INTERVIEW: Gráinne Duffy

INTERVIEW:

 Gráinne Duffy

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THE next few months are busy and exciting…

when it comes to Gráinne Duffy’s music. I speak to the Irish singer-songwriter about her love of the Blues and how music has infused her soul and heart – and when it first came into her life. She talks to me about the latest track, Where I Belong - and the album of the same name. Duffy talks about her home in County Monaghan and how, she feels, she has developed as an artist in the past couple of years.

I ask which three albums are most important to her; the inspiration behind Where I Belong and a few of the new artists everyone should include in their regular rotation.

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

Very good thank you! All-go!

Getting new strings on and sorted for some festival shows in Norway and Ireland.

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

Sure. I’m an Irish singer and guitarist (from Ireland) - and I play a mix of Blues, Soul and Rock-styled music; mostly self-penned.

Where I Belong is your new single. What is the story behind the song?

Well. I think, in a time of world disharmony; it is a cry for some peace and calm in the midst of so much talk of terror. We have a beautiful planet around us and we should be grateful every day the sun comes up - and goes back down on it.

It is a song (kind of) about taking a moment to enjoy the harmony of nature.

It boasts a raw and instant vocal. How hard do you have to work to keep your voice that bracing and powerful? Do you have a regime preserving the voice?

Well. I do some warm-up before my gigs.

I try to sing at least an hour a day - but it is usually more as I love singing, anyway! I think it is just the natural inflection of my voice to be husky, but I did grow up in a family of nine - so I had to learn to shout to get heard!

That helped too.

Is there going to be a new E.P. or album towards the end of the year?

Yes.

We are releasing the album, also titled Where I Belong, later this year. I am very excited and proud of this album.

Keep your ears peeled for the release date…..

Do you remember when music arrived in your life? What is your first memory of music?

Well. ..

My dad always loved Country music and he had lots of records of country artists like Johnny Cash, Willie Nelson; Patsy Cline and Dolly Parton – so, I had a good education of music that way. Then, my sister dated a drummer and they used to listen to music all-day-long like Led Zeppelin, Fleetwood Mac and The Rolling Stones...that is when I fell in love with music.

We had no T.V. at home and so we had to get records for Christmas presents - and we loved getting the records no-one else had. I started listening to more R’n’B, Soul and Blues then, in my teens, after hearing Peter Green’s Need your Love So Bad.

That was it for me, really: the love affair began.   

Did you grow up in a very musical family? How important was your parents’ tastes with regards your own music?

No. Not a musical family, but my mother always encouraged us to do what we loved - so my sisters and I had a band and used to gig every weekend.

I also sang in my local choir growing up - and that was my first introduction to singing solo. My sister’s band was my first experience in live performance in a band setting, with an electric guitar, an amp; singing all my favourite songs in a live setting - and it felt great.

It seems Blues plays an important role. Are the legends like B.B. King instrumental and what is it about the genre that appeals to you?

Yes, of course.

Blues and B.B. King are so important to me and the history of the Blues. It is the raw emotional power of the Blues: the way in which a few notes in a Blues melody or on the guitar can be so emotionally powerful.

I love that honesty. 

You were raised in County Monaghan and live in Ireland. What is the music scene like where you are and is it quite easy getting gigs and bringing your music to a range of different audiences?

Well. We are very lucky to have a great history of show bands in Co. Monaghan - so there was a history of music here and the live gig scene has always been a good one, thankfully. Thin Lizzy played in my local town, which is a small one….

 There is also a really good Blues festival, Harvest Time Blues Festival, in September and that really was so pivotal for me - as it was a local festival for the Blues and it brought in great artists from all over the world, to my doorstep. It was host to Van Morrison and Peter Green (to name but a few).

Gigs were always a drive-away but, luckily, my family owned a garage growing up - so we had a van and the wheels to get around very quickly.

Last year, you recorded with Justin Stanley and Adam Ayan. Between them, they have worked with some of the biggest musicians ever. What was that experience like and what did you learn from them

It was truly amazing as an experience for me.

They are both true professionals and so creative and inspirational to work with. We wrote along with Justin while in the studio on L.A. That was really fun and exciting as we had never done that before. He really knows how to draw the best from you - in terms of writing and performing in a very relaxed way, which I loved.

Adam, also, was great to work with as he has so much experience in mastering and knew exactly the sound we were looking for on the record.

Overall; it was a very special and rewarding experience, for sure.

Over the years; you have released two popular albums and performed around the world. How would you say you’ve developed as an artist and what has been your fondest memory from your time in music?

Yes. I have had some really amazing experience so far and have been so lucky with where my music has brought me - from Asia to The North Pole; sharing stages with some of my heroes - including Billy Gibbons, John Mayall; Sinead O’Connor, Keb’ Mo’ and many others.

One of my fondest memories was playing three days at Glastonbury - as it is such a special event in music and to be part of it was really amazing.

But, every day brings a new discovery in music; writing a new song; meeting a new musician; getting inspired by a new song…..

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

Alongside our general tour dates - in Norway, Denmark; Romania and a tour in Germany - we are doing our album release in September, in Ireland - playing 20th Sept. (The Sugar Club, Dublin);  21st Sept. (The Black Box, Belfast) and 22nd Sept. (The Spirit Store, Dundalk); 19th Oct. (Nells, London) and, on 20th Oct., we will be playing Under the Apple Tree Session for Bob Harris.

All very exciting for us...

Who are new acts you recommend we check out?

Well. I love some of the American Alternative-Country acts like Sturgill Simpson and Chris Stapleton.

I also love a fab Irish band Relish - who are releasing a new album next year.

IN THIS PHOTO: Relish

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

Fleetwood Mac – Rumours

All the songs are perfect: the recording is perfect and the performances are superb. Timeless!

Amy Winehouse – Back to Black

A modern-day masterpiece: amazing-sounding album, great feel - and Amy’s vocals and delivery are perfect.

The Rolling Stones – Exile on Main St.

Again…a perfect album. Great songs and guitar-playing, singing; playing on all songs, throughout. It encapsulates a moment in time.  

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

Work hard, believe in yourself: respect people working hard with and for you…and have fun.

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).

Dreams – Fleetwood Mac

Thank you ;-)

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Follow Gráinne Duffy

Official:

http://grainneduffy.com/

  Facebook:

https://www.facebook.com/Grainne-Duffy-177122089063003/

Twitter:

https://twitter.com/GrainneDuffy

Instagram:

https://www.instagram.com/grainnelduffy/

YouTube:

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

SoundCloud:

https://soundcloud.com/grainneduffy

Spotify:

https://open.spotify.com/artist/6Uz1iG3enjltFOqqwAhQ2Y

INTERVIEW: Carry Lyanne

INTERVIEW:

 Carry Lyanne

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HER blend of sophisticated melodies and…

mellow Indie/Electronica makes Carry Lyanne an intriguing proposition. I speak with the London-based artist about her music and most-current track, India. She talks about its story and what it was like filming its video. I ask about influences and whether artists such as Kate Bush and London Grammar are important – musicians she has been compared to. I learn more about Carry Lyanne’s upcoming E.P. and how instrumental London is to her creative process.

On the subject of touring; she talks about upcoming gigs; the new artists that are making an impression (on her) and why her lyrics go deeper than most – discussing human behaviour, sexuality and youth.

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Hi, Carry Lyanne. How are you? How has your week been?

Hi, Sam! I’m great.

I had a very busy week in the studio working on my debut E.P. - which is coming out in Octobe! It’s a lot of sleepless nights and hard work - but I’m enjoying every single part of it and can’t wait for people to hear what I’ve been working on.

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

I’m an Italian-born, singer-songwriter currently living and breathing London’s hectic music scene. I’ve just graduated from BIMM (British Institute of Modern Music) and I am about to release my debut E.P.

I mainly write mellow Indie/Electronic/Pop music. However, when it comes down to songwriting, I believe there are no labels…let the inspiration flow!

Can you tell when you first discovered music? Was there an artist that inspired you to write and follow a passion?

My mom and dad have always been music lovers: so music was always being played around the house. I remember being very young and saving my pocket money to go buy C.D.s (yes, C.D.s were still a thing!). Christina Aguilera was definitively one of the first artists to make me think I wanted to have a singing career.

Her way of singing was so raw and emotional. Stripped is still one of my favorite albums.

 

Before releasing your debut single; you released a series of cover version on YouTube. Do you think those videos have cemented your sound and made you more confident as a performer? Are there any songs you covered that are especially important?

I think, nowadays, artists cannot ignore the power of platforms such as YouTube.

Covers can give you a lot of visibility: however, competition is fierce - so one must work hard in order to stand out of the crowd. I have recently covered Attention by Charlie Puth - which you can check out on my YouTube channel - but my favorite cover is No Diggity - which I have recorded at Abbey Road Studios.

India, your debut single, was released earlier this year. What compelled that song in terms of its story and were you humbled by the fact it received praise and radio-play?

The song is meant as a fictional conversation between this girl, named India, and I.

I know that she is in love with me - but she wouldn’t admit that to herself. So I am, basically, encouraging her to be true to her feelings. I wrote this song reflecting on how diverse love can be for everyone - as I strongly believe there’s should be no rules when it comes to love.

I was very happy that so many people could identify with it and that it had the chance to be played on the radio.

The video looked like it was really interesting to film. Can you tell us about the experience and what it was like making it?

I developed the concept for the video with Mike Briggs, who has filmed and directed it.

The video was shot in Essex, where we managed to glimpse a beautiful sunset on camera - which added impact to the video. Apart from performing the song; I had to do some acting scenes with Sam Simmonds (India’s boyfriend) and Caroline Wilde (India).

That was pretty fun and I have learned a lot by working with such a great team.

On the subject of videos; I hear there is a new one in-the-works? Can you reveal anything about it and the concept of the video?

Yes!

This new video has been filmed as part of my E.P. release and, if you head to my Instagram page, you will be able to get a preview! I have teamed up with two super-talented people - so the result is astonishing! It was filmed by Jay Kristoffer and edited by Catharine (Amoroso Films). The song is about that moment in love when you open your eyes and realize a relationship has come to an end.

