FEATURE: Albums to Look Out for This Month

FEATURE:

IN THIS PHOTO: Phoebe Bridgers 

Albums to Look Out for This Month

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THE past few weeks have been pretty awesome…

IN THIS PHOTO: Prophets of Rage

for exceptional new albums. I just missed the wire but, the first day of this month was given a slice of genius with LCD Soundsystem’s American Dream. It is shaping up to be one of the most celebrated and acclaimed albums of the year. That is not to say the remainder of September is a gangrenous wound of crap...far from it, in fact!

Over the coming few weeks; we will see some spanking releases from The National, Tori Amos and Sparks. Throw into the mix some Foo Fighters, Miley Cyrus and Prophets of Rage and it promises to be a pretty impressive!

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The National – Sleep Well Beast

Release Date: 8th September

Label: 4AD

Why You Should Buy It: In a year that has seen Indie stalwarts Grizzly Bear and Arcade Fire stage returns (with mixed results); it is the turn of Ohio’s The National. Initial buzz surrounding the album – their first since 2013’s Trouble Will Find Me – suggests it will be one of the year’s best. Many of the songs document lead singer Matt Berninger’s divorce – the fallout and complexities of it. It is sure to be a staggering, beautiful and troubled work – an album, oddly, 2017 really does need. Expect the traditional blend of sonorous and moody vocals; delicious astute and memorable lyrics – and an album crammed with some of the finest songs you’ll hear all year.

Toris Amos – Native Invader

Release Date: 8th September

Label: Decca

Why You Should Buy It: It’s Tori Amos, dumbass! Okay…I shall expend a bit more consideration. We might see a new album from Björk this year: alongside Tori Amos; one of the most innovative and influential artists in the world. We do know for sure Native Invader is almost here – it is her fifteen studio album. Unrepentant Geraldines was her previous record (released in 2014) and, whether addressing vengeful women or something else – an album that resonated with critics. Like that album; Native Invader was recorded in Cornwall (at Martian Engineering Studios). Unlike her previous release; there is a very different story behind Native Invader – as Amos herself explained: “The songs on Native Invader are being pushed by the Muses to find different ways of facing unforeseen challenges and in some cases dangerous conflicts. The record looks to Nature and how, through resilience, she heals herself. The songs also wrestle with the question: what is our part in the destruction of our land, as well as ourselves, and in our relationships with each other? In life there can be the shock of unexpected fires, floods, earthquakes, or any cataclysmic ravager -- both on the inside and outside of our minds. Sonically and visually, I wanted to look at how Nature creates with her opposing forces, becoming the ultimate regenerator through her cycles of death and re-birth. Time and time again she is able to renew, can we find this renewal for ourselves?”

Sparks – Hippopotamus

Release Date: 8th September

Label: BMG Rights Management

Why You Should Buy It: This is the twenty-fifth album from Ron and Russell Marl. The guys seem to be in peak form as, on Hippopotamus, they look at everything from Shakespeare to camper vans. Sparks are renowned for their innovative and off-kilter songs – work that differs from what is out there by delivering intelligent and imaginative tracks. This collection, from what we have heard so far, shows Sparks have lost none of their, well…you know?!

Gary Numan – Savage (Songs from a Broken World)

Release Date: 15th September

Label: BMG Rights Management (UK) Limited

Why You Should Buy It: There are few artists who have endured like Gary Numan. He remains one of those special and unique talented that, through the decades, is able to adapt and amaze. The new album, Savages (Songs from a Broken World) documents a global warming-like disaster. The songs deal with serious subjects but, as we can hear in new single My Name Is Ruin, there is plenty of energy, Rock demand and huge quality. I am not a big Numan fan but will definitely be getting this album – it will inspire many artists to up their game and reinvent their music. Numan is a pioneer and leader who, thirty-nine years since his debut record, is still turning heads.

Wyclef Jean – Carnival III

Release Date: 15th September

Label: Legacy Recordings

Why You Should Buy It: The Knocks and Emile Sandé are among the collaborators on the latest albums from the former Fugees man. Jean, speaking with Rolling Stone, talked about the concept of his Carnival albums: "My Carnival albums have always been about celebrating music culture from all parts of the world and Carnival III is no different,” the former Fugees member said in a statement. "It's outside the box. There’s genre-bending. There's new talent on there. Carnival III is more than just an album. It's a celebration of what I love about music: discovery, diversity and artistry for art's sake... It's about putting music together that will outlive me and live on for generations to come that is full of emotion, vibration and fun. Get ready."

Gucci Mane – Mr. Davis

Release Date: 15th September

Label: Guwop Enterprises/Atlantic

Why You Should Buy It: The rags-to-riches rise of Gucci Mani is one that demands focus and revelation through music. Collaborations with Nicki Minaj (Make Love) and Big Sean (Changed) mean there are bodies in the mix: the focus is very much of the rapper and his eleventh album. He was released from prison a year ago: this is his third release since that release. Friends like Chris Brown and Monic help make the album a success – their input and personalities are all part of the incredible brew.

Phil Selway – Let Me Go

Release Date: 15th September

Label: Bella Union

Why You Should Buy It: The Radiohead drummer is no stranger to solo territory. He has already released two sole L.P.S – 2010’s Familial and 2014’s Weatherhouse – and, in two weeks, prepares to release the music composed for the soundtrack to the film, Let Me Go. The title-track is especially impressive but the album as a whole shows what an accomplished composer and songwriter he is. One wonders, if Radiohead release another album, Selway might be afforded a rare lead vocal – perhaps greater writing responsibility. He has shown – as George Harrison proved during his time with The Beatles – there are often three great songwriters in a band. Thom Yorke and Jonny Greenwood are not the only Radiohead members capable of making a huge impact away from the band.

Prophets of Rage – Prophets of Rage

Release Date: 15th September

Label: Guwop Enterprises/Atlantic

Why You Should Buy It: The supergroup are touring their native U.S. at the moment but, when their eponymous album is released; let’s hope they find time to come to Europe. The fact the band brings together legends Chuck D and (Rage Against the Machine’s) Tom Morello almost pales into insignificance when you consider how charged and angry the record is likely to be. A band that are not exactly ‘friends’ of President Trump, on their debut, will have much to say about his style of leadership. Prophets of Rage is likely to be one of the most combustible, gripping and exciting albums of the year.

Foo Fighters – Concrete & Gold

Release Date: 15th September

Label: Guwop Enterprises/Atlantic

Why You Should Buy It: Recent singles The Sky Is a Neighborhood and Run suggest Foo Fighters are on fire right now. They are a lot heavier than on recent releases and seem to have revived some of their early energy and quality. Sonic Highways, released in 2014, garnered mixed reviews and was seen as a bit bloated and contained too many collaborations. Concrete & Gold – despite the crap title – is a more stripped and focused album. In a year when some of Rock’s more promising artists are failing to live up to the hype: Foo Fighters seem ready to deliver an album that could kick Rock’s butt awake. It will be interesting seeing whether critics agree!

Phoebe Bridgers – Stranger in the Alps

Release Date: 22nd September

Label: Dead Oceans

Why You Should Buy It: Producers Tony Berg and Ethan Gruska did not have to work too hard to make the ten songs on Stranger in the Alps sound haunting and staggering. Phoebe Bridgers is a stunning young talent and a fine writer. Her songs tap into the personal and manage to articulate common themes with a unique insight and incredible sense of wordplay. A confessional and tender singing style mean her music, on the surface, would not sound dissimilar to anyone else. One need only hear a few lines (of any song of hers) to realise that is a myopic determination – her magic and vocals are racemose and highly intoxicating. Bridgers wanted the songs to represent who she is and what stage she is at: someone discovering their voice and taking the first big steps through music.

The Horrors – V

Release Date: 22nd September

Label: Caroline Distribution

Why You Should Buy It: With Paul Epworth on production duties; The Horrors’ fifth album sees the boys at their most progressive and dark. There is Dystopia (on V) but plenty of nuance and layers. Machine, the lead single, is one of this year’s best: the album is likely to contain the same level of quality and assuredness. This year, for British bands, there have been few standout releases. Few expected new material from The Horrors so, from out of nowhere, the band might well (already) have produced the best British band album of 2017.

Miley Cyrus – Younger Now

Release Date: 29th September

Label: RCA Records

Why You Should Buy It: The sixth album from Miley Cyrus is a more matured and settled affair. She is, and one can tell, happy, healthy and fondly in love. This does not mean her new album is a sappy and saccharine affair. The biggest shift is away from 2015’s experimental, Miley Cyrus & Her Dead Petz. Younger Now, with a more sensible and mature cover, is a calmer and less scattershot work – more focused songwriting and a woman tired of the party, controversy and troubles. The album title seems ironic and clever at the same time – she is wiser and more grown-up; aware of the reputation she still holds. Those who struggle to get past her former image – from Hannah Montana to her infamous Wrecking Ball video – will be pleased to see, before us, a serious artist utilising her Pop and Country roots. Singles Malibu and Younger Now are two of her biggest and finest singles to date. It seems this ‘new’ Miley Cyrus – a '2.0' or a natural maturation – is a lot more stable, secure and likable than some of her former incarnations. I suspect many critics will have some fond words to pay to Younger Now.

‘The Spotify Age’: Music Survival and Growth in a Social Media World

‘The Spotify Age’: 

IMAGE CREDIT: Spotify

Music Survival and Growth in a Social Media World

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I look around the modern music landscape and wonder…

whether there is a chasm and barrier between the underground/new artists and the established best. One of the most heartbreaking things I have seen in music is an artist, Beau Dermott, and the song, Sparkles. It is, by all accounts, a girlish and teenage song that will have its fans. One suspects there will be a fair amount of derision and criticism. She is entitled to release any song she wishes but I wonder whether how impactful any criticism will be. In this piece, I wanted to address two things about the social media age. The first, the way bigger artists and streaming overtakes credibility and talented: the second, how vulnerable and susceptible young artists are to scarring and attack. I’ll bring in a piece from The Guardian - that talked about Taylor Swift’s recent achievement:

“Taylor Swift’s comeback song Look What You Made Me Do has broken three records in its first week of release.

The song, the 27-year-old singer’s first since 2014, was released on 24 August with an accompanying lyric video which received 19m views in its first day, breaking the previous record held by the Chainsmokers and Coldplay.

On the following day, it racked up 8m streams in Spotify, another record; and after the video was released during the VMAs on Sunday it achieved almost 30m views in 24 hours. This gave Swift her third record, beating Adele’s Hello, which achieved 27.7m views. The video currently has over 53m views.

While the song has been popular with fans, it has received mixed reviews from critics. The Guardian’s Maura Johnston called it “a skeletal bit of electropop”, while Pitchfork’s Meaghan Garvey referred to it as “a half-rapped, half-assed airing of grievances”.

It arrived within weeks of Swift’s civil trial against DJ David Mueller, who the singer had accused of groping her during a pre-concert photo. The jury ruled in favor of Swift. “My hope is to help those whose voices should also be heard,” she said in a statement. “Therefore, I will be making donations in the near future to multiple organizations that help sexual assault victims defend themselves.”

Look What You Made Me Do is the first song taken from Swift’s new album, Reputation, which will be released in November. Her previous album, 1989, was the bestselling album of 2014 and has gone on to sell 9.5m copies worldwide”.

This, to me, is what is causing issues on platforms like Spotify. The song, as the piece says, has little to do with overall quality and originality. It is not one of Taylor Swift’s finest songs but that does not seem to matter. So many people have reacted to and, with her fans behind her, the song has broken records. Those records are numbers and figures: they do not correlate with the influence and brilliance of the music. The fact the song has been, it appears, rush-released suggests the writers and producers were looking to cobble something quick for fans. I might be wrong but feel there has been little care making Look What You Made Me Do a properly good song. Every year, there are accusations Pop has lost its edge: it is a market for a limited demographic and does not constitute and define any real sense of purpose. That is an opinion and one I do not fully support. There are great Pop acts out there but much of the terrific music is being reduced to streaming figures and records. The reason I talk so regularly (and vehemently) about this subject is (because) we need to make changes. The fact Taylor Swift’s recent song has gained as much controversy – it sounds a lot like a Right Said Fred track; her recent court case plays heavily into its mythology – as it has acclaim tells you how meaningless streaming records are. If we are, as I see it, in this ‘Spotify Age’; one has to ask the question: Are we going backwards and taking music in the wrong direction?!

There is no denying streaming services provide a platform for new artist to get their music heard – open to the masses and included on some influential playlists. Spotify is a great way of connecting with past music: the back catalogues of the great and legendary are held here. One can – not that they ever should – get the music for free and not have to worry about spending. It is not only Spotify culpable but what worries me is how much emphasis is being placed on records and being massive. Every time an artist like Taylor Swift storms Spotify; it means her fans and followers will think that is the way music should be conducted. She has been mired in controversy – not her fault in many cases – and her recent bout of celebrity has very little to do with what she is producing. She is, as I understand, bringing out an album very soon – I am sure it will do big business and sell by the millions. A lot of the newer artists coming through are struggling to really make the same sort of impact. These musicians, in my opinion, produce stronger music.

The fact it is not receiving the same recommendation and acclaim shows how divided and skewed modern music is. I know how many good sides there are to Spotify and streaming services but there is such a focus on celebrity and success. Every time we hear artists breaking streaming records I always think the same thing: What does that have to do with music? It is a problem that is not going away and one that will divide people. I am pleased there are artists, out there, who can inspire and motivate the young. Taylor Swift’s video broke YouTube records – viewed more than forty-two-million times on the site within twenty-four hours – and that will give strength to a lot of her fanbase. They want to see their idol do well and bounce back after disruption. I am a big supporter of Spotify: I feel it provides more music than other services and is a valuable way to promote new artists. My biggest fears revolve around the sheer gulf between the big stars and those coming through. How effective is it going to be for a new artist putting their music up there? Unless you are on a larger star’s playlist; one wonders how much attention will come their way. As part of the promotional ritual; we see those A-listers put a new track on Spotify/YouTube and watch the view-count rocket.

It equates to a certain sum of money and reward but it means the business side of things – the numbers war – is satisfied. It doesn’t matter if a song is great: so long as it does well on the streaming sites. I know a huge number of artists who want to get their music featured highly on Spotify – to reach wider audiences and show what a great piece of music they have created. I have talked, in the past, as to ways an artist can succeed on Spotify. It is valuable doing your research but I think there should be better (and easier) ways for artists getting just rewards on these sites.

IN THIS IMAGE: The Chainsmokers (one of the most-streamed acts on Spotify)/IMAGE CREDIT: Impossible Brief 

It is right every act should have a chance to be on there: how right is it that those more famous and attention-courting are elevated so much higher than those in less advantageous situations? Some sort of compromise needs to be struck because I am seeing too many artists struggling on platforms like YouTube and Spotify – they deserve a lot better. Is it the fault of the public or artists when certain songs get so many views?! One can say it is part of marketing and everyone has free choice. If people want to download music from their favourite act; who am I to argue? Take recent albums by Queens of the Stone Age (pictured below) and LCD Soundsystem. They might not list after the streaming records but, compared with some of the biggest Pop stars, get very few downloads/streams.

