, to me, people were more into our original tunes than the covers. There was a real thirst for hearing new music.

We played our way around Australia and New Zealand, in venues and on the street, then, spent some time in India writing new material and making some D.I.Y. recordings.

But, I really missed having a whole-band-sound; so we came back to England to keep the project growing. The line-up we have now is just what I was hoping for!

Big, dynamic and bold.

You arrived in London in 2012. What compelled that decision and how influential is London to your music?

I’m from London, and so, coming home was always on the cards...

London is hugely important to my music: I love the vibe and variety here. I love that London draws people in from all around the world. I’m always meeting inspirational musicians from all walks of life. Also, London pushes you hard!

To get anywhere, you have to work like crazy - which certainly keeps the standards high! I met all my band-mates whilst playing various live shows in London - so I have a lot to thank this city for!

The E.P., Oh, Beautiful Darkness, was recorded at Abbey Road Studios. What was it like recording at such a hallowed space?

Man...it was incredible.

I felt like a kid in a sweet shop – so much great gear that has been used by some of the best musicians in the world. It was humbling and unbelievably exciting to be there for a while. We recorded the E.P. in the main studios but I have to thank the Abbey Road Institute for making it happen. We worked with two fantastic students – Noah Dayan and Lucas Cristoff – who took us under their wing.

The future of the recording industry is in safe hands!

PHOTO CREDIT: Mr. Fizzy

Can you tell me how that opportunity came about?

Myself and Simone were playing a few tunes at an open mic. at The Magic Garden in Battersea and Lucas happened to be there in the audience. It’s a great open mic. for meeting other serious musos – a night called Sing for Your Supper; run by a very passionate poet and friend called Carl Chamberlain. I got chatting to Lucas and the rest is history!

I met Noah at the Institute and we hit it off immediately. They co-engineered - and Noah mixed the E.P.

When will the E.P. be launched? I understand the video for Better Than Real Life will be shown for the first time there? What can you tell us about the video and its storyline?

The E.P. will be released on 7th September - with a launch party the same night at The Finsbury pub (in Manor House).

The Better Than Real Life video is going to be projected during the performance. It has been great fun making it with director Daria Lanz; actress Stephanie Cannon; Director of Photography Philip Moran and the band. We’ve been messing around with L.E.D. lasers; paint, masks - and confusing members of the public in the process!

Better Than Real Life is about a character that prefers to live in the digital world - rather than reality – so, all the scenes are about the tension and release this creates.

Uncle Onion Records is the band’s label. What was the decision behind releasing the E.P. on your own label? Did it provide a freer creative construct?

I decided to create the label, back in 2014, for the release of our first studio-E.P., All Beginnings Are Illusions.

It was, mainly, so that we can build-up our own catalogue of music without any external forces coming into play. It has been a steep learning-curve but it has been useful learning more about how the industry works. I love the ethos of D.I.Y. and community building - so I wanted Farrago to reflect this.

How do songs come together for Farrago? Do you all collaborate or will someone write lyrics – the remaining members pitching in with the music?

I’m constantly writing new material at home.

The ones that stick I bring to the band. By the time they hear the songs, they already have a structure and lyrics. Tina, Simone and Jack bring their musical magic to the songs at this point. This way, I can filter out the songs that don’t make the grade - before the others spend any time on them.

It’s a pretty productive way of working, I find...

PHOTO CREDIT: Mr. Fizzy

Are other there any tour dates later in the year? Which dates are you most looking forward to?

We’re holding off on new dates until after the launch.

My next focus is on getting festival bookings for 2018…so keep an eye out! The odd gig will creep in though, I’m sure.

Keep an eye on the website for dates...

Do you have anything else planned in terms of more music? Do you think ahead to the next record or are you very much focused on the latest E.P.?

There’s always plenty of new music in the pipeline.

Once the launch has happened, I’ll be working with the band on a handful of new songs that I’m focusing on at the moment.

I’ll be looking to record another E.P. or album in 2018.

How do Farrago unwind and is there ever a chance to break away from the music?

That’s a good question!

 I’m around music, pretty much 24/7. I spend most of my free-time seeing my mates play music or going to music community events. My favourite way to escape for a bit is to go to a festival – preferably, a very chilled one, like Womad or End of the Road.

Last year, I saw The Shins, Joanna Newsom; Teleman, Ezra Furman; Savages and Kevin Morby all play on the same festival bill. It was incredible!

Who are new acts you recommend we check out?

I am lucky enough to have some very talented mates...

Russell Joslin is a Folk music tour de force. He sings with Sarah McCaig and they are simply stunning together.

Tom Hyatt writes and performs a lot in London. Well worth checking out.

My friend, Mary Erskine, has a band called Me for Queen. She is incredible (Russell, Sarah and Tom will be playing with us at the launch).

(Probably) the artist I most admire at the moment is Scott Matthews. His songwriting and voice are truly inspirational. He won an Ivor Novello for his song, Elusive. It gives me shivers just thinking about it!

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

I’d probably have to say Grace by Jeff Buckley.

It completely blew me away the first time I heard it and has been a benchmark ever since. As far as I’m concerned, it has everything an album should have: incredible dynamics, feeling and depth…and, of course, there’s his voice.

My god; what a voice.

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

My advice would be to always get what you want from it. It’s a weird time we’re living through - with consumerism ruling everything - but the craft of songwriting takes time and perseverance - so enjoy the ride and trust yourself.

Everyone will have their opinion about what you should do but, ultimately, it’s what you want from it that matters.

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).

Ian: Elusive by Scott Matthews

Simone: Beautiful Freak by Eels

Tina Longford: Play Dead by Björk 

Jack Robson: The Bronx by Booker T. Jones (ft. Lou Reed)

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Follow Farrago

 Official:

http://www.farragoband.com/

Facebook:

https://www.facebook.com/farragoband/

Twitter:

https://twitter.com/farrago_

YouTube:

https://www.youtube.com/channel/UCNVz-a15k3v1zdQFWeFy_fA