However; the video is quite cheeky and, instead of depicting the pain of unrequited love, it seems to be saying ‘Look what you’ve missed out on!’.

Do you see yourself releasing an E.P. this year or are you working on getting the new song out? If there is an E.P.; what can you say about the songs and themes you’ll explore on it?

I am releasing a three-track E.P. in October.

I produced it with the talented Gabriele Mazza.I feel every track has something to say to the listener. I sing about love - but mostly about life and about finding yourself and your inner-voice. After my father died, two years ago, I started reflecting a lot about the meaning of life - and I have learned to appreciate the bad and good things that life has to offer.

So; this E.P. is a deep-flow of emotions: ranging from anger, love; melancholy and happiness.

Your songs dig deep and explore subjects such as sexuality and youth. How much of your material do you take from your personal life/relationships and do you think more artists should eschew obvious subjects and write deeper songs (like you do)?

I take a lot of inspiration from real life - especially from the people I meet. I find humans so fascinating and inspiring! I don’t necessarily consider my music to be deeper than other musicians’. I (just) think that, as long as you write authentic music, people will be able to connect with it.

London is your base. Have you always lived here and what is it about the capital that attracts you? Do you get a lot of inspiration from people around you?

I moved to London three years ago to study music. I love the city!

This is where I have started writing my own music. I just find it so inspiring: it almost feels like everyone has got a story to tell. I have met people from all around the world who have definitively contributed to my inspiration.

Also; the music scene is buzzing and so diverse.

Your music has been compared to the likes of Kate Bush and London Grammar. Are they idols of yours? Do you find it flattering getting those comparisons or is it quite daunting?

I find it very flattering!

I know Kate Bush is a huge name in music; especially here in the U.K. I must admit I was aware of her but I’ve never listened to her music before. I think both Kate Bush and London Grammar are great artists.

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

I’m performing an acoustic set with my guitarist, Gabriele Cogo, at Biddle Bros on Friday, 8th September. I’m on at 8.30 P.M. - so make sure you come join us! It’ll be fun!

IN THIS PHOTO: Zella Day

Who are new acts you recommend we check out?

Zella Day, Rex Orange County and Bryde.

IN THIS PHOTO: Bryde

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

Stripped - Christina Aguilera

One of the first albums to inspire me to become a singer-songwriter.

Nine Lives - Aerosmith

Aerosmith are one of my favorite Rock bands of all times. (Steven) Tyler is such an outstanding vocalist and an icon...plus; this album was a gift from a special person in my life.

Born to Die - Lana Del Rey

This album was revolutionary: I remember listening to this thinking ‘Where the hell did you come from?’ Lana has a strong influence on my songwriting. 

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

When times get tough and you feel like investing all your money in music; playing to empty venues; staying up all night - writing isn’t worth it - just remember why you are doing this in the first place. There’s a quote that says “If you give up, it means you never wanted it”.

Every time I feel down, I read it, and it reminds me of how much I love making music and how good it makes me feel. One of my favorite quotes from Conrad Hilton also says: ”Success seems to be connected with action: Successful people keep moving. They make mistakes but don’t quit”.

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).

American Money by Børns!

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Follow Carry Lyanne

Facebook:

https://www.facebook.com/CarryLyanne/

Twitter:

https://twitter.com/CarryLyanne

Instagram:

https://www.instagram.com/carrylyanne/

YouTube:

https://www.youtube.com/channel/UC8713LtOe7fU8eyfP9zd_WQ

SoundCloud:

https://soundcloud.com/user-244003950

Spotify:

https://open.spotify.com/artist/76ZXOEXXrfi8Bs0nPo6H2Q

INTERVIEW: REWS

INTERVIEW:

 REWS

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REWS are a mighty force in music and have played…

some exceptional gigs this year. In their career, so far, they have performed at Glastonbury’s John Peel Stage; rocked crowds around the world and had their music spun on BBC Radio 1. Shauna Tohill and Collette Williams have a close and kinetic bond that makes their music such a physical and seamless thing – accessible enough for anyone but instilled with plenty of swagger and flex. I speak to REWS about their new single, Shine, and how they met one another.

They talk to me about their hectic schedules; whether there is an album approaching and how they both got into music – and recommend a few new artists worth watching out for...

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

Hello, there!

Aw. It has been a busy week, but all fantastic…and you?

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

We are REWS: a high-energy, Alternative-Rock/Pop duo consisting Shauna Tohill and Collette Williams!

Aswad and Take That have taken a ‘shine’ to a certain song-title. I am guessing your Shine is a bit different?! What provoked the song and can you remember the moment it was written? Was it easy to put together?

Haha! They certainly did!

Our Shine is slightly different. It is actually one of the first songs that we completely collaborated on. It began with a jam but, lyrically, it was inspired by the observation of a love interest that couldn't be figured out. It’s, like, when you want to know someone but you can't figure out how to make them notice you (and come out of their shell and 'shine') – but, coming to the conclusion that they are the only one who can make that choice...

All you can do is your best and hope until you need to draw the line. It was a disjointed process, writing, as it came in different stages - and we tried a few different techniques but took around two weeks to finish.

It was fun!

What was it like shooting the video for that song? How involved do you get in the conception and production side of shoots?

What a fun-crazy, glitter-time! We had glitter coming out of every orifice for two weeks!

We worked with two amazing creative videographers (Jonny Finnis and James Chisholm). We rocked out sooooo hard that we also couldn't move for a few days with muscle strain/whiplash. Haha!

We are always involved in the conception and creativity so we brainstormed our ideas with the team and the video director - and were over the moon with the video.

Is there a REWS album afoot? What can you reveal about the kind of albums one might expect to hear on the L.P.?

Indeed there is!  

It's called PYRO and will be out on the 3rd November, 2017!  We can't wait to release it! 

Hmm...expect explosions of colour in your ears - and your face to be melted?! You might want to dance along at times, too.

There's something for everyone on the album.

I have been following your music for a long time. How do you think you have evolved as a duo over the last year or so? Do you find yourself growing more confident?

Aw, thank you! That’s really good to know!

We feel that, over the last year, we have become more of a unit. We are more confident in our abilities and what we want to deliver as a duo - as well as what we are saying through the music we write and play together. We are still evolving - as everyone does - but we think we are on the right path. 

How did REWS come together and what was the moment that made you both realise you were meant to make music with one another?

It is a long story but, basically, we were introduced by chance...

We both moved to London at the same time - both of us looking for someone to play music with...

Shauna: I met a friend of Collette's who recommended we hook up and, through the powers of the Internet (particularly SoundCloud) hunted Collette down and hoped she would be up for it. I knew before I met Collette (through our online convo.) that we were going to be a good team - as we shared a lot of interests - but our jam solidified that for me - and we've just been getting to know each other more over the years. 

Collette: I got a message on SoundCloud from Shauna explaining that she wanted to find like-minded musicians to, potentially, start a band together (with). I was seeking the same thing and felt an instant musical connection which, then, bloomed into a friendship and exciting musical journey.

Many have compared you with Royal Blood. Is that a flattering or do you want to be known on your own terms? Do you think the media are too quick to compare artists with other acts?

Shauna: It’s interesting...

We do feel flattered but, equally, want to also have our own wings to fly upon. I think media need to compare artists with other acts so they have something tangible to tease people into listening to someone - as the music world has so much new music to offer! 

Collette: Yeah, I mean; they've been really successful and have helped put duos on the musical-map.

It would be great to follow in their success but our music is a little different and, dare I say it, perhaps a little more accessible to a wider audience - as it's Rock…but has Pop sensibilities. 

I am seeing more female duos/bands come to prominence. Do you think it is important we promote female acts more and does it give you heart knowing you’re inspiring many new artists to get out there and show what they are made of?

Shauna: Yes.

I think it is really important to promote and encourage anyone with talent - particularly female acts who are doing something different! It certainly does give us heart knowing that we are inspiring new artists to get out there and be themselves! We love it!

That’s why we do what we do in many ways!

Collette: It's important to inspire people full-stop, regardless of gender. One of the most rewarding parts of being in a band is when a young fan comes up to you, after a set, and says they've started playing an instrument - and they really want to be in a band because of their idols etc. 

Collette. When did you take up drumming and are there particular idols/performers that inspired you to do so?

I started drumming when I was fourteen - after singing for years and playing the violin/guitar.

I just felt like there was something else out there that would really fulfil me musically…and drums was my calling. I loved Rock music and the energy it exudes - and really needed an instrument to reflect that. I always found myself honing into the beat on tracks and air-drumming along - or coming up with my own grooves.

I grew up listening to the likes of Fleetwood Mac, The Police; Eurythmics and the Sex Pistols - so it was a really eclectic mix. I was particularly inspired by Dave Grohl; Cindy Blackman and Travis Barker. I always joke that Animal from The Muppets is my biggest inspiration – hence, why I always go mental at gigs. Haha.  

Shauna. I am fascinated by your range of lyrics and the way you mix personal with the oblique. Again…are there artists that have influenced you heavily? 

Thank you. That has made my day!

There are quite a few artists that have influenced me to write really honestly – but, adding in creative, metaphorical twists - including Tori Amos, Daughter, Biffy Clyro and Little Dragon. I must also admit that reading (particularly doing the 'artist way' course) helped me to unblock that creative flow and I try to allow myself to (just) spill whatever comes to my hand onto the page - and then get a feel what fits with the music and concept of the song.

For Shine; Collette and I actually had our second process of trying this together, which was fun. 

Recently, you have performed some incredible gigs – including dates in Belfast. Have you got a favourite memory from 2017? What is it like hearing your music chanting and sung to at gigs?

Shauna: For me; my favourite memory was playing Glastonbury’s John Peel Stage with Collette. Seeing the amount of support (and people we had there) plus feeling their weight, physically, in their cheering was quite something - especially when they are singing and dancing to your music!

Collette: Likewise…I almost stopped playing at one point as I was so overwhelmed by how many people were there watching us! It was probably the biggest moment in our career to date and was so awe-inspiring.