To me; sites like Spotify and YouTube should do two things. They need to offer people the best and more resourceful pot of older music. There is no use putting what has gone before second – these sounds are the reason music has evolved and got as far as it has. More money and time should be dedicated toward putting those legendary bands/artists into the public mindset. It should, as its primary focus, ensure there is a viable and prosperous platform for new artists coming through. Everyone can put a song there but one needs a certain amount of streams until they are verified. Often, the artist’s P.R. people have to push hard to get them any sort of coverage on Spotify. The site does not really do a daily focus on a newer artist – they are chasing that mainstream-dollar and concerned with projecting a certain sense of cool and popular. They compile playlists to fit various moods: if you need a running playlist or songs to chill out to; one is pretty well catered to. I am concerned there are a lot of brand-new artists that see Spotify as a place reserved for those with big teams behind them. That should not be the way. In a future piece; I am proposing a new site/service introduced that makes it easy for smaller acts to thrive: makes the consumer aware of all the greatest new acts; places mainstream artists on the same level.

IN THIS PHOTO: Queens of the Stone Age's Josh Homme/PHOTO CREDIT: NME

Before concluding this piece; there is something else that concerns me about the proliferation and importance of social media/streaming sites. Music, now, is so about getting it on all the sites and making it open to everyone in the public sphere. Anyone can go onto YouTube and Spotify and hear a song. I guess this part is more to do with YouTube but, fitting in with my earlier point about Taylor Swift; it does make me think about the negativity and poison one sees on the sites. In the same way we need to restructure Spotify/streaming sites and ensure bling and reputation does not outweigh talent and promise: should we do more to safeguard those whose music appears on the sites?! I mention artists like Taylor Swift who, for all her success and position is, and has been, subject to abuse and negativity. I have been reading comments on YouTube – for her latest song – and there is so much hate swirling around. It is understandable, when someone gets that much attention and spotlight, there is going to be ridicule and schadenfreude – if their song is not as good as it was hyped up to me. I worry how easy it is for anyone in the world to post something hurtful and unnecessary about an artist. I am going to write about depression and anxiety in music soon – maybe tomorrow – as there is a growing rate among the new generation. I am concerned platforms like YouTube are providing an open pulpit for the lowest to spew their venom at an artist. It is impossible barring every troll and hater; one cannot have their voice silenced and be banned with one thoughtless comment. I am concerned Spotify is advantageous for the elite and privileged: YouTube seems to be a forum where there is as much hate and negativity as there is love. The music is the important thing and, if you do not like a song, do not comment on it. I feel the comment section of YouTube should be reserved for new artists – those less prone to such a violent eruption of vitriol and abuse. Those artists in a mainstream position should have a level of protection.

IN THIS PHOTO: Beau Dermott

I feel, even if they produce a bad song; that does not mean everyone is free to take shots. The kind of barrage certain artists receives every time a song is released cancels out the great feedback. Many of the artists will read what is posted: I wonder how helpful and constructive the comments are and the effect they can have on a person. I have seen friends post videos online (music) and they are great songs. It is disheartening seeing so many offputting comments and sentiments from complete strangers. One of the downsides of YouTube is the ‘like’ and ‘thumbs-down’ approach. I do not see the point of having a thumbs-down – why would anyone willingly allow a person to dislike a video and have that count against an artist?! Spotify has streaming figures but they do not have an option for people to slag off a song. YouTube has just had a lick of paint and looks slightly different than before. The functionality is no different: all the problems remain and the structuring is the same.

PHOTO CREDIT: Unsplash

I do wonder why so little time and human resourcing is dedicated to monitoring comment boards and platforms like YouTube. Another problem I have with it – like Spotify – is how so much stock is put to ‘trending’ videos – those proving most popular. Like Spotify; it is all about the hype and celebrity of the musician. There is little consideration to quality and promise of the music. When we see videos receiving millions of few within hours of going online – what kind of impact does that have on the artist and the unsigned artists who would give their right arm for a millionth of their attention?! Every day; I see a new musician I know posts a video to YouTube. They often plug for views and constantly share that piece. It seems, the same way we are obsessed with social media: artists are valuing the ‘likes’ and viewing counts of YouTube. It seems insane chasing numbers but there is that inherent assumption that, if a song gets millions of views then that will lead to fame and a record deal.

Who is to say, if a song gets a million views (and few dislikes) then that will elevate an artist?! Labels and venues are not monitoring every video that goes online for the best new talent to book. We are confusing popularity and numbers with credibility and respect. Naturally; every artist wants to see their music liked and shared – it means a song connects and makes all the hard work worthwhile. I feel many are becoming abjectly sorrowful and anxious when they see low figures – or the song gets a bad comment or some thumbs-down. How, then, do all these elements present themselves in psychological terms? I am going to expand on this more, later, this weekend because I feel there is something bittersweet and unseemly about sites like Spotify and YouTube. I understand why YouTube is a great tool and how it gets videos/songs to the masses. I wonder how a big artist, when they see a song get big numbers, might be tarnished and hurt when they see any backlash and trolling.

The attention they get seems more to do with their position and fame: there are so many musicians, working in the underground, creating much better music. I worry they are not being afforded the chance to get their music heard and shared. I see so many artists endlessly campaign for retweeting, shares and ‘likes’ – they have a perfect scenario in their head and think, if they do not hit that, then that shortfall means they are inadequate and wasting their time. Spotify, to my ears, could be so much more and do so much more for a whole range of artists. The reason I go to Spotify is to get the best new tracks – for my weekly Playlist series – and the finest older music. I rarely find underground artists on there, simply, because very little promotion and oxygen is provided to them. Do we, therefore, need to restructure and invigilate the most-popular platforms to ensure there is equity, protection and better values?!

IMAGE CREDIT: Laughing Stock

It will take a lot of work but I feel, without making big changes, it is possible to overhaul and revamp in effective and meaningful ways. Spotify spends too much time on playlists and the big artists: YouTube revamps its site; in the sense it makes it look fancier - without really making structural alterations. Is it possible for artists to survive – let alone, succeed – on music-sharing websites?! My concern is there are two levels: the better access and options for mainstream artists: less well-funded and exposed options for anyone new. Getting one’s music shared, promoted and seen should be as easy and effortless as possible. Given the competition and amount of musicians coming in – not everyone is going to find it seamless finding success on the sites. That being said; the way things are right now means finding attention and security on platforms like Spotify and YouTube is…

PHOTO CREDIT: Unsplash

FAR harder than it should be.

TRACK REVIEW: Jhyve - Feel Something

TRACK REVIEW:

 

Jhyve

 Feel Something

9.5/10

 Feel Something is available at:

https://open.spotify.com/album/6vDNG9TNzkUFmQqQlsN9UN

GENRES:

R&B; Soul

ORIGIN:

Toronto, Canada

RELEASE DATE:

11th August, 2017

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A good reason I was keen to review Jhyve is down to the fact…

there is that blend of curiosity and openness. In terms of his social media; he is keen to connect with fans and update them in regards his goings-on and music. I will address other issues soon but, for now, let’s stick with that. One of my biggest derisions is artists that reveal little about their process and background. There are so many out there: not opening up and letting the listener in is a risky business. The Toronto-based Jhyve is someone who keeps the current coming: there is not too much about his past and how he got into music. Maybe that is frustrating but, gradually, one pieces bits about his life together through status updates and lines in the music. The latest smash, Feel Something, does unearth some revelations but it would be nice to know more about the Canadian. I feel there are a lot of artists who assume, as I have said before, that music will do all the talking for them. This is a point I bring up a lot but my hope is to convert people to a more transparent way of recording. Jhyve gives plenty of photographs – always a good and unexpected treat – but it would be good to know what his new song is about; what music he was raised on and some personal details. It would not be too exposing and vulnerable if we learned more about the man. That is something, I hope, is rectified but it is good knowing a little about the man. What does come through is the power and intrigue of the music. Few artists can produce something as powerful and interesting as Jhyve. My next point concerns R&B/Soul mixture and how few artists manage to nail the concoction. As part of my weekly ‘Playlist’ series; I collate all the new tunes from the mainstream – the great songs from the underground included in there. What I find, when looking at R&B/Soul artists is a lack of nuance and originality. Some of your bigger names can pack a punch but there are few impressions made by the new breed.

What I observe is many throw other names into the blend. You would not believe how sore my fingers are when typing out all the songs. The titles are short enough: it is the number of collaborators that make it punishing! I understand it is important collaborating with other artists but, in this day, it seems every new R&B/Urban artist has to throw a host of people into their music. Not only does it look irritating on the page but one wonders how necessary it is. I am not singling out these genres – it happens with Rap and Pop a lot – but it is a problem that afflicts R&B/Urban artists more than others. I feel (these artists) are showing bragging rights and flexing their egos. I do not see the need to put so many people into a song. It becomes muddled and the various performers do not stand out and have a minor role. The song is about the star, really. Unless you are doing a duet; I fail to see how three or four other people really help bring a song to life. There is a cynicism and marketing ploy inherent in this strategy. Putting various names into a song means each of them can share it on Spotify. They can put it on their playlists and various channels – ensuring that song gets loads of views and streams. It has little to do with the quality of the piece: all to do with making a song popular by bringing well-respected artists into a single place. Music is becoming more about marketing and popularity than quality and originality. This is a reason why I object to artists collaborating endlessly: so many people on one song is unwieldy, pointless and cumbersome. Why I mention this is because Jhyve plays in the genres of Soul/R&B/Urban but does not feel the need to drag an array of producers/singers into his music. There are times, I am sure, other people have been involved – Feel Something is a lot more focused and about the man himself.

PHOTO CREDIT: @ellenaturel

One of the reasons I am sceptical genres like R&B and Soul will struggle to gain any headway is the fact a lot of its artists are losing that focus and not penning anything that sticks in the mind. The mainstream best do well but we need the underground acts to step up and up their game. I am excited by Jhyve as he can provide something mainstream and popular without having to compromise his talent and sell his soul. I wanted to talk about the style of music he plays and what it does to the imagination. One gets the straining and yearning strings of Soul greats; the hardcore vocals and intensity of R&B – a blend of colour and passions that gets the heart and body skipping. Another grievance I have with a lot of chart-based R&B acts is the lack of purity and naturalness. The vocals are stuffed through machines and the beats often stilted and stiff. The composition, what there is of it, appears anodyne and robotic; the performance lacking any soul and feeling. The song, essentially, is produced to get people to clubs and parroting the words without realising there is no substance and depth to the piece. Jhyve, as I will explain later, has gospel roots and brings his church teachings into the music. This is a big reason I wanted to focus on the man: there is a sense of sermon and teaching when one experiences his music. What excited me about a song like Feel Something is that it can mix with the chart best but shows a lot more strength and depth than your average fare. Listening to the song; one explores the words and music and casts themselves in the music. Genuinely great music should transport a listener in and involve them in every step of the process. You can imagine the Canadian in the studio laying the vocal down. One can almost hear the between-takes chatter with the producer: getting ideas for a certain nuance and imagining the banter and casual conversation. There is polish and gleam on the track but a pleasing edginess that means you do not witness something fake and shallow.

PHOTO CREDIT: @thisiskjsworld

Later on; I will write a piece about politics in music and the role musicians have documenting what is around them. Living in North America; Jhyve can only sit back and witness what is happening in the U.S. Canada is not as blighted and scarred as the U.S. but the flooding in Houston and the way Trump is addressing it must get to him. Fortunately, in Justin Trudeau (their 23rd Prime Minister) there is someone who knows how to connect with the people and deal with a crisis. I feel, in many senses, the way a nation is run reflects on the people. There is anger and disappointment in Canada but, with stronger guidance and less trouble than America; you get a lot more optimistic and positive passion (than the U.S.). The fire and sense of disgust felt in America is compelling many of its artists to put their disgust onto the page and put it out to the world. It is vital the biggest musicians document what is going on around them. I know Jhyve’s heart goes out to those affected by the flooding but, living in a country where there is better security and authority; his mindset is not as anxious and angered as his neighbour contemporaries. The reason I bring this up is because, as such, one experiences something pure, uplifting and untroubled about the music. So many artists obsess over personal problems and romantic stress. Jhyve is someone who feels betrayal and obsession but does not let it rule and own his songwriting. Feel Something has some negative edges but the overall sensation is of the positive. Maybe that is the striking and colourful music; the compelling vocal and the amount of commitment Jhyve brings to the piece. I wanted to mention euphoric recall and how new songs can bring one’s mind to songs they fell for young. A lot of my early music experience was with the Dance songs of the 1990s. Those innocent and timeless gems got me hooked by music and remain in my thoughts today. I yearn to discover music that can get the body involved but does not have to obsess over sex, revenge and negativity. Although Jhyve does not remind me of the 1990s’ production values and sounds of the time – there is that similar quality and fun.

PHOTO CREDIT: @thisiskjsworld

So many modern songs are directed at the groin and throat. The listener gets overwhelmed by thick production layers and similar-sounding songs. The Canadian master knows what the market wants but does not produce music that sounds exactly like everyone else out there. I get that recollection of my past but find a songwriter who adds a new dimension to R&B/Soul music. Jhyve has Pop edges and some Electronic touches. There is so much going on and, actually, one gets aspects of the better Dance days and the freshness of the contemporary scene. It is hard to listen to Jhyve’s music in a recreational and uncommitted way. He puts so much thought and himself in the music: the listener cannot resist the temptation to pull the music apart and unpick the enigmas. Mixing direct wording with some underplaying mysteries means a song like Feel Something strikes you on the first listen – revealing little secrets and revelations later down the line. I will come to look at Canadian artists but, before then, wanted to address the religious aspect of Jhyve. It is interesting seeing the contrast in Jhyve. There is sexuality and confidence in Feel Something. Violent edges come into some of his music; his Twitter bio quotes lines that state one should kill their enemies with bullets – save love for your mother. One might look at those surface details and assume Jhyve is a rapper who wants to blow his enemies away and get to the top. That would be a misjudgement because, if one digs deeper, they find a very complex human who has two different sides. On the one side; there is that confident artist who wants success and has a wilder side. He yearns for girls and wants a sex life; going downtown and experiencing Rock, cars and jokes with the gang. On the other side of things; he has that faith and calm side that mixes philosophy, pragmatism and level-headed sensibleness.

Whether you see faith as a pejorative or irrelevant in an age where fewer people are going to church – there is something refreshing and unmoving about Jhyve. His natural kindness and compassion for people around him, one suspects, comes from the experiences he has had with religion. I have been looking at some of his Instagram photos – with churches in the background – as he casts his eyes to the sky. He has, as he says himself, toes rooted to the ground: two eyes are looking up and focused. Maybe this means he is grounded and modest but always ambitious and progressive. I feel it is more to do with the importance of religion and a degree of belief. I am not sure how committed he is to the church, and regular attendance, but one hears a Gospel music-like depth and strength in his voice. I feel Jhyve is such an interesting artist as he is open with his followers and sees them as his flock. He is a man still young and finding his way in life. He rides bumper cars – a recent Instagram photo attested he was on the bumpers teaching some fools a serious lesson – and the artwork of his latest song has milkshakes on it. One can well imagine him indulging in innocent and strangely old-school interests. It is almost like Jhyve is a man with his mind and soul in the 1950s: his body and heart set in 2017. There is that part of him that loves the simple pleasures of catting about and hanging with his little sister – she just had her sweet-sixteenth and, whilst it wasn’t a big party and blow-out; she got a lot of love from her brother on her big day. Against the loving and old-fashioned charm of the man is a current and modern soul who is very much part of the world and aware of artists like Kendrick Lamar – guided by his music and aware one does not have to follow the beat of marketing men and labels to create a sound that sounds right to you; fashion music that has credibility and need not follow the pack.

Toronto is a part of the world that has, through the years, produced some sensational music. Drake, Broken Social Scene and Metric are from here: Crystal Castles and peaches hail from those parts. Neil Young, the most-famous son of the area, shows the diversity and quality of Ontario. Emily Haines, Esthero and Cowboy Junkies add to this. Among the great and worthy artists in Toronto at the moment – there are many I could recommend. PUP, proud of their roots, are loud and brash but not vulgar. They can create hooks and Pop-minded songs without selling their Rock/Alternative ethos down the river. The Beaches, named for the East-side Toronto neighbourhood they reside, are an all-female Rock band progressing by the release – they cite Haim as influences – and are growing by the year. Hooded Fang started out about a decade ago and, back then, switch female/male vocals and brought unconventional instrumentations into their music. Since then; they have streamlined and become a more conventional band. They are worthy of your time and one of the strongest examples of what Toronto is capable of. Prince Innocence, Wild Rivers and Rochelle Jordan are a trio of acts that, between them, have made big impressions on the local scene. What I notice about Toronto/Ontario is the diversity of the music. Some parts are limited when it comes sound and genres but Toronto is a bustling and ambitious city that is going to provide music some of the best future artists. Already, we have seen so much quality come from that part of the world. Jhyve is part of the scene and vibes from the talent and mix around him. Fantastic venues such as Massey Hall, Mod Club Theatre and Polson Pier attract the hottest artists to play. I am not sure whether Jhyve is going to remain in the city or has plans to relocate. That is up to him but it is clear there are ample opportunities around him. A lot of artists are limited as to the venues and contemporaries that can foster and push their work – this is not the case with the rising Canadian.

PHOTO CREDIT: @ellenaturel

I will move on but, before I do, a quick nod to the savviness and smartness one gets from Jhyve. That might sound condescending but, at a time when so many people use social media the wrong way; it is refreshing and pleasing seeing Jhyve do things right. He promotes his music but his campaigns are not built around endless tease and enigma. What I mean but that is so many modern artists are ruthlessly calculated with their promotion and often guided by the label. Often, we get snippets of songs and singles promoted endlessly. It gets tiring seeing the big artists spoon-feeding people their music and over-promoting their sounds. A lot of the new artists are guilty of this but Jhyve does not force-feed people endlessly. Instead, one is informed as to the latest happenings (of Jhyve) but there is a nice incorporation of the personal. He has shared updates/statuses about his sister’s birthday and what he does over the weekend. The man likes to let people into his personal life and does not keep it all about business. In this day and age; there is such a fear that, if one speaks about anything but music; they will be trolled and open to abuse. The biggest artists are so cautious when it comes to their Twitter feeds and what they share with people. That can mean musicians are seen as intangible and detached people. This is not what one gets from Jhyve. He is someone that balances the personal and professional and ensures his fans are kept updated of his happenings. At the same time; one is not bombarded by endless updates and useless information. For people like me – who want to know about the person behind music – that is not to be scoffed at. I love the fact Jhyve connects with the people but is someone who is serious about music. Feel Something has been shared and promoted online but I do not feel like we have been inundated with snatches, snippets and teasers. Social media should have that social aspect: too many musicians are using it as a business tool – and not spending adequate time bonding with their followers.

The opening notes of Feel Something mix sounds one would not normally expect in the same locale. There are beautiful, strummed electronic strings that have a catchiness and subtle energy. Interspersed are processed and high-pitched vocals - that means we get an odd-yet-charming blend. It is a curious and exciting introduction one is committed to. A lot of songs (R&B and Soul) might rush in and not expend any time building the song up. Here, we hear a young man that knows how to get the listener hooked without throwing everything into the first moments. He holds stuff back but, in those early moments, there are some fantastic notes and wonderful possibilities. When he approaches the microphone, it seems, there is something heavy playing on his heart. The girl, it appears, feels nothing. Maybe that is a comment on the way she approaches life: perhaps it is the reality of their love and the way the romance has gone. Jhyve feels something when she feels nothing. He is affected by her temperament and the empty nature of her expressions. I guess, in a way, one could perceive it as a lamentation of a love-gone-cold. The two might be drifting apart but, in my mind, I looked wider and saw a person that was drifting away from the pleasures life offers. The girl might have been through the mill and experienced a lot of disappointment – unwilling to project optimism and believe anything good will happen. Regardless; the hero feels all this and wishes she would feel something. Her pains and stresses are being projected onto him. He carries the burden and yearns to change the situation. Our man is “tired of the notion” she cannot feel any emotion. It seems, in this moment, he is revealing what it is like being in a relationship. Were he merely a friend; this sense of upset and anger would not be present. Few artists address love and relationships this way and, by focusing on the sensation of emotional expression, it takes things away from the bedroom and focuses on something deeper.

As the song grows into its skin; my mind changes and different visions spring into the brain. The hero is starting to get his back up and it seems the girl has being like this for a while. She is playing with him and seems to be treating him unfairly. Toying with his heart and messing him about: the song hits back and asks why she cannot be straight and truthful. The language becomes harder and, from that early calm, a notable degree of aggression. The hero keeps his cool but one suspects he has had enough. Again, at this point, there is never a suggestion things will stray into the sexual – talking about indiscretion, the physicality or betrayal. It appears the two have different personalities and the romance has run dry. With the girl on a different page: Jhyve is asking for truth and wants to know why she is treating him this way. Things get revealing and direct only when a couple of glasses have been consumed. The hero takes the girl to her favourite spots and treats her well. All the while; she keeps things inside and never really shows appreciation. Only when the alcohol is out does things get heated and ‘truthful’. The tongue loosens and this is when arguments begin. One can see, as an outsider, the relationship is flawed and doomed but why should he relinquish it so soon? Maybe there is a long history between them and our man is not willing to let things go. It is clear things were good in the past and they had a lot of fun. Now, for whatever reason, the relationship is cracking and things are reaching the end. It is as simple as returning to those older days and reverting to their better selves. The girl is keeping things in and not really feeling what Jhyve is.

Perhaps she is looking at other men or unable to express any joy at the world. That anhedonia is getting the hero down and making him question his good intentions. One might discover influence from Drake in some of the song’s lines. Like his fellow Ontarian: Jhyve knows how to keep things real but project his music in a semi-poetic and deep way. The beats get a bit tighter and processed vocals add background intensity. Composition-wise; things are never too intense and crowded. It is about the vocals and the delivery from the front. As such; one is often treated to sumptuous and captivating sounds. Jhyve is someone, one suspects, who has taken guidance from church performances and, as such, understands the beauty and power of grace. This, mixed with a more punch and direct vocal means Feel Something has a sumptuous bouquet of vocal tones. Following the song and there appear to be few easy answers. I know the two had some good times but something has changed in the dynamic. I found myself looking at the girl and whether she is cheating on Jhyve. Another man might be on the scene but she is taken the hero for granted, to an extent. I know relationships are hard but there is a simple imbalance that means one knows who to accuse. Our hero is keeping his cool but is growing weary of the holding-back and passive-aggressive nature of his sweetheart. Rather than sever the ties and cast her off: the need to get her to open up and talk to him is evident. Towards the end stages; the confusion and hurt do not go away. The verses contrast from the chorus and give the song two different sides. In the chorus; we hear those glorious vocals rise and seduce. It is an R&B/Gospel sweetness that gives those tortured words a sense of beauty and dignity. Verses are more straightforward and showcase Jhyve’s directness and powerful side.

Feel Something is a song that will play on the mind for some time – it does not have simple answers and one wonders how things worked out. Jhyve is not someone who holds grudges: he is not a man that wants to be in a relationship where it is so one-sided. He hugs the girl but gets nothing in return. The betrayal and coldness is getting to him and that is not good. I am deeply impressed by the Canadian artist and how he has developed. Since his mini-album, The Heartbreak Experience, last year; he has grown in songwriting confidence and seems to be incorporating new sounds. I feel that Feel Something is the best song he has come up with. He should be very proud of his latest creation and the strengths it contains. The response from social media has been big and many people are connecting with the song. The sense of familiarity and relatability means it will get under the skin of many. Most of us have been in a situation where love has gone sour – the other party not doing their part and causing hurt. Feel Something contains no cliché and is an original, personal song that comes from the heart. I am not sure if Jhyve is going to release any more song soon but it is clear he is inspired form. If you have not discovered the delights and wonders of Jhyve; make sure you get involved and dig out his music. Feel Something will resonate with those who have been a fan since the start. It is a song that will attract new listeners and outlines a new phase for the young man.

I have talked a lot about Jhyve’s music without talking a lot about the man himself. There are plenty of social media sites/music-streaming options but not a lot of personal biography. Jhyve has an official site but it is more a portal for his other websites – not much about who he is and where has come from. I would like to see all his interviews together and get a window into his early life and the music he was aware of. Seeing as Jhyve has elements of Gospel, Soul mixing with R&B and Urban sounds – that upbringing must have been diverse and interesting! Seeing some of that revealed on the page would give one a deeper impression of a young man who has a sense of the enigmatic. I have stated how he opens his world to the fans but it seems to be aspects of his present. There is little given to the past: this is as important as any part of his life. One does not need to hear his life-story but, a fairly thorough biography, would give people the opportunity of seeing how the young man grew into the artist he is today. I mentioned how a selection of photos is a promising sign – so many artists overlook that and do not provide images. There are few negatives one can put at Jhyve’s feet as he is an artist with a great sound who will go very far. I do wonder, before I nod back to some earlier points, I wonder whether Jhyve is coming to the U.K. at some point. August was a busy one that saw Jhyve promote Feel Something and get it out to the people. It has been exhausting and, one suspects, a time of excitement and new promise. Now, the song is out there so many people around the world will want to see it in the flesh. There are many in the U.K. that would love to see Jhyve play. So many good venues exist that would happily put him up for the evening.

The Canadian artist has a lot of love for Toronto and the people around him. The local scene sports terrific artists and has one of the most vibrant and varied scenes in the world. It is impossible getting to grips with all Toronto music but a cursory search shows the fantastic musicians coming out of the area. I mentioned some of the legends and new artists: a rich array of acts that, I feel, define the wonder and brilliance of the Canadian city. Ontario itself is a diverse landscape – not only about Toronto and what is happening there. Many would forgive Jhyve for staying where is because it seems like there is great support and affection for him. He loves being around his family and, as a young man himself, is still making his way into life. There are many years ahead so no rush when it comes to moving and exploring. Maybe L.A. and New York are areas he would be interested in. Perhaps London appeals or another part of Canada. I will wrap up the piece by urging people to get involved with Jhyve and where he is headed. I am not sure whether an E.P. will arrive before the end of this year but it is clear more music is imminent. I would love to see more come from him as I believe that combination of sounds and lyrical ideas is a rarity. There is a hardness and intensity that means the words pop and explode. Ideas of love and ambition sit with a confidence and swagger few possess. Balancing that is a tenderness and soulfulness that means the music is never too harsh and off-putting. Incredible production and a commanding performance ensure Feel Something is a song as fitting for the clubs and late-night revellers as it is those blasting the sunshine-lit highways.

PHOTO CREDIT: @thisiskjsworld

What I find egregious in modern music is those artists made into disposable and synthetic figures. A lot of labels market the hell out of people and turn them into something fake and hollow. Discovering a real artist that takes control of things is hard to find. I am excited to see Jhyve take-off and grow. He is a brilliant artist who mixes his ecumenical and faith background with modernity and cool that really intrigues. I hear a tender soul that gives thanks to others but, at the same time, has a confidence and sense of ambition that means he will get to the mainstream soon enough. There are few that have his combination of elements and talents. Feel Something is the start of things and a wonderful step from the Canadian songwriter. I am hooked by his social media feeds as one gets an insight into the personal life and day-to-day existence of the man. Alongside this is a passionate and excited human that is pleased Feel Something is out in the ether. I will leave things here but, before then, a look at the strengths of Jhyve’s latest tune. It has that danceable quality that possesses energy and vitality. Modern R&B and Hip-Hop edges sit with Soul undertones. Bringing all these sounds and sensations into the song could be a big risk: Jhyve is a talented and assured performer who handles the responsibilities perfectly and ensures every note gets into the brain. That is it from me so, in departing, it would be good if as many people as possible investigated the Canadian performer and followed his plight. There is a lot more to come: Feel Something is a fantastic song that shows Jhyve is one of the most promising new artists out there. If he does get the chance to come to the U.K.; that means many here will experience a fantastic young artist…

PHOTO CREDIT: @thisiskjsworld 

ON the cusp of something huge.

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Follow Jhyve

  Official:

http://www.jhyve.com/

Twitter:

https://twitter.com/thisisjhyve

Facebook:

https://www.facebook.com/Jhyve/

Instagram:

https://www.instagram.com/thisisjhyve/

YouTube:

https://www.youtube.com/channel/UCMI4X15pgJ8LeEnQe4yTwqg

SoundCloud:

https://soundcloud.com/thisisjhyve

Spotify:

https://open.spotify.com/artist/0HmsavbsOIIyKWdQOyFh2f

INTERVIEW: The King’s Parade

INTERVIEW:

PHOTO CREDIT: Juan José Ortiz Arenas

The King’s Parade

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I think I reviewed/interviewed the boys of The King's Parade…

a couple of years ago – but they have accomplished a lot since then! I thought, that being said, it was worth checking back in and seeing how things were shaping-up. They talk me through the single, Mother Tongue, and what it was like filming the video. Haze, their new E.P., is getting tongues wagging and picking up a lot of buzz – I ask the band how they are taking the acclaim and whether they have grown in confidence since their debut-days.

Looking ahead; the chaps reveal tour dates and what we can expect; the music that has inspired all of them and, as I had to ask, where that band-name comes from. They discuss how the band came to be and what kind of music they take inspiration from.

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

Hey!

Pretty swell. We’ve had a busy week of recording - and we’re preparing for a secret gig in Central London this Thursday!

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

We’re The King’s Parade: a four-piece Alt/Soul outfit from London. We’ve been jamming and living together for four years - and have just released our second E.P.!

Mother Tongue is your new song. What can you tell me about the song and how it came together?

The song came about after going back home for a bit to clear my head.

I grew up in France, and heading back there and seeing where I grew up, reminded me how much has changed over the years. Mother Tongue is about realising you’re losing touch with where you came from. It’s always difficult to get the balance right between moving forward and sticking to your roots.

Ultimately, the person you were will always be within you and it’s important to be aware of that.

The video, shot in black-and-white, looked like it was quite fun. Are videos something you enjoy doing as a band?

We love making videos!

it’s always exciting to see how we can translate what we do musically to film - and we get to work with some amazing people. The difference with this video is that it’s the first time that we’ve shown our faces.

We’ve always been slightly sceptical about doing it because we’re a bit camera-shy, I guess…it felt like the right time (and song) to do it for.

Mother Tongue is taken from the E.P., Haze. It has gained huge praise and featured on some impressive radio stations. Did you expect it to do so well and why do you think the E.P. speaks to so many people?

We’ve been overwhelmed by the response so far...

Of course, we were hoping people would like it as much as we do but it’s always amazing to see how much music can affect people and move them. The more you write and share music, the more you realise that the things you’re writing about are feelings shared with so many people - even the tracks that seemed so personal to you.

We can’t wait to show our fans what we’ve been recording this summer.

Are you looking ahead and writing new material? Are fresh songs forming or are you keen to tour this E.P. first?

Fresh songs are forming all the time, which is great news…ha!