BBC Radio 1, among other stations, has backed and celebrated your music. How do you react when you hear your music played on stations like that?

Every time; we feel overwhelmed and grateful.

We also feel our confidence grow with the increase in the support - but we still have to pinch ourselves and stay centred! 

PHOTO CREDIT: Mick Rees Photography

It seems there is a real sisterly bond between you, Collette and Shauna. What do you two get up to when not recording music? It seems like there might be a cheeky, Rock ‘n Roll side to REWS that is indulged away from the stage…?

Shauna: Haha! We are actually probably the least Rock ‘n’ Roll band... normally!

But, when we get a chance to hang out - we do enjoy rockin' out at our favourite bands' gigs; sneaking into awards ceremonies; eating delicious food and having a cocktail (or three). We spend a lot of time just laughing at stupid things, T.B.H. 

Collette: Haha, yeah. The basis of everything we do is to have fun!

We like exploring new things; going to gigs; shopping; comedy nights - and being a pair of wise-cracks!

How is the tour diary looking? What dates do you have coming up and will you get a chance to have a breather before the end of the year?!

Shauna: We have a jam-packed diary with tours coming out our ears - but we are really excited about it all! As for down-time …we will have some time at Christmas!

Collette: Yeah. We have an announcement coming soon in regards to tour - so keep your eyes peeled. It's pretty much all-go but we'll both get some time with our families for Christmas (which will be great). 

IN THIS PHOTO: Vukovi/PHOTO CREDIT: Stuart Simpson Photography

Who are new acts you recommend we check out?

Shauna: I'd say; check out Dead!, Fizzy Blood and Vukovi.

Collette: I second Vukovi - and Marmozets are great. Fatherson and Fjokra.

IN THIS PHOTO: Marmozets

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

Shauna: Hmmm... it might have to be Avril Lavigne - Under My Skin

It helped me through a really hard time in my life - during teenage years and when my family broke up. 

Collette: I would say Red Hot Chili Peppers - Californication

It was the first physical album I got for Christmas and really got me excited about music. I learned all the words; studied Chad Smith’s drumming style - and imagined being married to Anthony Kiedis. Haha.

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

Shauna: Keep focused and work for what you believe in - and do it for the right reasons. It’s not an easy world and there are so many conflicts you will experience along the way. But; if you stay true to yourself, it is possible.

Also; it’s important to keep your priorities right and surround yourself with people who you care about - and who care about you. 

Collette: Treat others as you'd like to be treated. Even the biggest bands had to start out somewhere - and you will work with many of the same faces in your career. People remember the divas - and negative news travels fast. Remain true to your beliefs and fight for what you believe in.

Be as versatile as you can: bands that can drive themselves; have a car; understand live sound and can advance their own shows will go far - and be very attractive to labels. 

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).

Shauna: Favourite song of the day is Daughter - No Care

Collette: Great Scottish band: Fatherson - Always

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Follow REWS

Official:

http://www.rewsmusic.com/

Facebook:

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

Twitter:

https://twitter.com/rewsmusic

Instagram:

https://www.instagram.com/rewsmusic/

YouTube:

https://www.youtube.com/channel/UCqrzf8MKEmBbbyo3wpzkQGQ/videos

SoundCloud:

https://soundcloud.com/rewsmusic

Spotify:

https://open.spotify.com/artist/4B06m6NJ8e5AnzIZNtZtta

FEATURE: Walter Becker: Here’s to You, Sir…

FEATURE:

 

Walter Becker:

 Here’s to You, Sir…

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MY promise of chirpier and more uplifting pieces…

IN THIS PHOTO: Walter Becker with Donald Fagen

has lasted a matter of hours. To be fair; few of us imagined we’d lose a music giant today. Steely Dan’s Walter Becker has died and, with it, left a huge hole in music. Social media is filling up with tributes and remembrances of a giant of the music world. I had to have my say for a number of reasons. I will come to those but Becker’s death is extra-poignant as Steely Dan has gigs lined up before the end of the year. I can only imagine how his Steely Dan brother Donald Fagen is feeling right now. Becker’s death, aged sixty-seven, is a shock to the world: few expect him to die at such a young age. Fagen has written a tribute already - claiming how smart he was and funny; a terrific songwriter and cynical human. Becker was due to perform at Steely Dan’s Classic East and West concerts but missed it – due to an unnamed and unspecified ailment. One assumes there is a connection – it will be interesting discovering what the illness was and why things deteriorated so soon. Becker and Fagen met one another and started collaborating as students at New York’s Bard College. From there, an instant bond was forged – they moved to L.A. in the 1970s and formed one of the most influential and spectacular acts in all of music. I think Steely Dan were due to play in the U.K. very soon - it would have been great to catch them - that was a ticket I was keen to get my hands on. It is weird knowing we will never get another album from Walter Becker. His death has not sunk in yet but the realisation he will make no more music is a hard thing to take. My exposure to Steely Dan was a chronological one.

PHOTO CREDIT: Chris Walter/WireImage/Getty Images

I discovered their debut album, Can’t Buy a Thrill, through my parents, when I was a child. That album, released in 1972, remains a Jazz-Pop masterpiece with so many different styles and wonderful moments. The line-up changed after the debut album but hearing David Palmer (who took lead vocals on Dirty Work and Brooklyn (Owes the Charmers Under Me) and Jim Hodder (an exceptional turn on Midnite Cruiser) is fascinating. The band, at that time, was more a collection of musicians finding their feet. To me, Steely Dan stood out and cemented when they released their second album, Countdown to Ecstasy. By then, David Palmer has been let go: the dynamic had changed and there was a more streamlined, focused unit. Songs (on Countdown to Ecstasy) like Show Biz Kids and My Old School are classic cuts – in no small part because of Walter Becker’s role. In fact; go back to Can’t Buy a Thrill and one hears the development and genius of Becker right through the album. Incredible bass-lines on songs like Do It Again and Reelin’ in the Years; the phenomenal command and inventiveness on Kings and Dirty Work - such a master of all he surveyed!

It was not only about the bass: harmonica and backing vocals were all part of Becker’s Can’t Buy a Thrill legacy. Becker said, in 1974, how uninterested he was with Jazz/Rock fusions – he felt that marriage was ponderous. Steely Dan played Rock & Roll with a swing. That desire for rush and energy was crystallised on albums like Countdown to Ecstasy and Pretzel Logic. That, in many people’s view, is the high-point of Steely Dan. To me, Pretzel Logic is the moment when everything fell together and became Steely Dan. The exceptional bass on Night by Night and Any Major Dude Will Tell You; the groove of Rikki Don’t Lose That Number and the eccentricity and delight of Charlie Freak – so much talent and variation from an incredible player. The bond Becker has with Donald Fagen meant every song was a display of the telepathic and telekinetic. I won’t go into the back-catalogue but it is worth mentioned the albums and moments that made Steely Dan one of the biggest and most important bands of the 1970s. Walter Becker often gets overlooked - as Donald Fagen took lead vocals and was at the front. All the songs were co-written by Becker and he was as essential and pivotal. Throughout the 1970s; Steely Dan created wonderful album-after-album – the cerebral and beautifully crafted Katy Lied (1975); the stunning moments of The Royal Scam (1976).

There were some who felt Steely Dan failed to evolve between those two albums but there was no need for giant leaps: they had reached a point where they were on fire and near the peak of their abilities. Becker, especially, growing in confidence and providing some of the finest bass-work on any album of the period. Aja, perhaps, represents the band at their most celebrated and flawless. The title-track is a sweeping, multi-part song that goes through stages and sweeps. It is mostly instrumental a fantastic odyssey from Steely Dan. Becker, as a central cog in the machine, provided so much fluidity, drama and beauty with his bass – able to direct the song but produce groove, rhythm and passion. Black Cow and Peg are funky and sassy: Becker, again, cool-as-a-cat and sensational throughout. For so many out there; Steely Dan can be defined by the exceptional masterpiece, Deacon Blues. From 1975, Steely Dan has surrounded themselves with a team of expert musicians and Becker assimilated more guitar duties. Becker and Fagen did not feel a large supply of musicians was an embarrassment. To them; they had options and were allowed to give full flight to their imaginations and ambitious songs. Without that crew of musicians, Deacon Blues would be a weaker song. It is, to me, the greatest song ever – Walter Becker is a huge reason for that assumption.

It is the moment music made sense and meant so much to me. I have been listening to it on-repeat today and finding new brilliance in the song. The sublime and titanic composition packs in so much. I imagine Walter Becker and Donald Fagen sitting in a Malibu apartment – where the song was conceived – and chatting about the composition and swapping lines. The song was written for an Alabama football team who called themselves ‘The Crimson Tide’. Steely Dan’s duo, finding this beyond pretentious, came up with their rejoinder: ‘Deacon Blues’ would be the name given the losers in the world. It is a wonderful idea and, from there, the song came to life. They have said how it was one of the easiest songs they ever wrote – and the fact they listened to it over and over again. It is an addictive and epic track that involves the listener and brings them into the music.

PHOTO CREDIT: Danny Clinch

I implore everyone to listen to the track and discover why is regarded as the band’s best song. Steely Dan would go on hiatus after their album, Gaucho – featuring the incredible Hey Nineteen and Babylon Sisters – in 1980. They returned in 2000 with Two Against Nature and followed that album with Everything Must Go (2003). The records did not represent the best days of Steely Dan but are solid and interesting listens. Walter Becker produced two solo albums: 11 Tracks of Whack (1994) and 2008’s Circus Money. Both were well-received by critics and showed he could stand on his own and still shine. It is a testament to a fantastic and adaptable musician whose supply of brilliance and nuance was not reserved for the albums of Steely Dan.

I was hoping for a new Steely Dan album and cannot believe a musician who played on Deacon Blues is not with us anymore. There are so many reasons why that song is the one that takes me somewhere special and safe. I love the drive and energy of My Old School; the experimentation and multi-genre-desires of Can’t Buy a Thrill: I love everything they ever produced. Walter Becker was, as Donald Fagen said, a hugely funny and cynical human. That wit and brilliance made their way into the lyrics and the compositions: an artist who was quick with a line but could provide myriad emotions and oblique sentiments through his bass and guitar. Becker and Fagen loved the fact Deacon Blues made its way into the public consciousness. It slipped through the cracks and, a song from two outsiders, getting into the collective bosom was a huge surprise – they were inducted into the Rock and Roll Hall of Fame in 2001 and used the opportunity to take questions from the crowd! It is sad knowing Walter Becker is gone from the world but his music and incredible legacy will never fade. He is one of the finest musicians we have been lucky enough to witness and to me. To his millions of fans out there; Walter Becker is someone who will always…

REMAIN in our hearts.

FEATURE: The Texan Ten: The Best New Acts from The Lone Star State

FEATURE:

 

The Texan Ten:

IN THIS PHOTO: The Suffers/PHOTO CREDIT: Greg Noire 

The Best New Acts from The Lone Star State

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LIVING in the U.K. can be a blessing and a curse sometimes.

IN THIS PHOTO: White Label Analog/PHOTO CREDIT: Nicki Gell 

I am glad people here have not had to witness and experience the devastating floods that have ravaged Houston (and Texas) recently. My heart goes out to everyone affected in this difficult and unprecedented time. In honour of a wonderful state; I have collated ten of Texas’ finest new acts you need to get your ears around.  Among the impressive selection of artists we have Psychedelia, Country and Soul – from a good old-fashioned band to experimental clans; solo female artists and an incredible Punk band.

Ensure you check out all these artists and follow their music – fantastic examples of the type of music emerging from Texas right now. Everyone in the U.K. is sending out warmest wishes and affection to the people of Texas.

Take care of each other; keep making music and stay strong – you shall overcome!

_________

The Suffers

LOCATION: Houston

GENRE: Soul

FOLLOW: https://www.facebook.com/thesuffers/

Jackie Venson

LOCATION: Austin

GENRES: Indie; Blues

FOLLOW: http://jackievenson.com/

Frythm

LOCATION: El Paso

GENRE: Future-Beats

FOLLOW: https://www.facebook.com/frythm/

PHOTO CREDIT: Ryan Vestil/HRV Images

Calliope Musicals

LOCATION: Austin

GENRE: Art-Rock

FOLLOW: http://www.calliopemusicals.com/

Giant Kitty

LOCATION: Houston

GENRES: Punk; Alterative

FOLLOW: http://www.giantkitty.com/

White Label Analog

LOCATION: Austin

GENRES: Indie; Alternative-Rock

FOLLOW: http://www.whitelabelanalog.com/

Tele Novella

LOCATION: Austin

GENRE: Psych-Pop

FOLLOW: https://www.facebook.com/telenovellamusic/

BLSHS

LOCATION: Houston

GENRE: Synth-Pop

FOLLOW: https://www.facebook.com/BLSHSmusic/

Golden Dawn Arkestra

LOCATION: Austin

GENRE: Alternative

FOLLOW: http://www.goldendawnarkestra.com/

John Baumann

LOCATION: Austin

GENRE: Alt-Country

FOLLOW: https://www.facebook.com/JEBtunes/

FEATURE: The Working-Class in Music: Are Their Voices Being Heard?

FEATURE:

 

The Working-Class in Music:

 Are Their Voices Being Heard?

________

I promise my final piece(s) of the day will be more positive…

as I am aware I am a bit ‘preachy’ and serious this weekend. I have just got through looking at politics in music: whether we need artists to activate their political outrage and direct their musical talents in the direction of the world’s leaders. Now; I am looking around the music industry and wondering whether those who, traditionally, have been at the forefront of revolutions and change: the working-class. One can argue socialists or Marxists have been more effective – and would not, necessarily, deem themselves as ‘working-class’ – but I am concerned, journalists like me, might struggle to get into the industry. I will bring in a few articles to support my arguments (as I often do) but am scanning Google and typing in the words ‘working class’ and one gets some troubling results.

Working-class students at Oxford University – as few as there are! – are being assigned ‘buddies’ because there are so few social peers. It is a sad indictment of the educational system – and the elite institutions – that they have to treat the working class as remedial students. It is encouraging getting more working class students into the top universities – they are still the vast minority and something needs to change. Looking around music media and it seems there are fewer working-class journalists in prominent positions. Caitlin Moran, a Times columnist, is one of the few working-class journalists who work for an ‘up-market’ newspaper. Maybe there are working-class in your tabloids but I fear, even they, are recruiting a majority of the middle-class. An article by the Huffington Post looks back a few years - and some concerning statistics:

“In 2012, a report undertaken by the NCTJ discovered that only 3% of new journalists derived from a background of parents who worked within “unskilled” jobs. In stark contrast to this, the report also found that 65% of the industry’s new intake came from a background of parents working within “professional, managerial or director positions”.

PHOTO CREDIT: Unsplash

James Cropper, writing two years ago, laid out his personal concerns:

“For student journalists like myself, the prospect of an unpaid internship is worrying as my financial situation will more than likely prevent me from gaining crucial work experience, which could postpone the chances of obtaining a permanent position.

These worries are only emphasised by more recent Sutton Trust analysis that discovered young individuals who undertake a six month unpaid internship in London are forced to cough up a minimum of £6081 without support. For journalists wishing to take a six month unpaid internship outside London, a slightly less but still hefty sum of £5087 is required.

PHOTO CREDIT: Unsplash

This automatically prevents certain individuals, even in areas known for their large working class populations, from gaining crucial experience whereas young people of higher socio-economic backgrounds would be more likely to cope with costs.

The fact that aspiring working class journalists are forced to relinquish potentially career changing internships while others don’t due to the pretence of their socio-economic background is fundamentally wrong. In simple, this is class inequality within an industry that strives to highlight injustices”.

That, right there, seems to distil the problem inherent in journalism. It seems most of the newspapers and online sites have their basis in London. If one wants to live/commute in London; that takes a lot of money. The working-classes, due to their comparative lack of ‘necessary’ education and opportunities have to take internship-level places – these are unpaid and, therefore, not viable options for people of a certain age. I am thirty-four and cannot even contemplate the possibility of doing an internship! Even if I lived in the centre of London (which I don’t) I’d have to sell my body to make rent – I fear I would be giving refunds at a rapid rate! It is worrying seeing how elitist journalism is becoming. Maybe that is always the way but I am noticing, as more sites and channels emerge; fewer chances for the working-classes are available.

IN THIS PHOTO: Caitlin Moran

Caitlin Moran, one of the few working-class success stories, used to write for Melody Maker and grew from there. She was discovered very young and worked her way where she is by sheer talent and determination – writing about her near-impoverished roots and being raised on benefits (read her work in The Sunday Times). We need more working-class people coming into music journalism. If anything; they provide a unique perspective on the musical landscape and how skewed and defined it – I shall come more to that later. It is a simple step-system that means, at no part of the chain, are there any easy answers. I studied History at university and was not sure, at that age, what I would do with my life. Many people at my university were in the same predicament: we all wanted to experience time away from home and being around like-minded people. I got into music journalism six years ago, and by that stage, I was working in regular jobs and out of the educational loop. As good as my work is; I fear it takes actual qualifications and academia to get my foot in the door of a London newspaper/website.

If I were to do that, even with a grant, it would cost thousands to study a course – the debt would mean I’d be spending most of my wages repaying the government. It is a sad state of affairs when we need to learn music journalism through such a structured and defined basis. I have been writing since 2011 and find I am far ahead of many professionals. I would not stand a chance, were I to apply to NME, Mojo or The Guardian for a music job. They would run internships but, as I say, that is not a viable option. Even with the portfolio I have at the moment: that would not be as profitable and relevant as a journalism degree. The middle-class journalist that festoon and dominate the industry have been to great universities - and got qualifications that led to their jobs.

Maybe they had their heads screwed on and knew what they wanted sooner than me – if I had studied journalism at university then I would be working for a great paper. It is not that easy and, when I started university in 2001, there were not a lot of journalism courses and opportunities to follow your passion. My school was not promoting this line of education and there was that poverty of expectation – the alumni were not going to be in the arts; more your blue-collar workers and low-earning type. Even if I had wanted to be a journalist back then; I would have had to wait years to study a degree and, even if I survived the mountain of debt, it would have taken years more to get into a prominent position. It seems ludicrous most of the working-class journalists are reserved to blogs and online sites. Look at your big papers – The Times, The Guardian; The Independent and The Daily Telegraph – and, searching their music reviewers/journalists, and the majority of them are middle-class.

That is the case with Time Out, NME and Mojo. Yes, there are working-class journalists in their ranks but they are the minority. I feel the majority of business leaders should be working-class; politicians and leaders the same class – this is certainly the case with music. That is not my way of making the world more rational, for-the-people and accessible – there are industries and areas of life where a more educated and privileged sort is the best option. My experience and complaints are not unique. Consider a piece in the Metro by Erica Crompton. She penned an article about her experiences in journalism – and how much of a struggle it has been:

“You see, LinkedIn tells me today that I’ve been writing for Fleet Street newspapers for 14 years, with spells in and out of full-time employment and a spell of unemployment that lasted the entire length of a two-year relationship.

You may think being open about my schizophrenia, or simply having such a diagnosis, is what stops me from reaching higher.

But I believe it’s because of my working class background.

I started out well – having gotten a job as an assistant at an esteemed broadsheet, I was young and full of hope for my future.

I look back now and my heart sinks.

PHOTO CREDIT: Bigstock 

I’ve watched other assistants at the same publication go on to become world famous columnists and heads of large departments, but I’ve never really pushed on from £10 an hour.

I feel my background has held me back considerably.

My story is just one example of the class pay gap and a wider lack of social mobility in Britain today.

This isn’t a problem confined to one industry – it happens across the board.

This year, research for the Social Mobility Commission revealed that, on average, people from working class backgrounds are paid £6,800 a year less than those from middle class backgrounds.

Even if they’re doing exactly the same job and have the same experience as their colleagues, those from working class backgrounds receive nearly £2,250 a year less.