Sometimes, it’s hard to get the balance right between touring/playing and heading into the studio to record new tunes. Generally, though, we’ll know when it’s important for us to keep showing the world what we’re working on.

We don’t want to slow down at all!

Can you take me back to 2012 and your earliest days? How did The King’s Parade come together? Who chose the band name and what is the meaning behind that?

We all met at uni. in York.

Sam (Keys) and I did the same course (Music Tech) and we started playing together to make some cash on the side. We really liked the idea of starting something more serious and, soon enough, our courses were not our top priority. Sam knew Tom (Bass) from back home and Chris (Drums) was already playing with a few bands around town - so we poached him (haha).

Our first rehearsal was in Chris’ bedroom and we instantly all got along. The first song we jammed was Vagabond - and it ended up being the title-track of our first E.P. There’s never been any talk of stopping since then!

PHOTO CREDIT: Arie Van Der Poel

Choosing the name was a long process! We had all kinds of ideas including ridiculous anagrams using the first letters of our names. In the end, we chose ‘The King’s Parade’ because we always used to joke about how strict Chris was about rehearsal times. We would jokingly bow down to him and how we were his ‘Parade’.

Pretty silly really, but we love it!

In your music, I hear snatches of Detroit, Memphis and New Orleans; bits of Alabama Shakes and Leon Bridges. It seems America and its music has a big impact. Would that be fair to say?

Definitely fair to say!

We’re influenced by so many different musicians but we all have a common appreciation for Soul and Blues. The States have produced so many incredible voices and musicians.

We’re looking forward to the day we can bring what we do over there.

PHOTO CREDIT: Wunmi Budo

Who are the artists you all grew up to – before you came into music?

All sorts!

My mum was a Beatles, Led Zeppelin and Queen fan. My dad was into his Jazz and Blues - so he was listening to Ray Charles, Aretha Franklin; Ella Fitzgerald, Nina Simone…etc. In-between all this, I was listening to the Chilis, Linkin Park and Jeff Buckley. So, it’s fair to say, I was exposed to a fairly broad selection.

Luckily for me...it was only the good stuff.

Is it true you used to play on a Hawaiian cruise ship? How did you get roped into that and was it, like you cheekily allude to on social media, your Beatles ‘Hamburg days’ rite-of-passage?

Yes, it’s true!

It’s the first thing we did after we came out of uni. We wanted to make some money to move down to London - but we couldn’t face the idea of not playing together for that amount of time. We thought, the best thing to do, would be to apply to be the house-band on a cruise (and we got it!). Haha.

Well; it was definitely a rite-of-passage! The playing was non-stop and we had to nail a hell of a lot of tunes. Playing every night for three-months-straight definitely makes you tight, if nothing else!

Since then, you have done less impressive gigs like Secret Garden Party and some big festivals. Is touring and performing at big events something you all love doing? How important are these gigs when it comes to testing and strengthening your music?

Yep. It was all downhill from there!

Playing those gigs is what we work towards. It’s the best feeling. At the end of the day, you can’t beat the feeling of seeing people react to your music right in front of your eyes. Our fans are amazing - which helps a lot, too!

Listening back to your slightly old material like Vagabond (E.P.); it seems Haze, and your new single, shows you have incorporated new sounds and got tighter as a band. What would you attribute this to?

We all live together in London and play, basically, every day in a shed - in our garden. Over time, we’ve experimented with new sounds and ideas. The songs are evolving all the time - as all art does. With these progressions and changes come new sounds and textures.

PHOTO CREDIT: Wunmi Budo

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

Yes!

We’re heading off to Germany at the end of the month for a few days to start touring our second E.P. We’ll be tackling the rest of Germany - as well as the U.K. - and others later in the year. You can check out all our live dates on our website.

Until then, we’re playing a secret show this Thursday in Central London (see Facebook) - and we’ll be playing an intimate show at The Hospital Club on 6th September - with some amazing friends of ours.

Are there any new artists you recommend we check out?

Too many to name!

We have our own Spotify playlist - where we put up all the new artist we love listening to at the moment - and it’s updated weekly.

Go check it out on our Spotify page!

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

Olly: Jeff Buckley - Grace

Possibly the main reason I started writing and playing.

Sam: Ben Folds - Songs for Silverman

My brother introduced me to this and I became completely obsessed. I learned every part (not that I could play all the instruments...) which sparked an interest in recording when I tried to re-record the album by myself - not to be heard by a wider audience.

Tom: Alabama Shakes - Sound & Color

It’s just that one album I can listen to over and over again without getting bored: I learn something new every time I listen to it. An absolute cracker!

Chris: Radiohead - Ok Computer

The first album that really caught my imagination, lyrically.

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

If you genuinely believe in what you do: you have nothing to worry about. It’s a long road but persistence and hard work will get you where you want to be. If you love what you do, you’ll stop at nothing.

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).

Olly: Go on then…Jeff Buckley - Lover, You Should’ve Come Over

Tom: Over My Head by Alabama Shakes (those vocals, though!)

Sam: Always love when this song comes on! A classic but, hopefully, this will introduce it to someone out there: Go Your Own Way by Fleetwood Mac

Chris: Sweet. I'll go for Subterranean Homesick Alien by Radiohead

____________

Follow The King’s Parade

Official:

https://www.thekingsparade.com/

Facebook:

https://www.facebook.com/thekingsparade/

Twitter:

https://twitter.com/thekingsparade

Instagram:

https://www.instagram.com/thekingsparade/

YouTube:

https://www.youtube.com/channel/UCSHOW4mAYp8pk48OHpd8i1Q

SoundCloud:

https://soundcloud.com/thekingsparade

Spotify:

https://open.spotify.com/artist/2LW1ekjQ6U5UyxcD5crwXk

INTERVIEW: Frida Sundemo

INTERVIEW:

 Frida Sundemo

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MY fascination with Swedish music is hardly helped…

PHOTO CREDIT: Joel Humlén and Linnea Sundemo

when I encounter someone like Frida Sundemo. Her new single, Gold, is out tomorrow and it seems her album, Flashbacks & Futures, is going to be a cracker! She discusses the album and how influential space – and the cavernous mystery of our universe – strikes her creative heart and compels her imagination. Sundemo talks about composers like Hans Zimmer and John Williams; how producer Joel Humlén helped add new dimensions to her work – and what tour dates she has approaching.

I learn about the artists/albums that affected Frida Sudemo at a young age and what the music scene in Sweden is like. She talks about past successes – and what it feels like hearing her music featured on T.V. – and whether there are any plans on coming to the U.K. very soon.

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

Hi, there!

It’s been really good, thanks - a mixture of baths in the ocean and preparations for the album release.

I just shot the music video for my next single, Gold! 

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

I’m an artist, producer and songwriter from Sweden who’s been making music for some time now. I’m in love with symphony orchestras as well as minimalistic Techno music - and pretty much everything in between. 

Flashbacks & Futures is out on 6th October. What kind of themes and inspirations go into the album?

I’ve gotten a lot of inspiration from sci-fi movies: 2001: A Space Odyssey, Interstellar and Gravity. It’s about the small human in a gigantic universe.

I’ve written the music for big orchestras - even though the final sound of the album isn’t exactly that. But I love to dream big, think big and write big: as long as the small and fragile finds it place too. 

I know (outer) space is something one hears throughout. The compositions have that stellar, quasi-intergalactic grandeur. How influential is space and its mystery to the scores and lyrics?

A lot.

I’m happy to hear you get that feeling! I love writing music to video clips of space. Sometimes, I just search for ‘travel through space’ - or something like that - on YouTube.

Other times, I put on a specific, inspiring part of a space movie. 

Is the universe something you have always been interested in? Were there any films or people who fostered that love?

I have a special memory from when I was about twelve-years-old.

I was in the Scouts and we were just about to fall asleep under the bare sky one summer night. I was looking at those millions of stars up there - and realised that we’re actually traveling through space then and there.

It was really overwhelming and I found it so cool that I (along with the rest of the population of the Earth) am a space inhabitant. 

I hear elements of Hans Zimmer in your work. How important are composers like him and the work they have done?

It’s really important to me. I just love it so much and get so much inspiration from them!

John Williams and Hans Zimmer are my heroes (since childhood) and Thomas Newman is a more-recent favorite.

I love it how they maximize the beauty and the mightiness without compromising. It’s like really good Pop music - but in another genre, obviously.

Are there any particular songs from the album especially meaningful and important to you?

They all are; in their own ways, of course.

But, the prelude and the title-track mean a lot to me - and say a lot of the process of writing the album. Circles is special to me, too - and To The End and Back which my awesome sister, Neamo Kid, is featured on. 

What was it like working with (producer) Joel Humlén on the record? What does he bring to your music?

We’ve been working together ever since the Indigo E.P. in 2013 - so we know our ways in the process, I’d say. He’s such a multi-talent and creates the most beautiful melodies, lyrics and harmonies.

He’s also a very good (and fast) producer and shares my love for the mix of cinematic orchestras and Electronic music. 

PHOTO CREDIT: Joel Humlén and Linnea Sundemo

You are a Swedish artist so must be influenced a lot by the people and place around you? How important is Sweden and its energy? What is the music scene like there right now?

There are a lot of people to look up to in the industry, which is great. I think that helped me believe in myself - especially when I started out producing.

It’s really inspiring that more and more female producers and songwriters are on the rise. 

Can you reveal the artists and albums you grew up listening to? Was there a particular musician that sparked that love of music?

My first album was Very by Pet Shop Boys. I bought from my big brother - the same brother showed me Hans Zimmer a few years later.

I also listened to Depeche Mode, Green Day; Weezer, The Strokes; Oasis, Coldplay; Phoenix and many more. 

Since 2010 – when the debut album Dear, Let It Out was released – you have performed in films and had your music played on big T.V. shows. You signed to Cosmos Music and delivered terrific singles like We Are Dreamers and It’s OK. What are the best memories from your career and does it seem crazy the success and evolution you have seen?

Wow, thank you!

It’s hard to pick certain moments but everything from signing my first record deal, to getting thrown into the shooting of the movie, Kill Your Friends; to live shows with amazing people in the audience.

Sometimes, it strikes me when I find myself in a strange place somewhere in the world - that I wouldn’t have been there if it wasn’t for my music.

That is awesome. 

Are there any tour dates later in the year? Where can we see you perform?

I’ll do some closed showcases in N.Y.C. this September – but, also a charity show called Give a Home. It’s a collaboration between Sofar Sounds and Amnesty – in order to support refugees all around the world.

Apart from that, I’ll do shows in London and Sweden later this fall (but haven’t set any dates yet!). 

IN THIS PHOTO: Ólafur Arnalds

Who are new acts you recommend we check out?

I have to admit that I’m not the best person to check out new music (even though I get inspiration from it when it happens!).

But, if you haven’t heard Ólafur Arnalds yet, you should definitely check him out! 

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

Citadel Band by Loney, Dear

When I first heard it, it inspired me to write and produce music like no other album had done before. Ignorant Boy, Beautiful Girl is still one of my favorite songs in the world. 

Parachutes by Coldplay

I remember the day when my brother sent me Yellow.mp3 (a song by a cool Indie band from the U.K.). I fell in love with the whole album, instantly, and I still listen to it every now and then (but on my vinyl player instead of on WinAmp. Haha). 

OK Computer by Radiohead

No words needed. 

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

To dream big and to have fun - and to not overthinking things (but trust their gut-feeling). 

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).

Regra Três by Dóris Monteiro

It’s my happy-song! 

____________

Follow Frida Sundemo

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INTERVIEW: Sally Caitlin

INTERVIEW:

 Sally Caitlin

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THE past couple of years have been exciting and productive…

for Sally Caitlin. The Manchester-based songwriter talks about her E.P., Experiments, and her latest track, Déjà Vu – it is a fun and memorable video that brings the song’s messages and story to life. Being such a talented, yet developing songwriter; I wonder how she got into music and whether there were any particular artists that inspired that choice.

Sally Caitlin discusses Manchester as a base and whether she feels rooted there;  what gigs and plans are approaching and why she left a degree in Chemistry to record uplifting and deep Pop music – a revealing and passionate interview from one of Manchester’s bright young songwriting talents.

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

Hi! My week has been great, thank you.

I started filming the video for my next single - which was really fun!

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

I’m a singer-songwriter from Manchester who makes Electronic-Pop music with a bit of an edge. I like to write about my own experiences - and use my music as a way to give my fans an insight into my emotions and experiences.

Tell me about the song, Déjà Vu. What inspired the track and was there a particular moment/person that was in your mind?

Déjà Vu is the third track on my Experiments E.P. and is, probably, the most summery and fun song (from the E.P.). I wrote it last summer after I found out that one of the people closest to me had been lying to me and hiding a lot of things. It was a total shock for me and came just after the breakdown of the relationship I had been in. 

Writing the song was easy for me as I could use the conflict and the break up to draw from - and I was able to channel all my frustration and anger into my music. It was very therapeutic actually!

The video looked like it was a ball. Whose concept was it and is performance, in a video, something you took to pretty easily?

The video really was great fun to make: partly because of the concept but mainly due to the team I was working with! I was working with Cosmic Joke, a production company from Manchester, to film videos for all the tracks on my E.P. – so, they pitched all their concepts to me and I loved them! I’m obsessed with neon lighting and I have light-up shoes; so I was very excited to wear those for Déjà Vu. 

I’m definitely not a natural in front of the camera, though, as it seems to take away all my confidence - making me feel very awkward! However, the guys at Cosmic Joke were so great with coaxing me out of my shell!

Déjà Vu is from the E.P., Experiments. Was it easy putting the songs together or was it quite emotional? How much of the music was inspired by relationships and the ups-and-downs of them?

Songwriting, for me, is a great way to release negative emotions and create something positive from them – so, although the songs are quite emotional, I found writing for the E.P. very enjoyable, not difficult. I always write about my own experiences and, for the Experiments E.P. (and the album that will follow); I wanted to do a concept record with a narrative running between the tracks. 

The E.P. chronicles different stages in a toxic relationship - and is inspired by more than one person from my life.

Take It All and Lead Me Down are from the E.P. – and songs that really show your range and full talents. What has the reaction been like to those songs and is it quite confidence-boosting hearing great feedback?

Take It All and Lead Me Down were the first songs that I released with my new, more mature sound - so I was, originally, very nervous about the feedback. I knew this was the direction I wanted to take my music in but I didn’t know how the fans I already had would react. 

Luckily, it seems like the response has been very positive - which is encouraging moving forwards. I’m always pushing myself to make better music and I use the feedback I get from fans and blogs to inform my decisions.

I have recently started to produce my own tracks; so I think the best is yet to come!

You released the single, Stuck in Limbo, not long after completing your degree in Chemistry (at the University of Nottingham). What promoted that drastic career move and, in a way, is there a link between what you learned in the degree and your songwriting process?

I made a deal with my parents about having a backup plan - and that’s where the degree came in. I never intended on pursuing a career in chemistry despite loving science - as my heart has always been set on music. It is great to have the security of a degree, though, and I learned a lot. 

In terms of my songwriting process; I am very methodical and logical in the way I approach writing – which, most likely, came from pursuing music and science together for years.

Can you remember the artists that inspired you at a young age? What kind of music were you raised on?

When I was really young, I loved all the Pop princesses like Britney (Spears) and Christina (Aguilera) but, as I grew older, it was artists like Nirvana, Fleetwood Mac and Pendulum who shaped my tastes – very varied, I know!

I think I would credit John Mayer for my interest in songwriting though – as, when I discovered him at the age of fourteen, you couldn’t get me off the piano!

Manchester is where you are based. How important is the city and what is it like for a young songwriter there?

It’s obviously a hugely important city in terms of music and also industrial history... 

It’s a great place to be based in general as the vibe is so vibrant and friendly I really love the city (not the weather) and feel very lucky to come from such a well-known music hub. 

However, I think it is a better place to be for an Indie/Rock band than a Pop artist - which can be difficult as I don’t have what you’d call the typical ‘Manchester sound’.

You have gained a lot of exposure and love from stations there. How important is that local representation and do you think it is the most fertile and important music city in the U.K.?

Local representation is always key as it helps you build that home fanbase - which is essential!

I love radio interviews and performing live acoustic sessions and I’ve been lucky enough to have had the opportunity quite a few times in the North West. I do think Manchester is an important music city and always will be, however, I think for my genre of music; I think London is where a lot of the exciting things are happening. 

I’m looking at moving down in the near-future - which pains me, as I’m a Northern girl.

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

I’m playing at Salford University’s Eco Africa event on 22nd September, and then, at Underbelly in Hoxton Square on October 11th. At the moment, I’m filming a lot of videos and working on a new stage set-up; so I am not gigging as much as usual - but I’m looking forward to booking as many as possible when everything is in place!

Already, you have achieved a lot and accrued thousands of fans. Are there dreams as-yet unfiled? Are there any big ambitions and plans ahead?

For me, it’s always been about reaching as many people as possible with my music; so there are huge ambitions that I haven’t even come to close to fulfilling yet.

My ‘end-goal’ is to be a major touring artist - but I am nowhere near there yet - so I make small targets and focus on completing those and keep pushing forward. 

My next big event will be the release of my album next year - so that’s a big focus right now.

IN THIS PHOTO: China Lane

Who are new acts you recommend we check out?

China Lane are a Manchester band I see busking on Market Street a lot and they are great!  They have been played on BBC Introducing and are now supporting Sigma (so seem to be smashing it!).

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

John Mayer – Where the Light Is (Live in Los Angeles)

I love live albums and this one was how I discovered John Mayer and his amazing songs. It’s probably the reason I started writing more seriously and I credit where I am today to this album.

Pendulum – Immersion

I’m a huge Pendulum fan and I love the way they mix strong melodies with the heavy drops. They were amazing live (when I saw them) and I found this album was what got me more interested in more Electronic music.

BANKS – Goddess

I’m obsessed with BANKS: I think she is an actual songwriting genius. I like songwriters who see things in a different way to me and write lines I would never have thought of.  I think BANKS is great at that - and the dark production on her tracks is just perfection to me. She has massively influenced my upcoming album and helped me solidify my identity as an artist.

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

Work out your end-goal and then work out the steps you need to take to get there - focus on the smaller steps instead. Don’t beat yourself up if you don’t reach a goal and keep pushing. 

Try and soak up knowledge from everyone around you – as I think learning from your mistakes and other people’s successes and failures is the key in this industry.

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

Ooohhh.

It’s got to be BANKS – Beggin for Thread!

_____________

Follow Sally Cailtin

Official:

https://sallycaitlin.com/

Facebook:

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INTERVIEW: Elijah James and the Nightmares

INTERVIEW:

 Elijah James and the Nightmares

________

HOUSING an eight-piece band must be, I imagine…

quite a feat. Seeing them on stage quite a spectacle. Interviewing them via email, that said, is a lot more feasible and less tangible. I speak with the group about their E.P., Live at Elevator Studios and working with Tom Roach on the project. They discuss how it all came together and, indeed, how Elijah James and the Nightmares came to be. I learn more about the demands of a large band and how various players add to the mix; the albums they all hold dearest and some new artists they recommend to us.

In addition; the guys chat about their upcoming E.P. launch at Parr Street Studio2; what the mood in camp so far is like and what the future holds for them all.

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

Elijah: Hey there. We’re doing pretty good, thanks.

We're excited about our E.P. launch on 8th September - that is fast-approaching. August has been spent preparing for that, really - sorting out all the merchandise and C.D.s.  

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

We’re Elijah James and the Nightmares: an eight-piece Alternative-Rock band from Liverpool, U.K.

We’ve just completed a live E.P. entitled Live from Elevator Studios - which we are releasing on 9th September. It features a range of instruments; some of which include violin, tenor horn; saxophone and clarinet.

Matt: I'm Matt Kearon and I play bass in Elijah James and the Nightmares.

James: James Cudworth: Guitar and Woodwind. I also have a little keyboard - which I noodle about on from time to time.

Rach: I’m Rach and I play the tenor horn.

Gareth: Gareth. I am the drummer.

Emily: Hello. I am Emily and I play the violin

Nat: Hi. I'm Nat and I play keys.

On a Stage (Live from Elevator Studios) is your latest video. What was it like filming it and what was the reason for choosing that space?

Elijah: We chose to record in Elevator Studios for a few reasons: one being the fact that everything I’ve listened to that’s been recorded there sounds really great. It also has a magnificent and massive live-room which was ideal for our band - especially because we were recording it all live. This helped with the filming aspect of the video, also - as it provided Dom and Sacha (from Half Cut) the ability to move quite freely and easily around the room - to capture some more interesting angles.

The experience of filming it was, admittedly for me, a little daunting as I hadn’t ever done it before. Dom and Sacha are true professionals and great guys to work - with which made the experience much easier and more natural.

Matt: Filming was great -  it was the first time we had ever recorded together and this was the first song we recorded. To have the videographers there as well just created a bit of a buzz and a load of energy - I think that really shows in the videos and the recording itself.

Gareth: Well. I’ve been lucky enough to record in Elevator on a few occasions: once, also, recording videos and it really is a great space with a really interesting vibe. It always feels nice and open there - which is useful when you’re trying to squeeze an eight-piece band in!

That Girl of Mine – at the same location – is out, too. Are there going to be more videos coming in the next few weeks?

Elijah: That Girl of Mine is one of two videos we filmed in the studio - the other being On a Stage.

On a Stage came out on 18th August and That Girl of Mine came out on August 25th. Tomorrow; the E.P. will go online to stream - for the week leading up to our launch.

These songs, as I suspect, will form part of your Live from Elevator Studios E.P. Can you tell me about the filming and why you chose to release an E.P. like this?

I’m currently in the process of working on a full-length L.P. and, because I’m doing the whole thing myself, we needed something that we could release whilst I was working on that. We decided to record a live E.P. as we wanted to capture the way the band sounded as we performed.

It didn't need to be polished or edited: it just needed to be us in a room. Credit goes to Tom Roach who engineered that day and managed to capture just that.

What were the influences, in terms of themes, that compelled the music? How much of 'the personal' went into each song?

In terms of the writing process for these songs; there’s an obvious mix for me - of more personal songs and songs that inhabit fictional characters and worlds. This method of writing was something I wanted to experiment with as, in the past, songwriting for me acted as a kind of personal therapy - in which, writing songs helped me deal with various things like anxiety and depression.

That, however, is not to say the stories in the songs are a-million-miles away from how I was feeling at the time of writing them - they just remove me as the main protagonist.

You are launching it at Parr Street Studio2 on 8th September. Are you looking forward to that night? Who else is on the bill with you?

We’re greatly looking forward to the E.P. launch and we’re elated to say we’ve managed to get our good friends Shy Billy and The Mono LPs to support us on the night.

I think, however, I’m more excited to sit at the merch. stand and show off our first batch of T-shirts (than anything else)!

Gareth: Yeah. Studio2 is a great venue: one of many in Liverpool that are really keen to support the local music scene. We’ve played there once before and really enjoyed it - so we’re looking forward to being able to headline there.

Hopefully, we can really make this space our own!

Tom Roach recorded the E.P. What was it like working with me and the supporting players that helped add to the sound?

Elijah: Tom is an incredible engineer and just so happens to be also one of the nicest guys we’ve met! Working with him is just so stress-free. He creates an environment in which you can feel totally comfortable – which, when recording I think, for me, is the most important thing.

Matt: Tom was an incredible engineer: he really got to know us, made us all feel so at ease and he just understood, straight away, what we wanted.

There are eight of you in the band. Can you tell me how Elijah James and the Nightmares came together and how it easy it was to gel in those early days?

Elijah: In theory, we’re still very much in the ‘early days’ - our E.P. launch will be our second full-band show. That said, however; for me, it’s all felt very easy and natural from the first day we started practicing. We all knew each other before in some way through various other friends - and have all been involved in other projects around Liverpool for a few years.

It just turned out everybody was available at the time I was hoping to start something up.

Matt: I was the fourth ‘Nightmare’ in - after James, Simon and Gareth - and that gave us the base of the band. We all gelled really quickly - I think it helped because, by this time, E.J. had the songs at such an advanced stage. It was really easy to get to know them.

Then, when Emily, Rach and Nat came in; it just clicked instantly. That first practice we had with all eight of us (which is a mammoth task to arrange in itself) sounded incredible - it really felt like something special.

Each of you has a different talent and plays a different role. Is it quite hard writing songs as a unit? What is the songwriting process like?

Elijah: In terms of this collection of songs, I had already written the majority of the parts before the band was together. That said, we’ve already been working on a couple of new tracks and it’s been very easy.

I think the fact everybody has, in some way or another, worked together before on other projects has definitely helped make the writing process feel unconstrained.

Gareth: Elijah seems to have a really good talent for creating musical landscapes in his head. Generally, the rest of the band’s job is quite easy - as we’re mainly just trying to bring those ideas to life. There’s always room for experimentation, though, and it’s always great when a new song gets brought in - because Elijah's writing comes in such a variety of styles.

Who are the artists you all take influence from when recording your music?

Elijah: I’m a big fan of songwriters like Neil Young, Joni Mitchell; Elliott Smith, Mark Everett; Nick Cave and Sufjan Stevens.

Lyrics are my thing: good poetry that I relate to.

Matt: I’ve always loved the D.I.Y. ethic of The Cribs.

I feel they always stuck to their guns and done what they've wanted to do, their own way. Their new album was recorded live, in five days, and just went top-ten – and I think that really refreshing; it shows you don't need huge labels and tonnes of radio-play to be successful-  you just need to roll your sleeves up and work hard at what you love… and, eventually, it will pay off!

Rach: Tom Waits, Eels; The Beach Boys, Arcade Fire; The Beatles, Radiohead.

Bands and artists who are distinctive but can also have a completely different sound from album-to-album - or even song-to-song.

As a tenor horn player; there are a lot of players who influence me but Sheona White is exceptional; she just has the most beautiful sound – I feel like I have to run and practice after listening to her.

James: After recording the E.P.; I think we all agreed that the live recording method worked well for us. The recording approach of classic session artists such as The Wrecking Crew and, even, The Funk Brothers influenced the way I felt about getting in the studio together.

I’d also been watching a lot of VULFPECK videos before we went in and, even though the sound is completely different, it really got me in the mood for a live session.  

Gareth: When I go into the studio, I always think about those artists and albums that manage to capture a really solid aesthetic that compliments the songwriting.

Albums like London Calling or Rumours are classics: more recently; Goodness by The Hotelier and the latest Band of Horses record stood out to me. I’m really looking forward to recording more with the band to try and achieve similar things.

Emily: I am a Classical violinist by day so am inspired by people like Nicola Benedetti and Itzhak Perlman - who are at the absolute top of their game. I also love listening to live Stephane Grappelli stuff - as it’s so complex and always pitch-perfect whilst maintaining a whimsical, scrappy feel.

Nat: I have always loved playing Blues piano - especially anything that has hailed from New Orleans; therefore, the likes of Dr. John, James Booker; Allen Toussaint and Professor Longhair have given me plenty of material to try and emulate when playing.

I broadened my horizons a little now: generally, anything catchy with some great vocals and musicality. I love playing the Hammond organ; experimenting with the different sounds you can create when altering the draw bars, Leslie, and percussion - allowing you to change the whole feeling of a tune instantly.

How is the tour diary looking? What dates do you have coming up?

Elijah: We currently have a gig booked in October that hasn’t been announced yet. We’re also in the process of booking more towards the end of the year around the U.K.

IN THIS PHOTO: COLOUR

Who are new acts you recommend we check out?

Other than the two bands we have supporting us (Shy Billy and The Mono LPs); from Liverpool, I’d recommend SPQR, COLOUR; Astles and The Cheap Thrills.

Matt: I really liked The Magic Gang and superfood when I saw them at festivals over the summer. Not necessarily a new act, but The XCERTS’ new song Feels Like Falling in Love is the perfect Pop song.

IN THIS PHOTO: The Magic Gang/PHOTO CREDIT: Rosaline Shahnavaz 

Rach: AbiChan, Blaenavon; Astles, George Cosby and The Magic Gang.

James: Have a listen to Holy Moly and the Crackersss: they have a great, unique sound and unbelievable energy on stage.

Gareth: I’ve been listening to the new Charly Bliss record a lot. It’s got a stunning energy to it that you don’t find that often.

IN THIS PHOTO: AbiChan

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

Elijah: Joni Mitchell - Blue

That record’s my miracle cure.

Matt: Sleep is for the Week by Frank Turner

If I'm ever stuck for something to listen to; it's always the first album I go to - I feel like I can relate to every song on that album. It, basically, soundtracked my teens and early-20s.

A close-second would be A Grand Don't Come for Free by The Streets - for the exact same reasons!

Rach: If I have to pick just one, I’d go for Eels - Blinking Lights and Other Revelations.

I think it’s a masterpiece; not to mention an emotional rollercoaster. There’s a song for every mood and it’s just so personal. I could listen to it over and over.

James Cudworth: Bruce Springsteen’s The River

Oh man: what a great album. Steve Van Zandt’s approach to production really captures the energy of a live performance. I feel a connection to every song. I remember first getting given the record by my dad. I was signed-on at the time, looking a job straight out of school - and the stories about the struggle of work and relationships, in economically trying times, really stuck with me.

Gareth: It has to be Paul Simon’s Graceland

The songwriting is something else and the arrangements have such beautiful variety. I remember it being on in the car growing up and it’s always been a go to record for me. More recently, Tellison’s Hope Fading Nightly is a real masterpiece - for the disillusioned millennial that hides away in us all.  

Emily: So difficult! Probably, at the moment, A Larum by Johnny Flynn – although, it probably changes daily. Other strong contenders are Frank by Amy Winehouse; Salad Days by Mac DeMarco - and, basically, anything by Kate Bush.

Nat: Tough one. I love live albums. Just hearing how the audience is reacting to the music and, of course, what's happening on stage can be hair-raising! Because of this; James Brown (and The Famous Flames) Live at The Apollo or Johnny Cash At Folsom Prison win it for me!

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

Elijah: Just stay as true and as honest as you can towards whatever it is you set out to achieve from the beginning.

If it’s not everything you think about, day and night...it’s probably not worth it.

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).