LSE research fellow Dr Lisa McKenzie, a Class Wars activist, recently said that Oxbridge-educated commentators should stand aside and let working class journalists like her do the talking about working class issues.

PHOTO CREDIT: ALAMY

Referring to Oxford alumna and Guardian columnist Polly Toynbee, she told the Morning Star:

This is my challenge to Polly Toynbee: Why are you still talking? Your voice is redundant. If you mean what you say, step over and give me your column.

Personally I agree – we need more than Oxbridge graduates as the monopoly masters of the media circus.

In the meantime, I’m actually writing a travel book on Birmingham.

It’s not as bad as you think here in the working class wastelands of the Midlands.

And we know everything there is to know about wellies”.

Journalism is a white, middle-class, Oxbridge institution that wants to retain its middle-class mentality. Working-class journalists receive less money than their middle-class equivalent. Women earn even less: one can see so much discrimination and inequality in the industry. I want to move things onto music – and why we need a working-class injection – but will end by looking at my ‘tribe’ – and how likely it is we will get into a professional position. I’ll bring in some snippets from other journalists, first.

PHOTO CREDIT: Negative Space/Unsplash

A 2016-piece from The Guardian made a good point:

“Another major consideration for aspiring journalists is that getting a work experience placement is essential. Yet the majority are London-based, unpaid, and acquired through contacts. That means those living outside the capital, and without financial resources or well connected parents are immediately at a huge disadvantage.

Everyone in the industry acknowledges these issues in the same resigned how-will-this-ever-change tones. To become a journalist it clearly helps to be well educated, well connected and wealthy, so it’s not difficult to see why the public perceive us much like politicians: all the same and out of touch”.

To support this; another piece by The Guardian showed the discrepancies in terms of class and gender:

“The findings, announced at the Changing Media Summit today, reveal that 65% of journalists who have joined the profession over the last three years are female, but that women remain underpaid and under-promoted, while almost all ethnic groups and religions are significantly under-represented.

Researchers reported that just 0.4% of British journalists are Muslim and only 0.2% are black. Nearly 5% of the UK population is Muslim and 3% is black.

The issue of equality and diversity in journalism came under the spotlight last month when 94 men and 20 women were shortlisted for this week’s British Press Awards.

City’s research indicates that women are paid significantly less than their male counterparts. Nearly 50% of female journalists earn £2,400 or less a month compared with just a third of men.

Female journalists also tend to become stuck in junior management positions, while more men fill senior posts, the research found. Nearly half of women who have worked in the industry for between six and 10 years are still “rank and file journalists”, while 64% of men with equivalent time in the industry had been promoted into junior or senior management positions”.

PHOTO CREDIT: Unsplash

It might seem like I am cobbling together pieces from the Internet to make a vague point. The reality is that is only the tip of the iceberg. Have a search yourself and see how many articles there are fulminating and outraged at the class wars going on in journalism. It says a lot that, when a petition was put onto Change.org – to urge The Guardian to employ more working-class – only eight people signed it. One suspects, if the petition had been successful, nothing would have changed. Trailblazers like Moran are part of a minority whose voice alone cannot out-shout the out-of-touch, elite nature of the press. We need to get more working-class writers in better positions. Get out of this white mentality and employ more journalists from minorities.

PHOTO CREDIT: Unsplash

Hire more women and make the press a more communal, unified and class-less forum. I have shown – I hope – I am able to hold a pen to the best of the middle-class hacks. I can pen a pretty decent piece, and yet, will be held back by virtue of my modest academic achievements. I drive a second-hand car and earn less than £20,000 a year and have fewer A-grades than the majority of people employed at the broadsheets. I can change circumstances and my background: I wonder whether I can change things in any way. The industry is so geared against the middle-classes; many are ignorant and blind to the privation and exclusivity of their business. I will end my scorched earth rantings – that is how many might see it – and apply my class theory to the music industry as a whole.

IN THIS PHOTO: Stuart Maconie

Before I come to my own conclusion; I have been reading a fascinating piece Stuart Maconie wrote for NewStatement in 2013:

“The great cultural tide that surged through Harold Wilson’s 1960s and beyond, the sea change that swept the McCartneys, Finneys, Bakewells, Courtenays, Baileys, Bennetts et al to positions of influence and eminence, if not actual power, has ebbed and turned. The children of the middle and upper classes are beginning to reassert a much older order. In the arts generally – music, theatre, literature for sure – it is clear that cuts to benefits, the disappearance of the art school (where many a luminous layabout found room to bloom) and the harsh cost of further and higher education are pricing the working class out of careers in the arts and making it increasingly a playground for the comfortably off. The grants are gone and the relatively benign benefits system that sustained the pre-fame Jarvis Cocker and Morrissey is being dismantled daily.

IN THIS PHOTO: Morrissey

…to Mumford & Sons you can add the likes of Coldplay, Laura Marling, Eliza Doolitle, Lily Allen, Florence Welch, Pixie Lott, La Roux and Mark Ronson, as well as talent-school academy graduates marshalled by one Simon Cowell, an old boy of the then £3,995-a-term Dover College (now £4,750). Unscientifically, but still persuasively, it is detectable in the names on sleeves. The top indie act the Maccabees include a Hugo, an Orlando, a Felix and a Rupert”.

Maconie, himself, is working-class and currently works for BBC Radio 6 Music. Alongside Mark Radcliffe - another working-class, salt-of-the-earth chap - he has had to work bloody hard to get where he is! Maconie’s piece, even though it is four-years-old, is as relevant to this day – as it was back then. When Maconie was a student/promising journalist, the scene was a little different. You had working-class heroes in music. He would have reviewed and seen the likes of John Lennon as a boy; John Lydon a bit later on – he coined the word ‘Britpop’ when the Gallaghers were taking the piss out of Blur. He has lived through generations where the working-class, in a minority, have produced some of the finest music ever. There are plenty of working-class musicians in the underground: how many are there making waves and impressions in the mainstream?!

IN THIS PHOTO: Jarvis Cocker/PHOTO CREDIT: Herbie Knott/REX/Shutterstock

Returning to Caitlin Moran and, when she was on Desert Island Discs earlier this year, she made an interesting point to Kirsty Young: would we have left the E.U. if working-class musicians were in a position to break to the masses?! Say a ‘new Jarvis Cocker’ wrote music about the heritage and diversity of Britain. Instead of people being brain-washed by the tabloids and their propaganda crap – they would have been better-informed, educated and aware. We would still be in the E.U. and, one could hope, Labour would be in Downing Street. That is not the case and, as a result, we are in a royal-bloody-mess! That is a simplistic distillation but there are links between the class of musicians and how that reflects on society. Not only does a majority of the middle-classes mean messages are less political/social and more personal – the quality, bite and authenticity is lost. Remember back in the 1990s when we experienced the last real wave of working-class bravado?! I was a child when that swept and it enforced and infused my life in such a primal and real way.

IN THIS PHOTO: Blur

Me and my friends would converge to the playground to chat about Pulp owning Top of the Pops; Blur and Oasis going toe-to-toe in the chart battle of 1995 – how Liam Gallagher got himself in trouble for sticking it to the P.M. Those were giddy times and, because of that, by the time Britpop ended (1997-ish) we had a Labour Prime Minister. There is a correlation between the dissipation of working-class activation and the rise of the Conservatives. Britpop ended for a number of reasons but (one of the reasons) was the need for a change and new influence. Britpop had done its work and needed to bow to its successor. Unfortunately, and disturbingly, that was the last time we saw a genuine voice for the working-class in this country. Such is the sterile and vanilla-white nature of the mainstream; we are in desperate need for a class revolution and sense of guidance. Among the posh songwriters and generic Pop artists – where are those genuine characters who write about life and the realities of the street?!

IN THIS PHOTO: Oasis/PHOTO CREDIT: Kevin Cummins (1994)

Stuart Maconie, in his article, stated how Hip-Hop and Rap are built by the working-class and is among the most honest and socially aware music around. Look at genres like Rock and Pop and they have become so impotent and meaningless. It is all meaty riffs, big hooks and aimless choruses. Where are the crafted lyrics and brilliant observations?! Where are the sort of choruses we all got giddy to when Live Forever came out?! Where are Punk bands like Sex Pistols that kicked against the establishment and exhilarated a generation?! Maybe the passing of time means it is impossible to revert to that better state. I feel there is a rigidity and ignorance that could be overturned quickly. It would take small changes but we need to give a bigger platform to working-class musicians. It all starts with journalists: if the working-class musicians feel they have few peers in the press; their music is not going to get the respect and attention it deserves. In order to revitalise and repurpose music; we need to look at the broadsheets and get them to sort their ranks out!

IMAGE CREDIT: Metro

Stop being so snobbish, elitist and stupid. The working-class and those who know what life is really like and have a much more open and loving approach to different races, colours and backgrounds. I am not suggesting the middle-class are oppressive and closed-off – the working-class deserve a voice and a chance to influence music. I fear, if I submitted this piece to a broadsheet, rather than look at the points I make and the articles I source, they would criticise my scansion, grammar and structure. That is one of the issues with the press: they are more about academia, precise English and a certain class of writer – unconcerned with something truthful, honest and real. The more we allow journalism to refuse the working-classes, women and minorities – the more that impacts on music and means the likes of Noel Gallagher and John Lydon will never be seen again.

IN THIS PHOTO: Sex Pistols

There is enough to be pissed-off with in the news. One feels the musicians in the mainstream – largely middle-class – snort with derision and, even if they are angered by what they see, are not incensed enough to write about it – they might offend and shock the labels and people who command the millions they earn. How controlling and damaging are records labels and the type of music they want their artists to play?! Maybe it is hard expressive anything the way Jarvis Cocker did back in the 1990s if (all the) label wants is something commercial and radio-friendly. Class expression and unconventional wisdom is such a shocking commodity for the mainstream. The reason I listen to stations like BBC Radio 6 Music is the fact they extol artists that represent the country more honestly and reliably than the so-called ‘best’ of modern music. Even so; I am hearing few artists speak about things relevant to people like me: the working-class that wondered how my country split and why we are leaving the E.U. Do we need to challenge music journalism to ensure music as a whole embraces more working-class artists?! Is it a more complex and intricate conundrum?! I don’t think so. What I do know is we are so far away from the glorious working-class bands and artists that shook music up and changed it forever. Aside from a few unique and pioneering artists here and there; we are stagnating and falling into a lukewarm tar pit – one we will struggle to extricate ourselves from. One can (and will) wag their index finger at the music media who are shutting doors to promising and willing working-class journalists.