Elijah: Joni Mitchell - A Case of You

Matt: The Xcerts - Feels Like Falling in Love

Rach: Eels – It’s a Motherf*cker

James: VULFPECK - Animal Spirits (for those feelgood vibes)

Gareth: Enemies - Indian Summer

Emily: Randy Crawford – Street Life

Nat: Donny Hathaway - The Ghetto

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Follow Elijah James and the Nightmares

Official:

https://elijahjamesandthenightmares.com/

Facebook:

https://www.facebook.com/ejandtn/

Twitter:

https://twitter.com/EJANDTN

Photogram:

http://photagram.org/user/ejandtn

YouTube:

https://www.youtube.com/channel/UCL_coC_N5kLJ-AcbMh3I_fg

Spotify:

https://open.spotify.com/artist/6b9Gn8cVy6UJrYWGIu2ZIU

INTRODUCING: Skott

INTRODUCING: 

Skott

________

OVER the weekend; I hope I can find time to…

PHOTO CREDIT: Ken Grand-Pierre

collate the finest artists playing in Australia – a part of the world I do not examine nearly as much as I’d like to. Before then, and, with a duty in mind, I wanted to highlight an artist who, to me, seems to represent all the good things about modern music. I will collect interview snippets and biography about Skott; a selection of her tracks/videos (at the end) and why she is someone to watch closely. In the coming weeks, like my Globetrotting series, I am going to bring some great artists into the fold. There is something teasing and mysterious about the Swedish artist. She is gaining traction in this country – thanks to her incredible songwriting and dedicated P.R./promotion teams – but, it seems, there is even more to the eye than one might imagine. It would have been easy for Skott, arriving from a modest community and background, to play a simple and aimless brand of Folk. At the weekend, again, time-permitting, I want to examine the rise of singer-songwriters and whether the acoustic/Indie movement is coming back – and whether artists like Ed Sheeran are taking it in the right direction. I have a lot of fondness for Folk artists – Billie Marten and Laura Marling, between them, have created two of my favourite albums in recent years – but, outside of that, I look for artists who manage to bring colour, contrast and eclectic insight into their music.

Skott is an independent and intuitive songwriter who does what is best for the song. She does not follow the patter and direction of the mainstream. Heavyweight Pop stars like Lorde and Katy Perry are fans: between them, the former especially, is no stranger to defying convention and producing an intelligent and mature brand of music. It is kudos and encouragement to Skott she has that patronage but, to be fair, she has earned her stripes the honest way. Rather than flaunting her (very obvious) natural beauty and femininity: the talented songwriter is the embodiment of the Antifolk movement that, thankfully, is starting to grow. Against the gloss, glitter and glamour of the mainstream; rather ironically, a song like Glitter & Gloss is a song one can compare to few others. There is an aspect of the legendary and established Pop/Electro scene in Sweden. Skott, someone who spends a lot of time here, takes aspects of classic Swedish Pop with their modern Electro; aspects of British Folk and American Pop. It is a kinetic, compelling and sense-heightening creation from a songwriter, you know, takes time to craft and consider elegance. The physicality, rush and unexpected intensity of the track grabs sunshine, sexuality and sensation together: drips in a suggestion of gasoline and sets the mother*cking thing alight! A summer-ready song that, rather unsurprisingly, has received healthy radio-play since its release – the fact it was released late in January was a premature, but confident, slice of summer.

IN THIS PHOTO: The cover art for Skott's latest single, Mermaid

Porcelain, the debut single, was a more beautiful and fragile bird. The rare and unique lyrical impressions, matched with a combination of Pop edge and Folk tenderness, is a song that addresses the fragility of structure and certainty. Even if one constructs and carefully curates a trust and relationship it can, for instance, break and shatter without warning. Lesser artists could throw cliché and tropes into a song lazy of composition and nuance. In many ways; Skott is a younger and less eccentric version of Björk. Mermaid, the new and already-celebrated track from Skott, is getting a massive amount of love from social media and journalists alike. Whereas earlier songs have emphasised the beats, electronics and sonic mood: here, there seems to be a bigger role for the voice. Skott, in all her peacock-like plumage, spreads her voice to create a song, at once striking and rushing; the next, sensual and ruminating. The song, in the manner its vocal soars and the composition creates tapestry and visions – and some typically assured vocals – reminds me, in a good way, of Björk and her innovations. It is hardly a shock, considering Skott was raised in a forest commune with musical outcasts, she has the dexterity and resourcefulness to find nutrition, sustenance and guidance from resources around her. In her mid-teens was the first time Skott experienced the rush and activity of the city – that, contrasting her more rustic and impressionistic lifestyle. One hears these disparate lives combine in songs like Mermaid. From a young woman who, during her childhood, would have been surrounded by a fair degree of art and storytelling – I can see where her she has gained those skills and qualities.

PHOTO CREDIT: Ken Grand-Pierre

In every song, not only Mermaid; the music videos are as striking and important as the song. Looking at Skott’s social media feed and it seems like the set-up and filming of Mermaid’s video was more complicating and time-consuming that one might imagine from the timelapse, accelerated videos of its creation. Few artists take as much care when it comes to videos: the feeling time is money and - money is best earned rather than spent. There is such a desire for quick music and fast turnaround. Skott is the antithesis and counterculture pin-up girl who throws an imperious look to those seeking a sexy, lurid video and easily accessible tune. Her music and visual/aesthetic sense is one of the main reasons Skott is unlike anyone else. She has topped various charts and been featured on Spotify’s New Music Friday lists – radio support from Annie Mac and Zane Lowe. Some big names have given their views on a rare talent but, in fairness, that is the least she deserves. There are so many like-minded artists who are competing in a compacted market. So few expend time forging a real identity and freshness: something that is mainstream-worthy but not too polished and generic. Skott takes guidance from artists in the mainstream but her music, as much as anyone, is from her own imagination and experiences. That transition from Swedish woodland to the various cities she has played in can only go into their music – it is impossible not to be impacted by that transition and awakening.

PHOTO CREDIT: Sarah Louise Bennett/Dork

Skott has spent a lot of time in the U.K. and has a connection with the fans. She is someone who belongs to the world but, if she was to reside and settle somewhere; one hopes it would be somewhere like London. I am not sure if that is in her thoughts because, right now, she is making plans. Mermaid suggests an album cannot be far away: I am not sure when/if it is imminent but one can detect the approaching murmur of an L.P. I can imagine, when that sees the light of day, the visual/physical aspect will be a huge consideration. I have not mentioned Skott’s single artwork which, uniformly, is eye-catching and stunning. Each song gets a different design and, alongside the videos, one is treated to incredible sites and beautiful designs. The ‘Skott Experience’ is more than the music itself. I cannot wait for an album because, when it makes its way to vinyl, you can bet there will be lots of pictures, inserts and great bits of arts. Maybe she will release different-coloured records and create a unique promotional campaign. I am not sure how the end of the year looks but, seeing as Skott is a woman whose music is capable of adding warmth in winter – raising the sweat-levels in summer – she is not bothered fitting in with festival schedules and releasing an album at the ‘perfect’ moment. She will unveil one when she’s damned ready and, let’s hope, there is something more before the year-end. Dates in Stockholm and London will feature in the next couple of months: she has played Lollapalooza and big festivals around the world.

So what of Skott's future?! Why should one spend time listening to her music? Take a listen to the videos below and experience how she has matured and developed as an artist. All of her songs are fantastic but, charting her rise and evolution; a distinct upping of the confidence and desire to succeed. With every passing month; Skott seems to pick up new influence and incorporates that into her music. Big tour dates and attention can only add to her confidence and drive her even more. Most her life has been spent moving from one life to the other: acclimatising to the first flourishes of music and adapting to the demands of the road. Things will get easier and better but, considering how many people are throwing their arms around Skott, she is doing something right – and doing it right now. There’s urgency in everything she does: success and fame are not the big motives and drives: she wants to create spellbinding songs that mark her aside from her peers. That is happening and, more than that, a personality that is hers alone. I have mentioned artists like Björk - but mentioned her in very flattering circumstances. Both are different but, like Björk; Skott is finding new ways to push music forward and create something long-lasting. I believe Skott’s music will distinguish itself so far above her peers she will have the same effect and impact as Björk. From album to album; one will chart developments and new themes – whether the heartache of love or the need to discover new lands and people. Sounds and visuals will go with that: whether Skott gives herself a personal makeover – or invents a new sub-genre – it is exciting watching the Swedish-born artist grow and smile. The music is sensational and winning hearts. The future is open for Skott: a woman who can change music and take the, rather stilted, mainstream to…

 PHOTO CREDIT: Sarah Louise Bennett/Dork

RARE new heights.

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Follow Skott

 Official:

http://www.skottmusic.com/

Twitter:

https://twitter.com/skottmusic

Facebook:

https://www.facebook.com/skottmusic/

Instagram:

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

YouTube:

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

Spotify:

https://open.spotify.com/artist/6J3RPKUwZlKMzh3vWa9wPc

SoundCloud:

https://soundcloud.com/skottmusic

FEATURE: Music from the Motion Picture… Discovering Music Through Film

FEATURE:

 

Music from the Motion Picture… 

 Discovering Music Through Film

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THE image you see above is, as advertised, from Baby Driver…

the recent film from British director, Edgar Wright. It scored huge reviews upon its release and, if you are curious about the plot; Wikipedia assess it like this:

“Baby is a getaway driver in Atlanta, Georgia. He ferries the crews of robbers assembled by Doc, a heist mastermind, to pay off a debt he incurred after stealing one of Doc's cars. When he was a child, a car accident killed his parents and left him with tinnitus, which he blocks out by listening to music on various iPods. Between jobs, he creates remixes from snippets of conversations he records while caring for his deaf foster father Joseph. While visiting a local diner, he meets Debora, a waitress, and the two start dating.

His next robbery goes awry after an armed bystander chases them down, but Baby evades him and the police. Informed by Doc that they are now "straight", Baby goes legit, delivering pizzas. During a date with Debora at an upscale restaurant, he is threatened by Doc into performing another heist at a post office.

The crew consists of easy-going Buddy, his wife Darling, and trigger-happy Bats, who takes an immediate dislike to Baby. While the crew attempts to purchase illegal arms for the job, Bats realizes the dealers are ex-police and opens fire, killing them all. Afterwards, Bats forces Baby to stop at Debora's diner, unaware of Baby and Debora's romance, and nearly kills her in a hold-up.

Doc, furious at the botched deal, tries to cancel the heist, but Baby convinces him to go through with it. He attempts to flee, hoping to take Debora and leave Atlanta, but is stopped by Buddy and Bats, who have discovered his recordings and believe he is an informant. When they and Doc hear his mixtapes, they are convinced of his innocence.

IN THIS PHOTO: A  shot/promotional still from Baby Driver

During the heist, Bats kills a security guard. Disgusted, Baby refuses to drive the crew, causing Bats to beat him. Baby rams the car into rebar which impales Bats, killing him. The three flee the police on foot. After police kill Darling, Buddy blames Baby for her death, and vows to kill him. Baby steals another car and flees to his apartment. After leaving Joseph at an assisted living home, Baby drives to Debora's diner to pick her up, where he discovers Buddy waiting. Baby shoots Buddy and flees with Debora as the police close in.

Baby seeks help from Doc, who initially refuses to help. After seeing he truly loves Debora, Doc supplies them with cash and directions to get out of the country. Buddy ambushes them in the parking garage and kills Doc with a stolen police car. A cat-and-mouse game ensues until Buddy has Baby at his mercy; he fires his pistol close to Baby's ears, deafening him. Debora disarms Buddy with a crowbar and Baby wounds him with the pistol, causing him to fall to his death.

Fleeing Atlanta, Baby and Debora run into a roadblock. Debora prepares to ram it, but Baby surrenders. At his trial, Joseph, Debora, and several people Baby saved during the robberies testify in his defense. Baby is sentenced to 25 years in prison with a parole hearing after five. Baby receives postcards from Debora who promises to wait for him. Upon his release, he finds Debora waiting and they kiss”.

That is a simple premise: you need to watch the film to get a much better impression of Baby Driver. One of the reasons I have bonded with the film is the soundtrack – I have not actually watched Baby Driver myself. I have the soundtrack on vinyl and it has opened my eyes to new artists and long-forgotten songs. Aside from all the interesting plot and exposition of Edgar Wright’s film: it is the conceit and central hook that really appeals. Someone who, suffering tinnitus, blocks it out listening to music, is a perfect way to construct a varied and passionate soundtrack. Wright did this and, whilst curating, was able to seamlessly link together a wide array of genres and artists. Bob & Earl’s Harlem Shuffle is one of the early songs one hears – Let’s Go Away for Awhile, by The Beach Boys, not long after. Looking down the tracklisting and you get T. Rex and Beck – Debora/Debra – and a bit of Blur (Intermission). Not only does one get a blast of the classic artists: modern examples such as Sky Ferreira and Run the Jewels appear towards the end. It is a quality-heavy balance that allows one the opportunity to discover (rediscover) some terrific music. To me, it is brilliant for two reasons...

IN THIS PHOTO: Baby Driver's Writer-Director-Executive Producer, Edgar Wright

The first, because it provides younger listeners/viewers the chance to discover music – artists they might not have thought of before – and, through their association with the film, go out and discover more about them. The second, when looking at the concept of Baby Driver, makes me excited to see if any more similar-themed films will crop up. I am going to feature other films in this piece but, considering the premise of Baby Driver, it seems appropriate to start here. I bought the vinyl of the soundtrack because of the music included on it. Maybe there should have been more dialogue snippets included – like Pulp Fiction’s soundtrack – but, given an almost mute sense of dialogue in place; it wasn’t the easiest thing to do. One gets a fantastic impression of the film but, more importantly, a genre-blend of artists that will open many eyes to terrific music. I know most of the songs on the soundtrack but know many will not have.

IN THIS PHOTO: Sky Ferreira, who appeared in the film (and on the soundtrack)

I cannot argue how crucial it is we preserve music from past generations: pass them onto the new and ensure we do not become slaves to the modern and machine-created. I do worry we’re too narrow with music tastes and chase after songs promoted via Spotify. That is necessary – so we can conserve and profit our best new musicians – but so many of us are genuinely spending adequate time listening to the best music of the past. I am not saying Baby Driver, and its incredible soundtrack, is powerful enough to turn the tide – that would be quite a feat, I know! What it does do is (I hope) inspire other directors/writers to feature music more prominently in film. In a sense; Baby Driver has that classic feel: the likes of Easy Rider, Pulp Fiction and A Hard Day’s Night. More-modern films like Garden State have been important platforms to promote great/underground music; Trainspotting and Superfly, diverse and hugely memorable – Help! and Purple Rain: titanic soundtracks from legendary artists.

There is an enormous emphasis on studio albums: we forget how important film soundtracks are. In a way, they are a bigger-budget way of stringing incredible music videos together. Essentially, one gets a visual treat, accompanied by a tremendous song. It is a powerful combination that appeals to all the senses; firing the imagination and lodging in the brain. Baby Driver, the way it brings so many different time-periods and artists together, has sparked something in me. I would love to see a film like that further down the line – where music is prominent and the epicentre of the piece. In the days/weeks following Baby Driver’s cinematic release; I have heard so many people talk about the music – in so many different, impassioned ways. The way certain songs augment scenes and perfectly suit visuals: how songs from different eras effortless sit alongside one another.

Edgar Wright’s knowledge and intuition helped turn, what could have been a potentially ill-judged, mismatched vanity-project, into a symphonic, explosive piece of cinema, is a credit to his talent and experience. Of course; full props must be given the actors and crew that helped make Baby Driver an engrossing and perfectly-acted piece of cinema. It is the music, for me, that draws me to the film. I have, since purchasing the double-vinyl soundtrack, reinvestigated artists like Bob & Earl; Dave Brubeck is back on my mind (Unsquare Dance appears in the film’s first-half, I believe); rekindled my childhood passion for T. Rex – discovered new musicians like Carla Thomas, Alexis Korner (and his Blues Incorporated) and Kid Koala. (I, by the way, do not italicise film/T.V. titles so I can differentiate them from music – a little aside I thought I’d bring in). I am not a fan of T.V. adverts because, I feel, they are among the most irritating things on the planet – that list is getting longer by cyclists are at the top of it!

IN THIS PHOTO: Carla Thomas

Many people have discovered music through adverts but there are few (adverts) that make me want to keep watching – the songs used are never really that striking or unexpected. I do question people who allow their songs to be marketed in that way – scoring some cheap and noxious product/service. Film is different. The artists are not hocking some crappy insurance provider or pointless product: they are helping lift and define a unique moment of film. The connection and close relationship between film and music have always existed. I am fascinated by films that employ music as a background device - a few songs that do not feature prominently; a more traditional score, perhaps – and those that put songs in the forefront. Of course, one cannot discount film scores that use orchestration as an important use of sound/music. The greats like Hans Zimmer and John Williams have encouraged many to study music and follow their heroes. To me, it is the interconnection of popular music and film that fascinates – how music can reach new audiences by featuring on celluloid. I will move on from Baby Driver to another recent example: the Guardians of the Galaxy franchise.

IN THIS PHOTO: A promotional shot from Guardians of the Galaxy

My parents, when watching the first film – the second instalment was released earlier this year – highlighted the incredible music that was played throughout. In that first film; one got a pre-'90s-heavy confection of selections. Everyone from 10cc, David Bowie and Blue Swede appeared on the soundtrack. The second, bigger-budgeted and, in my view, finer, featured everyone from Fleetwood Mac (The Chain) to Sam Cooke’s Bring It On Home to Me. Jay and the Americans’ Come a Little Bit Closer rubbed shoulders with Parliament’s Flash Light. Glenn Campbell and George Harrison featured and, whilst remaining less-than-contemporary, the film’s soundtrack was built around a mixtape concept. Whereas Edgar Wright compiled a mixture of older and new: writer/director James Gunn went for slightly older recordings – the character Peter Quill/Star-Lord had all the songs (on the soundtrack) as part of his mixtape; hence the reason the music is not of-the-moment. In fact, tracking back to that earlier point: Wright contacted Gunn to ensure both films contained different songs. Each knew the other was working on a music-heavy release – to have both films replicate would have been a bit of a fashion faux-pas.

As it was; both films rocked out into the world in f*ck-me pumps and a head-turning outfit. Both films eschew the worst necessities of the modern music market: emphasising the importance of Spotify streams and getting those mainstream artists racking up the viewing figures. Edgar Wright, a child of the 1970s and '80s, grew up in a time when music was as much to do with hardware and the physical as it was becoming ‘popular’ and ‘cool’. I, growing up slightly later, appreciate how important it is to preserve the heritage and true value of music – I am not someone who follows the apparent-cool who lust after everything digital and Taylor Swift-endorsed. The reason films like Baby Driver and Guardians of the Galaxy resonate is their incorporation of music. Neither film employs the songs synthetically and casually: one detects a deep and studious approach; both directors crafting a soundtrack that perfectly links visuals and sounds – the near-obsessive/nerd-like crate-diving that must have gone into the soundtrack makes me smile.

IN THIS PHOTO: James Gunn/PHOTO CREDIT: NYDailyNews

The same way a wonderful music video balance the beauty and power of visuals and sonics: a wonderful soundtrack can have its scenes elevated (by music) and put an array of stunning musicians into the hands of the uninitiated. As I said earlier: my musical education has been given an additional government grant by the likes of Edgar Wright and James Gunn. In FACT; I can trace my obsession with music to those legendary film soundtracks from Quentin Tarantino and The Beatles. The former, Pulp Fiction especially, again, created a film where music played a pivotal role. Pulp Fiction – deriving its name from hardboiled crime novels and pulp magazines of the mid-twentieth century – had that neo-noir quality and aperture to it. Consequently, within the cool-as-sh*t diners and milkshake bars – the 1950s bars and romantic ideals of older America – one heard music by artists of the time. I will nod to other classic soundtracks later but, for me, 1994’s Pulp Fiction was an eye-opening experience. I was eleven when the soundtrack dropped it trousers and, as such, was awakened to some incredible songs! Tarantino’s use of eclecticism ensured he created one of the defining film soundtracks of the 1990s. Alongside Dick Dale’s now-iconic version of Misirlou; Jungle Boogie (Kool & the Gang) and Dusty Springfield’s Son of a Preacher Man.

Instrumental Surf songs and classic Soul mingling with Funk and Jive – such a rich and sexy blend of sounds and sensations. Of course, it would be foolhardy to suggest Tarantino discovered and compiled all the music himself. Consultants and friends like Laura Lovelace and Chuck Kelley were instrumental in the process. Pulp Fiction’s soundtrack sold over one-million copies in 1994 (two-million by 1996) and helped launch bands like Urge Overkill – who covered Neil Diamond’s Girl, You’ll Be a Woman Soon. Other artists, like Kool & the Gang, enjoyed a (brief) resurgence: relatively obscure songs and popular hits were bequeathed to those unsuspecting and curious. Other directors/filmmakers use soundtracks as repositories for random songs: the likes of Quentin Tarantino, in his fever-dream imaginations, helped mirror the visuals with music; music used as an extension of film – the two, partners-in-crime and thick-as-thieves.

IN THIS PHOTO: Dusty Springfield

One of the good/tragic legacies of Pulp Fiction was advertisers using Surf music – popularised and prominent in the soundtrack – to sell toothpaste, burritos, any-random-crap-we-can. Actually; that might be a savage naivety and judgement. How one discovers music should not be judged. Dick Dale and artists from the soundtrack had their music used in commercials – years after the original release of Pulp Fiction. This meant ‘outsider’ genres and niche sound being brought into the mainstream – passing that music to the new generation and, as a result, artists of the time incorporating Surf into their music. There is a causal link between epic/influential film soundtracks and the resurgence of certain styles of music. If it has that impact and quality to it – whether it passes through advertising on its way down – the music (on the soundtracks) can endure and inspire years/decades after release.

IN THIS PHOTO: Pulp Fiction's Writer/Director, Quentin Tarantino

I guess, somewhat ironically, me talking about film soundtracks, is a thinly-veiled desire to see my work get into the hands of radio stations/music magazines – this version of a C.V., in terms of ethics and questionable motives, not dissimilar to advertisers, I guess. My gamble, I know, is just that – and, the reason for writing this piece, was to argue how important film soundtracks are. Naturally, there are many film soundtracks that will be overlooked – time and my fingers are limited – but, by including some of the best, it shows how music plays an intrinsic role in film. Consider The Beatles and the impact their soundtracks had. Maybe films such as Magical Mystery Tour and Help! were not big critical hits (the former especially) – the music contained on each remains some of their best. In 1965, when Help! was released, it was a landmark period in The Beatles’ history. It (Help!) was released at a time when the band was releasing albums solely comprising original compositions. Rubber Soul was, effectively, the studio release that proved how confident Paul McCartney and John Lennon were as songwriters during 1964-1965.

The most-popular film soundtrack from The Beatles was A Hard Day’s Night. Released in 1964; it was one of few film ventures that saw the quartet roundly applauded. Less-successful efforts were to follow: this was their black-and-white masterpiece that provided a more realistic and simplistic view of the boys – no gimmicks, head-tripping visuals and bizarre conceptions. During that mid-1960s period; the band was still in a more traditional Pop headspace: their psychedelic experimentations and studio-bursting records would not arrive for another couple of years. A Hard Day’s Night is important for so many reasons. It is the first Beatles album consisting original compositions. Lennon and McCartney, sequestered in a Paris hotel room with a piano, for the most part, were focused and committed to creating a focused Pop album with short and sharp tracks. The album/film opened the American market to bands like The Rolling Stones and was a hugely important time for The Beatles. It is debatable whether the band would have taken this huge step were it not for the film’s appealing premise. A Hard Day’s Night (film) is, essentially, The Beatles being themselves: performing and larking about; a window into the personalities of the lads. Because of this; Lennon and McCartney were eager to pen a score that mirrored the music they wanted to write at the time – stepping away from covers and forging their own identity. That film, when I saw it years ago, really opened my eyes to The Beatles’ early period and the incredible strength of the songwriting.

IN THIS PHOTO: A shot from The Beatles' film, A Hard Day's Night

A Hard Day’s Night, prompted by a typical Ringo Starr malapropism, became one of the most important film soundtracks of the 1960s and helped bring The Beatles’ music to new audiences. The success of the film meant other bands/directors were provided the confidence to use music more prominently in films. Those incredible soundtracks that stuck in my young mind, from The Blues Brothers and Easy Rider, gave me a great appreciation of cinema and music. I was a big fan of music before I discovered film – I am not, by any measure, a big film fan – but connected visuals and sounds in a manner that has impacted my subsequent life. Were it not for the energised dances of Jake and Elwood Blues to songs such as Everybody Needs Somebody to Love – I am not sure I would have been as gripped and fascinated by music. Even though The Blues Brothers was released three years before I was born: I discovered it as a child and was provided exposure to some great Soul artists and music icons. By covering songs from Aretha Franklin, Ray Charles and John Lee Hooker: I investigated the original recordings and, as such, expanded my horizons. I know others would have taken the same approach and, in the process, got into certain music quicker than they otherwise would have (compared to radio and T.V. promotional channels).

Easy Rider’s soundtrack, released in 1969, was heavy on the 1960s' sounds. Again; this is a film that arrived to me when I was young (too young to legally watch it) but, the same way as The Blues Brothers provided a route into Soul and Gospel: Easy Rider’s blend of Rock and Folk was a ‘musical commentary’ that perfectly scored the film’s characters and stories. Music by Steppenwolf, Jimi Hendrix and The Byrds were all in the mix – an exciting array of big names that made me eager to unearth more recordings; get a bigger impression of the 1960s’ best. It is, as I have said, impossible to name-check all the great soundtracks out there. Any good and worthy film understands the importance of music and how the visual and sonic mediums are best when combined in harmony. It is those films that prominently and prolifically feature music that appeal most to me – and are more instrumental in getting music, and overlooked artists, into the public forum. As a child; I watched great films like Easy Rider and A Hard Day’s Night, and was drawn and awe-struck by the music that helped define a particular scene. Those examples have been crucial to me: newer films are equally important and help me find songs/artists I might otherwise have overlooked. I know streaming sites and platforms play their part but, to me, they are more impactful for new/mainstream acts. There are many who understand the importance and place older music has: it is where current music came from and the reason it has evolved/came on the way it has.

I will end this feature but, before I do, wanted people to consider the way, consciously or not, we have bonded to films because of their music – and how, when the cinema lights came back up, the excitement we got listening to the soundtracks; purchasing them from the shop and casting our minds back to the time we heard the tracks scoring a fantastic scene. Film soundtracks are one of the few outlets where you can legitimately combine songs from new and older artists. It is a wonderful access to music’s true breadth and brilliance and, through films modern films like Guardians of the Galaxy and Baby Driver – and classic scores from Pulp Fiction and The Blues Brothers – new generations are discovering music they might not otherwise have been aware of. That is a wonderful thing so, to all the Edgar Wrights and Quentin Tarantinos of the world; keep up the grand work and let’s hope future generations…

 IN THIS PHOTO: Lily James, in a shot from Baby Driver

FOLLOW in your footsteps.

INTERVIEW: Alessandra Grace

INTERVIEW:

 Alessandra Grace

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THE Italian-born artist Alessandra Grace is a Pop sensation…

who has just released her first single, Something So Good. She talks to me about moving to London and the inspiration behind her new track; what it feels like having the song used by Vodafone Italia (for their #ConnectWithPride campaign) and whether she’d like to see it help promote other L.G.B.T.Q. events/festivals. There is an instant appeal to Alessandra Grace’s music: I ask the artists that helped foster that and when music first came into her life.

I get an insight into the forthcoming E.P., I Do It for Love and the themes addressed; working with producer MOZ; how important London is to the spirit and nature of her music – and, whether, there are any tour dates approaching. 

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

Hi. I am well.

it’s been an incredible week, thank you!

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

Hello, everyone.

I am a singer and songwriter - originally from Milan, Italy. I am proudly Italian - but I consider myself a world citizen.

Something So Good is your debut single. What can you tell me about the song and the idea behind it?

It all started with a White Party on 4th of July - where I fell for the only guy wearing all black. I think it’s happened to us all: that one person you want says they don’t want anything serious…yet, the feelings are there; together you are amazing and you both know you’ve got something special.

Someone once told me that the songs we love are the ones that tell us what we are afraid to say out loud…I had to write this song.

The next day, I met MOZ: what an incredible writer and producer. I heard a track he was working on at the time (yet-to-be-released) called We Own the World - and I immediately set up a session to work with him. I had a song to write: one that would have to connect on a first listen: catchy, mid-up-tempo; direct and to-the-point. MOZ and I immediately clicked and we wrote Something So Good in (just) a few hours. It was our first track together and we have been working together ever since.

That’s what this song is about. It’s about capturing the love that’s in front of you without any fear: if you have the luck to find something so good; don’t let it go.

It has already caught the ear of Vodafone Italia. What was it like hearing the news Something So Good was being used for their #ConnectWithPride campaign?

It was absolutely amazing.

The best feeling in the world is to know that your song is being used for a great cause - that you believe in and support.

The song has a buzz and ability to connect the community. Do you hope Pride festivals in Brighton and London use the song in the same way?

Absolutely. It would be such an honor.

I Do It for Love is the forthcoming E.P. What stories and events inspired the songs? How much of your own experiences are included?

Everything I write is personal and the E.P. title is about the struggle of pursuing your passion: it’s about putting up a fight for what and whom you love.

Each single addresses a different aspect of love: romantic love; love towards our family and close friends and, finally, love towards ourselves. I Do It for Love is dedicated to each and every one of us.

It is an anthem of love; of believing in yourself and in never giving up.

You were born in Italy but moved to L.A. What were the biggest changes you noticed when moving to the U.S.?

I lived in the U.S. for many years...

At first, when I was a kid. It is very different living in Europe and in the U.S.  

L.A. was a very positive surprise for me as an artist - because I had the luck of meeting incredible writers, managers and producers to work with who believed in me and in my music. You’re immersed in this parallel world where everyone around you is a creative and is going after their dreams (with all the ups and downs this entails).

How did music come into your life early? Which artists inspired you to take up music?

I started playing the piano when I was five. I loved the romantics: Chopin, Schubert and Beethoven. The emotion I felt when playing music became that one thing that I took with me through all journeys - all of the moves to different countries; through all the ups and downs of life.

It was at twelve that I realized I could write my own songs…and I never stopped.

So many artists have inspired me in different ways: the power and presence of Whitney Houston and Etta James; the timeless songs of Oasis and Coldplay; the strength of melodies of piano-led ballads by Elton John; many Italian artists I grew up with such as Antonello Venditti, Laura Pausini; Giorgia, Mina - and then; truly listening to as much music as I possibly could.

Now in London; how important is the scene here? Do you travel a lot promoting your music or are you more focused here?

I still travel quite a bit between London, L.A. and Milan - but I absolutely love London and the music scene here.

It is so vibrant and varied that I am trying to stay here as much as I can - to perform live and to promote my music.

I believe you have a Classical background. How much of this, and the disciplines you learned, go into your music? Do you take more influence from the likes of Hip-Hop and Pop?