We/they are being told to get ‘relevant’ degrees (not sure any university runs a course in ‘Patronising Arsehole Studies’) and go via the internship route. They are so unaware of the realities of working-class life and how much of a financial struggle it is for regular, hard-working people. I read a lot of articles/reviews from broadsheets and they don’t exactly blow me away. Why does one need a degree in Journalism to write fifty words about the latest LCD Soundsystem album?! It seems education, as useless and irrelevant is in a lot of cases, is holding back progression and equity. The media needs to change their ways because, not only are they corrupting their industry and discriminating against the working-class – they are damaging music and ensuring we are far less likely to see exceptional working-class artists that pushed music forward and made real changes. If the music press/industry continues the way it is; it will put off journalists like me off and, as a result, it will create a system where entry into the press/higher echelons of the industry are…

RESERVED to the middle-classes only.

FEATURE: The Times They Aren’t a-Changin’: A Need for Greater Protest in Music

FEATURE:

 

The Times They Aren’t a-Changin’: 

IN THIS PHOTO: Eminem/PHOTO CREDIT: Ben Bentley/NME  

A Need for Greater Protest in Music

________

THE world is not getting any prettier…

That is axiomatic but, seeing the news, it appears the people we put in charge of our world are not protecting it the way they should. Often, when one puts the words ‘politics’ and ‘music’ together; they are met with a scrunched-up face and derision. There have been attempts, by musicians, to articulate a sense of outrage and disgust through their music. I wonder, in the past couple of decades, how successful and influential their efforts have been. I am reminded of classic Folk artists of the 1960s – such as Bob Dylan – who, despite claiming not to write political messages, seemed to represent a fear and trepidation that was percolating in the masses. Back in the 1960s; the world was faced with war and corruption: political scandal and financial burdens were affecting so many people in society. Given the spirit of rebellion and love-based antithesis movement that reached its apex in 1967 – people were fighting against war and poverty through peaceful means.

That is not something possible in today’s world. Musicians back then, like The Beatles and Love, were releasing sensational around this time. Both of these records (Sgt. Pepper’s Lonely Hearts Club Band and Forever Changes) seemed to project a feeling of freedom and togetherness. I am casting my mind to see how many albums around the time specifically dealt a blow to the leaders of the free world. The Velvet Underground released The Velvet Underground & Nico but their themes were more aimed at drug use, sexual liberation and experimentation – little time expended tackling societal issues. It has long been the case few artists have immersed themselves in a political mindset. There is a danger of being judged and seen as sallow. If the messages don’t compel people to take to the streets then what is the point? I do wonder whether Bob Dylan, despite his assertions, was writing deliberately political songs. One cannot listen to an album like The Freewheelin’ Bob Dylan or The Times They Are a-Changin’ (1963 and 1964, respectively) and feel there is not a political edge – the former’s best tracks, Blowin’ in the Wind and A Hard Rain’s a-Gonna Fall feel apocalyptic and prescient in their urgency and wisdom.

IN THIS PHOTO: Bob Dylan, fans looking into limousine in London, England (1966)/PHOTO CREDIT: © Barry Feinstein, 1966

Maybe Dylan did not want to be labelled a protest singer. There are a lot of artists that have written political songs but that number is becoming fewer with every passing year. Is it, in a time where the mainstream is becoming more pronounced and less world-aware, a danger writing a political song? Prophets of Rage unleash their eponymous album later this month. You can bet they aren’t going to be talking about kittens and yarn; getting their heart broken or cleaning the dishes. The U.S. giants will be sticking it to President Trump and turning the volume wwwaayyyyy up! I cannot wait to see how Chuck D, Tom Morello and company are going to represent the feeling of malaise and division in the U.S. I recently saw quotes from Eminem’s stunning sets at Reading and Leeds – he ensured the performances could not be streamed to anyone for free – and the vitriol he aimed at Trump.

IN THIS PHOTO: Eminem/PHOTO CREDIT: Ben Bentley/NME  

He got everyone in attendance to shout “Fu*k Trump” with as much gusto as they could. With this anger and energy running wild: his set was one of the finest of his career. I feel more musicians should be unafraid to speak out against leaders. It is not treasonous or worthy of backlash if you are honest. I did not vote to leave the E.U. nor did I vote-in the Conservatives – I feel justified in having my say about how they’re running the nation. I will come to look at our nation soon but, before then, the U.S. and the way they can weaponise their lyrical talents right at the groin (if there is one) of Trump. Eminem, in my mind, is among a small group of artists unafraid to tell it how it is. Hip-Hop elite like Kendrick Lamar, on albums like To Pimp a Butterfly, talk about racial tensions and gun violence in the country. In fact; a lot of black Americans have vocalised how they are discriminated against – the government lets it happen without batting an eyelid.

IN THIS PHOTO: Kendrick Lamar

Even Hip-Hop is expended little time talking about what is happening in the White House – a building whose name, post-Obama, has become ironic and very literal. The U.S. is, under Trump, becoming a place of opportunity and freedom: if you are white and a Republican. Any sensible resident of the nation is being short-changed and shafted. I do not know whether Trump will be impeached – or die of a very painful rectal disease – but there are many, atheists like me, praying there is a vengeful God in the sky. In any case; there needs to be a more pronounced and visible show of protest. Consider the past few months and the catalogue of atrocities Trump has allowed to happen. We all remember the terrible carnage that took place in Charlottesville a matter of weeks ago.

One woman died and many were injured when the far-right let their (vile) voices ring out. It led to widespread disgust and provoked condemnation across the world. Normal, rational leaders, would have reacted immediately: Obama would have been on the news offering his sympathies with those affected; toil and scorn at those callous enough to create such an environment. He would have been quick and ruthless in his retaliation. The same goes when one processes something as devastating as the flood we have been seeing – Houston especially affected. It has been distressing seeing the images and loss reeked by the terrible floods there. Many are still struggling to piece it together – the damage will endure for an awful long time. It is not good enough to acknowledge it has occurred and say nothing about it. When the rain/storms first struck; the people of the country were more vocal and visible than Trump. It was only a few days after the event he actually did anything at all.

IN THIS PHOTO: U.S. President Donald J. Trump

It is clear President Trump is someone seemingly unconnected with humanity and unaware of the plight of his people. God knows who elected him but many must be regretting their decisions. What does an American do when faced with this kind of separation and destruction? The fact there is a lot of hatred means, if they are going to respond through song, they need to tread carefully. One could easily undercut their good intentions by penning something crass and needlessly offensive. I mention Eminem because he is an artist who, yes, causes offence but is able to sublimely voice what many are feeling. His charged and scintillating U.K. performances show we here are with him and responding to what he putting out there. I hope there is a new Eminem album because it seems like now is a perfect time to react. I know Rage Against the Machine are readying their album. How many other musicians are writing songs that protest against the current political order?!

IN THIS PHOTO: A shot of the floods in Houston, Texas

Either there is a lack of willing or a consensus of fear that is holding back their inner-most anger. I am not suggesting a Band Aid-style single but something from a range of American artists wouldn’t go amiss. It does not need to be an accusatory and vilifying song. A charity song, to raise money for the Houston victims or those caught up in Charlottesville, would be a positive step. It could bring together artists from various genres/time periods that would show a rare unity and togetherness. There are divisions and compartments in music: breaking this down, for a song/album, would be a great concept. I would still like to see great political creativity and fire from U.S. artists. Whether Eminem is releasing a record soon remains to be seen. I look around U.S. music and feel their mainstream – artists like Katy Perry, Taylor Swift and their ilk – are not unqualified to change their voices. Maybe there is a commercial risk inherent if they decide to sing about politics.

PHOTO CREDIT: Unsplash

I know they feel the pain of their people and are eager to ensure as few tragedies occur as possible. Music is a powerful medium and one that should allow its artists to have freedom of speech. There is such a rigid set of rules for mainstream artists. They are tied into contracts and expected to create music of a certain manner. I guess, when you have created an identity over the years, you have more flexibility. I have mentioned Kendrick Lamar but Beyoncé is someone who sings about racial tensions and injustices. She speaks of empowerment and females being heard. I suspect, whether she is off musical maternity leave or not, there are ideas and articulations that need venting. Whether she will return with an album as intense and of-the-moment as Lemonade – or favour a more reflective album that addresses her new twins, I am not sure.

IN THIS PHOTO: Beyoncé

There are fantastic artists in America living in a nation run by a bumbling buffoon. He is a businessman and, as such, has little empathy and responsibility in regards the people and humanity – there are conscientious business leaders but few that we hear about. I am not proposing a revolution but I often feel, the same as has been seen with great uprising and progress, the smallest ripples can lead to huge waves. If some of the biggest artists took the gamble – maybe, getting odd remarks from small-minded fans – and spoke out against what is happening, through the medium of music, then that would create a huge impact. The more people who speak out against corrupt and hopeless leaders – in all industries – that will, in turn, reflect with the American people who will, in turn, apply pressure on Trump. He cannot assume everyone is happy with him and who knows: if music’s finest start a campaign; it could have the potential to bring about real change.