I think it has been such a big influence on my music and in the way I write Pop today.

It has made me a more emotional writer and I believe everything we hear, in some way, becomes a part of us and can influence our work. I always try to listen to new music, though, when I hear a song I love.

I play to it over and over a million times before I can jump to the next!

Any dates in the diary? Can we see you perform anytime soon?

I will be announcing fall dates next week on my website, socials and newsletter!

I hope to see you at one of my gigs!

What are your plans for the rest of the year? Any ambitions in regards collaborating with other artists - or releasing new material?

I am currently planning the next few single releases - I cannot wait to share more of my music!

I am, also, about to start producing an album I started working on earlier this year - to be released after the E.P - definitely, some cool collaborations are coming up next!

IN THIS PHOTO: Picture This

Who are new acts you recommend we check out?

Picture This (Everything I Need) and Kevin Ross.

IN THIS PHOTO: Kevin Ross

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

Such a hard choice…

I am positive I could change my mind a million times - but here are three of my favorites:

At Last by Etta James

I love every track: it’s a collection of some of my all-time favorite songs.

Anything Whitney Houston - so let me pick the Greatest Hits album

Because I absolutely love every single tune - and I Have Nothing is, probably, one of my favorite songs ever.

Norah Jones: Come Away with Me

It takes me to this beautiful dimension: soft, romantic; the sound of the piano…I love it.

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

Always be yourself: accept advice and criticism but never lose your essence, your message and the meaning to what you do.

Create a world of music we can enter and explore: don’t try to fit into someone else’s.

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).

Amazing.

Then…I’d like to choose a track that I discovered through you…

Someone by Anna of the North

________

 Follow Alessandra Grace

Official:

https://www.alessandragrace.com/

Facebook:

https://www.facebook.com/thealessandragrace

Twitter:

https://twitter.com/thealessandra_g

Instagram:

https://www.instagram.com/thealessandragrace/

SoundCloud:

https://soundcloud.com/thealessandragrace

YouTube:

https://www.youtube.com/channel/UCpKhbsUdlB7dbTV5Szb3BEg

Spotify:

https://open.spotify.com/artist/6b9Gn8cVy6UJrYWGIu2ZIU

INTERVIEW: HVMM

INTERVIEW:

 HVMM

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I am not sure I have ever put the words ‘Worcester’ together with…

‘Rage Against the Machine’ but, in the case of HVMM, there is a natural link – Worcester is where they based and, take one sip of their confident swagger, and one is reminded of the U.S. giants. There is theatricality; a sense of the subversive and stylish about the group: contrasted by a rawness and directedness that few possess. I talk to the guys about their double A-side, Beggars and Thieves/Going Postal; how the band came together and what their E.P., Talk to Me Like I’m Dead, is all about.

They tell me about the L.A. label, ILA; a pub scuffle and certain girl; what tour dates they have coming up and the music that is important to them – in terms of their favourite albums/songs and a new artist we need to observant of.

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

Yeah. Good, thanks.

It's Monday but, so far, so good...

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

Andy - Vocals

Ebony - Guitars

Jack - Bass

Sam - Drums

Tell me about the video for Beggars and Thieves. What was it like shooting that?

It was hard work - but a lotta fun.

We did everything ourselves - which was a first in this area. A lot of good people helped us out on this one. It is the character, in both location and people, that really make the video what it is (if that’s anything?).

It’s down to the kind nature of these people.

Can you explain the origins and the song and what inspired it?

Well, lyrically, it’s completely fabricated - no form of reality - which is what inspired it - another song about ‘a girl’ just wasn't cutting the mustard…

Going Postal is the other half of that double A-side release. What was the reason for releasing a double A-side and do you think more bands should?

We were in a position where we could put two songs out (rather than one) - which seemed to feel right at the time - as we had video ideas that linked the two songs.

It's hardly cutting-edge but it was different to what we had done before! 

It is taken from the forthcoming E.P., Talk to Me Like I’m Dead. How did the songs come together for the E.P. and what was inspiring the songwriting around that time?

Going Postal has been around for a while - but the rest of the songs were written for the occasion.

What inspired this? The pressure of a recording date and not being happy with our selection of songs at the time.

Take me back to the beginning and how the band came together. How long have you guys been playing?

We met at a house-party a good few years back...

We were all playing in different bands at the time. We have all been playing for a very long time but, as a collective, I think it’s around a-year-and-a-half now.

Is it true a pub scuffle played a role?! How did you go from that to forming a band?!

That is true, yes.

Well…the pub scuffle was over a woman. She soon after left town - so problem solved!

HVMM are the first British band signed to L.A. label, ILA. How did that feel and what is it like being signed to the label? Do you have a lot of artistic freedom?

Yeah; it was cool!

We do yes: they’re a great bunch to work with!

Worcester is where you are from - it doesn’t seem like a Mecca for exceptional music! Is there a big scene where you are?!

There is definitely some great bands around by us...

The Worcester Music Festival is coming up and that’s probably the biggest thing we have as far as a scene goes.

Your sound recalls the likes of Rage Against the Machine and Jack White. Are these the kind of artists you grew up listening to?

They certainly are! 

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

We have our E.P. Launch this Saturday (2nd Sept) at The Marrs Bar, Worcester, followed by an in-store show at the local record store, Rise (the next day at 1 P.M.)

After that; Hackney Wonderland in October – and, then, our first London headline show on 22nd November at The Seabright Arms. 

Can you explain what life is like on the road? How much of a buzz do you get bringing your music to the people?

We love playing live: spending hours in-transit...not so much.

It's always worth it, though.

Who are new acts you recommend we check out?

Enjoying The Cracked Actors very much at the moment.

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

Jack: Kate Bush - Hounds Of Love

Because it's the first record that made me realise an album doesn't have to be just a collection of songs.

Ebony: Cream - Fresh Cream

I have many albums that mean a lot to me - for different reasons. This was the first that took me past just listening.

Andy: Led Zeppelin - Led Zeppelin I

So many reasons for this…

It was the first time I woke up to great songwriting, musicianship; structure, tone…I could go on...

Sam: MC5 - Back in the USA

Tutti Frutti - say no more.

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

I don't think we are in a position to give advice on that subject.

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

PJ Harvey – Down by the Water

Black Sabbath – Supernaught

Hozier - To Be Alone

________

Follow HVMM

Official:

https://www.wearehvmm.com/

Facebook:

https://www.facebook.com/wearehvmm/

Twitter:

https://twitter.com/wearehvmm

Instagram:

https://www.instagram.com/wearehvmm/

SoundCloud:

https://soundcloud.com/wearehvmm

YouTube:

https://www.youtube.com/channel/UCGyNR7aIyOAeb-nCUDvEn7g

Spotify:

https://open.spotify.com/artist/1ku7ASbJwvh09WfSAbDGAZ

INTERVIEW: Me for Queen

INTERVIEW:

 Me for Queen

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AFTER growing up on a mixture of sounds…

and studying Classical music – not to mention, a Blues-guitarist father – it is not surprising seeing Me for Queen instil and combine so many different aspects and elements into her music. The moniker of Mary Erskine; Me for Queen is the result of a bright and passionate young artist who grew up in a rural part of Scotland by the sea – making music as a way of dodging the washing-up!

I speak to Me for Queen about being compared with Regina Spektor; the story behind the new track, Jessica, and how it differs from her previous track, Slow Train. She talks about the albums and artists that have impacted her most; the role music has played in her life – and what gig plans are afoot.

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

I am in the middle of touring – so, it’s busy but good fun.

Today, I left the house at 5 A.M. for a video-shoot - after driving 450 miles yesterday.

KAPOW.

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

I sing songs under the name, Me for Queen.

I would say they could, roughly, be described as piano-led (sometimes) Soul-Folk (songs).

Can you tell me about that moniker, 'Me for Queen'? Where did that come from?!

Very sorry to disappoint… but I just liked the sound of it when it popped into my head, one day.

Jessica is the new single. What can you tell me about its creation and meaning?

Yes!

it's the first song I have ever written and recorded on the guitar. It's, also, probably the song that has taken me the longest to write in terms of brain-time…and editing.

It was inspired by a conversation with the mother of a good friend. It happened around the same time that I was questioning/mulling over the idea of what the role of an artist is…“Am I allowed to be an artist? Is it/am I "useful" enough?" and so, in some way, this song took on a bigger role in mind - almost becoming an anthem to motivate me through/celebrate me starting to find my way out of that mental wobble.

It follows from your previous track, Slow Train. Have you been buoyed by the positive reaction to that song and the E.P., Who I Am & What I’m For?

Slow Train felt like the beginning of a new chapter...

It came out so simple as an idea; I tried to fiddle with it thinking, surely, I can’t just have a song with only three chords in it…then, realised, I just needed to back off and leave it alone! It feels assured and at-one-with-itself, which is funny, because it sort of foretold the next six months.

I love how a lyric can just present itself to you at first, without you knowing where it has come from…before some sort of further meaning reveals itself to you much later on; a year, or sometimes longer, further, down the line.

Big Magic is out there!

The likes of Tom Robinson (BBC Radio 6 Music) have backed your music. How important is that kind of support to your confidence and motivation levels?

Really great.

Everyone needs a quote from a famous person. Haha. I’d love to get him down to a gig, one day.

PHOTO CREDIT: Ângelo Valente

Tell me how you got into music. I believe classical training and a Blues guitarist father had an influence?

Yup.

I started learning piano by the Suzuki method (by ear) when I was very young. I was a proper little Classical buff and got very into practising and playing concerts - and just adored my piano teacher. She was like a second granny.

We listened to a lot of Scottish traditional stuff too (at home) like dancing music. I still know ALL of the Hits from the '60s cassette we listened to most days on the ride home from school.

Then, Dad would have Muddy Waters blasting out one evening; Eric Clapton the next..a delicious and nutritious cocktail.

What was it about music that appealed to you? Can you put, into words, what it means and how it makes you feel?

To be totally honest; I realised, fairly early on, that music practice was my passport to getting out of the washing up. I’m the youngest of five and you’re always trying to find that way to be heard! So, I suppose it was inevitable.

I just caught the music bug thing quite early on. I loved playing fast and loud! I still do. I have good muscle memory and I learn very quickly and I soon realised that if I just practiced every day, I could get through a LOT of music! Then, I started noodling more with my own things; writing my own songs - around the age of twelve - but was too shy to sing in front of anyone for about another ten years after that.

Music is a language: simple as that. Anything you can just go into the zone with and lose yourself for a while…you want to hold onto that. If you can make a living from it, all the better.

From a songwriting perspective, there are very few things I love more about being alive than getting that little glimpse or flash of lightning - where you know a song is starting to cook and an idea that’s been knocking around in your head for months suddenly finds a shape or a voice.

Was it quite easy and natural forging that rich and unique sound? Did it take a lot of experiment?

I don’t know.

I still feel like I have a way to go, but the E.P. felt like a good jumping-off-point.  It’s funny. I had this whole anxiety around the piano that it wasn’t right/that I didn’t like the sound of my playing/that piano was going to push it in one direction/make everything sound the same…

James Yorkston, a songwriter whose work I really admire, said, at some point along the way: “Write some more good songs. Make them so fuck*ng good that you only need you and a piano for them to shine. Everything else will fall into place.”

PHOTO CREDIT: Carl Osbourn Photography

So; I started trying to just dig in and really focus on the piano and see what I could get out of it - making it more of the focal point. Then, it was just working with my friends, who also happen to be brilliant musicians, bringing along their own respective magic touch into the studio. Sam Johnson, who I met just before Iron Horse, has played a huge part - apart from, literally, playing on the record (beautiful, dreamy space-guitar) but, also, in encouraging me to think more about production.

He’s so fun to work with and is always up for running with whatever idea you throw at him.

You have drawn comparisons to Regina Spektor and Laura Marling. Who are the artists that have inspired you the most?

From age sixteen-eighteen; I was obsessed with Jeff Buckley. Then, Björk (to that when I was at uni) - as well as Parliament, Funkadelic and Can!

Then; Beth Orton, and more recently, Judee Sill.

You are heading out on your fourth tour of the year. Where will you be visiting?

All over the place!

I just got back from the Scottish-leg – we played some of my favourite shows yet! Mull was just a delight - and it was very special to play my very first ‘hometown’ gig in Crail with a full band - where my dad opened up with a few songs! 

Is it hard finding the energy to keep going on the road or is it a place that calls to you?

No. I absolutely love touring.

I didn’t really get how it worked before, but then, I worked it out and that’s, presumably, why I’ve ended up doing four in a year!

I have to be strict now and get this album done before I go out again…

PHOTO CREDIT: Allman Brown

Who are new acts you recommend we check out?

He’s hardly new, but I’m doing some shows with Allman Brown (on keys) in October.

JAEVA and Lloyd Jerwood are both joining me at my next London show – so, I’m looking forward to checking them out.

IN THIS PHOTO: Lloyd Jerwood

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

Björk - Post

I find it hard to pick my favourite album of hers – but, I discovered Post and it, somehow, just grabbed me when I was living in Paris - and I became quickly obsessed. I remember feeling so astonished and inspired that all of that could come from one human brain.

The scale of a song like Isobel or All the Modern Things; the imagination, those arrangements…it reminds me of a time where I was a student living in Paris and the world felt enormous and exciting - and ready to be devoured.

Jeff Buckley - Grace

It (just) woke up my teenage angst! I think my brother got me onto him. I listened to it, pretty much solidly, for a good two years. I could never pick a favourite song from it.

Lauryn Hill - The Miseducation of Lauryn Hill.

Again, in terms of albums I have listened to so many times that they have crawled under my skin and stayed with me, this has to be in there, too. It’s a brilliant, timeless album. Even if she did say, at some point, she didn’t write it for white people…but, fair enough…

…this and Jill Scott, Aaliyah; TLC…I felt like I was finding my own way while friends were listening to Britpop/guitar stuff. I (just) loved that silkier, soulful thing with assured, confident female voices.

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

No idea!

I have hardly ‘come through’ myself. Have I? Perhaps I have crawled through the hedge; stung myself on some nettles - but can at least see through to the clearing; while they are still in the back garden?!

Play better. Write better. Try and find something that feels authentic to you. Don’t look for any sense of logic in the workings of your industry.

Work hard and don’t expect anything.

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).

Prefab Sprout - When Love Breaks Down

________

Follow Me for Queen

Official:

http://www.meforqueen.com/

Facebook:

https://www.facebook.com/meforqueenmusic/

Twitter:

https://twitter.com/meforqueen

Instagram:

https://www.instagram.com/meforqueen/

SoundCloud:

https://soundcloud.com/meforqueen

Bandcamp:

https://meforqueen.bandcamp.com/

Spotify:

https://open.spotify.com/artist/1H7mNprYkefKwq5C0VWS9M

INTERVIEW: HOPE

INTERVIEW:

PHOTO CREDIT: Riccardo Bernardi 

HOPE

________

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.

_________

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

________

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.

_________

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

________

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

________

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…

_________

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

________

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…

_________

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

________

Follow The Girl Folder

Facebook:

https://www.facebook.com/TheGirlFolder/

Instagram:

https://www.instagram.com/thegirlfolder/

Twitter:

https://twitter.com/thegirlfolder

SoundCloud:

https://soundcloud.com/thegirlfolder

Spotify:

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

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https://www.youtube.com/channel/UCExl574cwAZaS3Y000obVhA

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.

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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