IN THIS PHOTO: P.M. Theresa May/PHOTO CREDIT: EPA

I wanted to end the piece by looking at the situation in Britain. We have had to ensure our fair share of tragedy this year. There have been some muted, half-baked attempts at a political protest from British music – nothing that truly summarises and distils the sense of confusion and betrayal a lot of people feel. We have much to chew over and speak about. There is the ongoing Brexit debacle. We have the (still raw) tragedy at Grenfell Tower. Against that, there has been terrorism and growing radicalisation. With all this in mind, like Trump, one would expect P.M. Theresa May and Foreign Secretary Boris Johnson to take a more proactive and quick-time approach to these concerns. The fact there is a backseat rebellion shaping-up in the Conservative camp suggests there will be upheaval very soon – one can only hope a coup allows Labour to swing in and gain the reins of power. Our government took a distressingly long time to say anything about Grenfell. May did not even get out among the people until after the Queen had. The head of our monarchy was more motivated than our P.M. to see if the people will alright and assess the extent of the damage.

IN THIS PHOTO: Grenfell Tower, following the devastating blaze from earlier this year

Rightfully, there was outcry and derision from all sides of the political spectrum. That sort of pacificity and cold inhumanity has no place in any democratic society. Again; I feel like those who elected the Conservatives into power need to take a hard look at themselves – not quite working out the way they’d hoped, huh?! I am not going to jab and judge those who made bad voting decisions – life will do that, trust me – but wondered why, when we can see such lacking leadership, is it down to the people solely to react?! Musicians should not be fearful of reprisals or any sort of negativity if they decide to pen a political song. There have been charity events set up to raise funds for the Grenfell victims; a charity song was recorded but, most certainly, was not political or angry at all. Aggression is, when properly channelled, a very useful weapon that can bring about actual change.

PHOTO CREDIT: Pixabay

Let me leave this with a look at this year’s best music; a quick glance at the past and whether we have made any strides. I mentioned the 1960s because, to me, that was the last time there was an effective political movement in music. Perhaps I am over-romanticising how things were and whether artists like Bob Dylan were true protest singers. Now, music is more accessible and visible than any other time. There are so many artists out there: it would be good were more to break away from the obvious and commercial and let some fire out of the belly. A protest/political song does not need to be foul-mouthed or aggressive. It can be articulate and calm but still possess the same degree or dissent and outrage. Maybe, as I type, there are those going into the studio to record a great political song.

PHOTO CREDIT: Picjumbo

There are artists capable of writing a credible song: one that is shouted by the masses and that, in turn, makes it more voluminous and noticeable to those in power. I am not suggesting a few well-crafted political songs can make the likes of Trump and May have an epiphany. That would be a stretch but to know the best and brightest musicians are not happy with the way the country is being run – that is a very powerful and potent thing to witness. Newer, underground artists have the potential to reach the surface and make their voices heard. If thousands of people in Leeds – watching Eminem do his thing – are more-than-happy to shout a direct and profane message to Donald Trump; it is clear there is a populist attitude that needs adequate satisfaction. It is down to musicians to take a more active stance and ensure our elected leaders know…

PHOTO CREDIT: Unsplash

ALL is not happy in the democratic world.

TRACK REVIEW: Bella Barton - Daughter

TRACK REVIEW:

 

Bella Barton

 Daughter

9.3/10

 Daughter is available at:

https://www.youtube.com/watch?v=K9HYC68nqYw

GENRES:

Singer-Songwriter; Soul

ORIGIN:

London, U.K.

RELEASE DATE:

28th July, 2017

_________

ANOTHER week of rejigging and…

I am concentrating on a certain Bella Barton. I was going to review a Canadian band but, since I reviewed a Canadian artist yesterday; I thought it best to come back to the U.K. and focus on an artist here. I also have a British Urban artist in the diary: she is in my thoughts next week. Therefore, I come to Barton and a song that announces her to the world. I want to concentrate on a number of themes in this review. I’ll talk about getting fan numbers up and building that base; how distinct and colourful personalities can help stand an artist out; soulful sounds and projecting something powerful; music-school training and its relevance; taking a step after the debut single. I want to, first, talk about subject matter for songs. On Daughter; Bella Barton looks at feminism and how to cattail the advances and unwanted leering of men – the plight and problems many young women face. Considering Barton is still a teenager: one imagines, rather worryingly, some of these advances would have occurred when she was under sixteen. It is very clear Bella Barton is a very beautiful young woman: this does not give license to anyone to come onto her and make her feel uncomfortable. I feel a lot of women in the music industry have to write about issues like sexualisation and being reduced to their body. I know many artists who, rather than talking about their lives and ambitions; they have had to address sexism and subjects like this. It is a brave thing to do: especially brave for someone making their first steps into the music industry. Daughter – its title might suggest Barton is someone’s daughter – like many are – so think about that – is a solid and captivating song that strays from the traditional standard.

Many artists coming in concentrate on love and relationships. The fact Bella Barton has had to take a profound and conscientious step speaks volumes. She does not see it as a ransom or forcing her hand: a feminist from a young age; the issue of equality and right have always been on her mind. It seems amazing that, as young as eight or nine, the young Barton was aware of gender imbalance and sexism is amazing. Maybe her household was a vibrant source of conversation and intellectual debate. Maybe, looking out at the world, she could see the way things were and, at such a tender stage, knew things had to happen. I am interested in sexism because, as a male writer, few of my peers are tackling it. I will move on to other things but, one thing that music is culpable of, is not protecting female artists. There is too much sexualisation and exploitation occurring. Videos, from mainstream Pop artists especially, can be quite proactive and scantily-clad. Some women project this image as empowerment and independence: too many are doing it to get video views up and attract people to music through sexuality and tease. That is worrying and something, for the sake of the young generations, there needs to be review and intervention. Bela Barton is someone who is comfortable in her body (I think) but does not need to get down to her bra to make her music stand out. I think more men need to get involved in this issue and help fight against sexism. It is no good women solely fighting this concern. If men stand by and do not write about it: does that, by extension, make them guilty and passive? I think there needs to be voices and input from both genders – I do as much as I can but am aware there are relatively few make artists addressing the subject. Daughter is not a full-on attack against men but it does raise interesting debate and thought. It is encouraging seeing a teenage artist emerge into music whose first consideration is not her own love life (in a traditional sense, at least) and the stress of a break-up.

Bella Barton is a unique artist and, for that reason, had modest fan numbers at the moment. Barton has been on Twitter and Facebook for a while now but, in my mind, I feel she should have bigger numbers and a wider fanbase. That is not her fault. She is pushing her music and doing everything right. Barton has a P.R. team and management; there are enough people behind her ensuring the music is out to people like me. I feel, because she is a serious and true artist, it’ll take longer to get big numbers in. Let me validate and clarify that statement. By that; I mean Barton is tackling an important concern and feels the fluffier side of music is best left to other people. There is too many who, still, think it is impressive and original singing about heartbreak and common themes. It is more depressing seeing SO many artists take this road. The fact some of the biggest Pop artists have a huge amount of fans is as a result, a lot of times, of discussing something quite tangible and relatable. If they sing about breakups and love: that is going to resonate with a young audience and connect with them. If they sing about feminism and deeper issues in life, then, well…that might not have the same effect. That is a shame and only so because of the way music has always been – the mainstream always prefers something commercial, danceable and accessible. Barton, I am sure, will write about personal pains and love but, on her debut single, wanted to cover something deeper and more important. I feel more artists should take a stand and pen a song like Daughter. Bella Barton does not want to be Taylor Swift or Katy Perry. She is not chasing the cheap and shallow fame but, at the same time, her sheer talent and ability warrant more attention. Maybe that is a sad fact of music: those who aim at teen audiences will get huge numbers; those deeper and more profound will appeal more to an underground and minority.

We need to create a new culture where the vacant Pop songs and personality-free artists are restricted to the boundaries – those who are more inspiring and different should be placed in the forefront. Barton is on all the social media/music0sharing sites and has shared all this information with her fans. I worry too many of us are inert and being flooded with artists. I am a fan of Barton but feel, as my timeline is flooded with musicians and their developments, how much time do we have to focus on a single act and promote their music? Will people, seeing endless updates from me – concerning musicians and their new tracks – unfollow/un-friend me? The fact the video for Daughter, at this point in time, has fewer than three-hundred-and-fifty views; twenty-two ‘likes’ and, rather annoyingly, a couple of people who dislike the piece – that shows the gulf between new artists and the established. Daughter is, in every measurable way, a finer song than the latest record from Justin Bieber. She might – I hope not, though – disagree but, when one examines the themes, music; vocals, meaning and potential of the song – that is the conclusion they will arrive at. This subject warrants more examination but I am not sure what the solution is (to getting the fan numbers up). I feel, in time, Barton will be on festival bills and getting huge fan numbers. She is a teenager and still finding her way into music. Daughter has been getting a positive and loving reception. It is the sign of a young and confident songwriter who is already hitting the right notes. I will move on from this subject but, before I go, I would urge anyone out there – usually buzzing around the hive of the big Pop stars – to examine why they do this and the reasons this music appeals to them. I am not saying people should not listen to Pop: there are more compelling and appealing styles of music out there. We need to encourage young listeners to break from the predictable and change their listening habits. Barton offers plenty of brilliant, appeal and nuance on Daughter – why would that be seen as second-best compared to mainstream Pop?

In my conclusion; I want to talk about Bella Barton and her official website; her Instagram feed and some great gigs she has coming up. One reason Barton is captivating and appealing is because of her distinct personality. She is very beautiful but, lest we get into shallow and unimportant areas, it is her vitality and colour that strikes the heart. Barton is a pink-haired singer who, in many ways, would suit the peace and eclectic beauty of Brighton. She is based out of South London – and has found a loving home there – but has a vibrancy and variegated makeup that would see her welcomed and comfortable down in cities like Brighton. It is a random aside, but something that occurred to me. One of the biggest issues with the mainstream is the fact so few of its personalities have an actual personality. That is often the result of being manipulated and primed by record labels. Performers are often reduced to cliché quotes and a ruthlessly planned formation. They are rarely afforded the chance to speak out – lest they are condemned and roundly whipped on social media – and are very much kept in their box. Bella Barton is someone who is unafraid to speak out on issues and address subjects like sexism. I feel, if a mainstream star did that, they might receive trolling and controversy. It is a sad sign of our times but I am encouraged there are genuine artists like Bella Barton. For one so young; it would be understandable were she to follow the pack. Clearly; her upbringing and young life has been educated and well-informed. A few weeks ago; Barton performed Daughter, on a warm evening, in France. It seems, already, she has an appealed on the Continent and been able to get her single to foreign audiences. What interests me about this is the fact Barton is someone I can see getting a lot of attention in France.

She is an intelligent and cultured woman whose music, whilst deep and serious, has a romance, soulfulness and beauty that only the French can fully appreciate. I stated how Barton might seem at-one in Brighton:  a stint in Paris might well suit her and inspire more creativity. I am a huge lover of London – and would be pretty happy to be buried there (dead, preferably) – and think it is the best city on Earth. Bella Barton is a wise and mature soul but one who, definitely, has a zest and curiosity about life. All of this means she is ready-made to inspire the new generation. Completed with songwriting that is capturing hearts and provoking thoughts: how long before she is a big name making waves at the top of music? I hope this happens very soon as Barton, and the way she approaches life/music, is just what popular music needs. I am so attracted to the personality of a musician and what they stand for. One of the reasons I am drawn to artists like Kate Bush is because of what she says and how she conducts her career. Her music is astonishing but I feel Bush is one of those musicians that is equally compelling when being interviewed. One of the first female artists to talk about subjects less-common and rare – equality, women’s rights and topics like childbirth. Bella Barton is another example of someone who can fascinate and seduce when in the interview setting. I will go into more detail on this in the conclusion but, right now, a look at another musical personality.

Amy Winehouse is an artist who comes to mind when thinking of Bella Barton. Maybe that is a lazy comparison but, listening to the powerful and potency of the voice, there is a common thread. Barton has acoustic/Folk strands and, in that manner, brings to my mind artists such as Joni Mitchell. The reason I mention these two artists is down to the power of their voices. Barton is not your twee and sugary Pop singer. She does not lazily replicate the best out there. One feels vinyl and a deep love of music was part of her young life: the prodigious musician fascinated and hooked by the queens of music. I am not sure whether Winehouse and Mitchell featured in that rotation – the big albums like Blue and Back to Black. The pink-haired songwriter, on the colour theme, is someone I could see with a big set of headphones on head; scribbling lyrics from A Case of You (Blue) or Some Unholy War (Back to Black). These might seem like random artists but, hearing Barton’s voice – and its topography and lineage – one cannot help trace a line through the legendary American Folk artist and the sadly-missed Soul great. I hear flecks and intimations of Winehouse’s depth and passion. She is a singer who is always going to transfix and compel musicians coming through. The dexterity, stir and tremulousness of the voice is enough to buckle the news. Winehouse wrote most of her own tracks and ensured her songs were delivered with all the power and meaning she could manage. Mitchell, by contrast, preferred a more subtle approach – no less potent and arresting to the senses. It is hard de-composing a voice and what makes it especially great. In Bella Barton; I hear someone whose music tastes extend back to the 1960s and '70s. There are elements of the modern-day best but I sense an older mind that prefers the finest singers of the past. All of this comes through in a voice that manages to elevate the lyrics and ensures they remain in the brain.

Bella Barton is a BRIT School student who has already won an award for her songwriting. I am not surprised she has won an award but, looking at the BRIT School; it makes me wonder about formal education and intuition. The greatest songwriters, with few exceptions, have always learned music their own way. I have just mentioned Amy Winehouse when talking about fantastic voices: someone who is the BRIT School’s proudest and more acknowledged alumni. I do wonder how much of her talent and vocal prowess was cemented there. Bella Barton is learning a lot where she is and will get a great insight into the music industry. I find musical schools useful when it comes to business and technical sides of music – production and promotion. For someone like Barton, whose voice is already assured and strong, will a facility like the BRIT School mould her a certain way?! A lot the of alumni have forged a unique career-path but there are many, modern stars, that sound similar to what is already out there. I can imagine, in various lessons, there are examples of famous singers who started their life at the BRIT School. It is a contentious issue but I wonder how many music facilities are priming their students to sound what is popular and trending in the mainstream. Perhaps the BRIT School is different but, with former students that include Amy Winehouse and Adele – are they being used as an example how to gain success and stand out? Ironically, that leads to a lot of students who copy their example and sound exactly like them. It is a dangerous thing: students should be urged to following their own instincts and forge their own identity. I know the BRIT School is going to teach Barton a lot that will help her career. She is in London and already has that great base on her doorstep. The BRIT School will provide her advice and ways she can get gigs and push her social media profiles. What I wonder is how much of what she learns will make her stand out from the crowd? I feel Barton is a woman who prefers older acts and has already provided herself a great education.

Is the best balance, therefore, spending a year or two at a music-school and supplementing that with some gigging and outside study? I think Barton is someone who will refute the desire to follow another singer too strongly. She will take a lot from the production and technicality side of things – how to add new dynamics to her voice and increase her range. I hope she peruses the producing side of things as that will allow her add her own stamp on music and ensure it sounds exactly as she imagines. It is fair enough having others produce but I imagine Barton turning into a self-produced artist very soon. What interests me about musical education is how it can strengthen sides other than the voice. I worry there are other places, not the BRIT School, moulding their artists to sound exactly like someone else. How much freedom is one given when they are at these places? Barton will learn a lot but I hope she is not being directed to sound like Adele or a star who has earned a lot of money. Music is about survival and how an artist can remain. Is one, therefore, taught how to make money and monetise their career? If that is the case; one feels artists who are already big are going to be used as role models – the alumni stamped in that manner to ensure they are equipped to make a success of their career. Barton is someone who is unique and has her own mindset. I worry she might be influenced too heavily in regards sounding like a modern-day Pop star. I know she will exert control of her own direction but the best thing about her education is how she can expand her range and songwriting skill-set. One will be able to tell when her album, 10 Songs, is released. That album, not a surprise, contains ten songs and will focus on many different aspects. We know Daughter will appear but I am curious to see what other songs are going to make the cut.

Daughter is getting a lot of press and is the debut single from the London songwriter. It is an impressive and stunning song and one, as I have explained, is a lot more impressive and important than most songs out there. I can understand why Daughter was chosen as the lead-off single. Was Bella Barton to release another song – one that looked at love and predictable fare – it would not have received the same acclaim and congratulations as Daughter. I wonder what the next single would be. One of the reasons I was going to hold off reviewing Daughter was the fact, in the coming weeks, another single might arrive. 10 Songs is out soon and it will be interesting to see what is on the record. Barton will want to release another single or two from it. Given the fact her debut has got a big response because of what it addresses: will her next release follow the same kind of lines as Daughter? Maybe a more conventional song will be released but I am not sure what other subjects will be addressed on 10 Songs. It seems likely there will be more accounts of feminism and equal rights; tackling prejudice but, also, lighter concerns. It is hard knowing whether to release a similar song to Daughter; maybe going in another direction and something that addresses love. I think Barton will release a song that has similar themes and ideas to Daughter. In time, when the album is established; I feel she’ll release more traditional and love-based songs. The debut single is always a risky thing. You are coming into the music world and have to make that instant impression. Do you favour something commercial – that everyone can relate to – or go for something unique and fresh – in the hope people will change tastes and bond to something that is rare and unexpected? It is hard to strike that balance and decipher what the listeners want. Barton has gone for a credible option and, whilst her fan numbers deserve more oxygen and inflation, her instincts have paid off. Following that incredible initial single is a tough choice. I feel Barton will release something very soon – many are hungry to see what else she is concerned with and the full extent of her talent.

There is a swing and summery vibe to the opening moments of Daughter. The song is breezy and has a definite Jazz step to it. Reminding me of the greats of Jazz and Soul: the song has a swaying, seductive vibe that seems to fit with the ethos and irony of the song. Barton, in the initial stages, impresses with a voice that really stands out from the crowd. Her tones have a silkiness and maturity; there is gravel and chocolate-deep ones – balanced against a sweetness and sense of youthfulness. She has been compared with Amy Winehouse and Lily Allen – these are quite apt names. The former, in terms of her soulful depth and incredible passion: the latter, the sense of rebellion, independence and accent – one can hear distinct London tones emerge in the performance. The song looks at a man, driving past, who catches Barton’s eye. By that; he is someone who leers and is shouting abuse at her. Whether it is offensive or perverted; one senses a discomfort and alarm in Barton’s voice. She is used to this and wants it to stop. It seems to be part of her everyday life and she wonders why certain people would shout something sexual and someone so young. Barton, strumming guitar and allowing her voice to weave and swim, closes her eyes as she travels down a busy street – not wanting to see how close a man is; someone who is making advances. The anxiety she feels/felt comes out in the performance. One can imagine the scenes and portraits of life for a teenage Barton. The chorus is the most striking and unsettling part of the song. The vocals are repeated, elongated and vibrated: creating a lightness, sense of detachment and uplift. That is not the intention, mind you. Barton projects the words this way because it makes the word sound even more striking and shocking. The men who perpetrate such fowl deeds are old enough to be her dad. Would they subject their own daughter to such abuse?!

The irony is, if a man were to do the same to their daughter; I am sure they would track him down and do something unspeakable! It is hard to tear one’s self from the song as it makes you imagine these scenes and the looks on faces – how Barton copes with this pressure and what the men look like. It seems, luckily, she has not been exposed to the worst eventualities of these creepy men – the language is raw but she has evaded any physical attention, I hope. What we do know is these cat-calls are not one-offs. Maybe it is the part of the world she lives but one feels there are men like this all over the country. It has been happening “since the age of thirteen”, as Barton explains. These men come over and make eyes. They speak sexual innuendos and filthy rhymes. None of these are necessary and not welcomed by Barton. Nowadays, I think a few sexual comments like this would constitute grooming. One could be arrested for the things Barton had to endure through her early teenage time. Now, she has that pink hair and a very standout look. Does she get the same level of attention because she stands out from the crowd? She is a very beautiful woman so it is natural men of a certain age (her own age) are going to show her some attention. Is she still getting cat-calls and insinuations from older men?! It makes me wonder because Daughter seems to have relevance today – she has not escaped from the clutches of this perversion. She is still a teen and still the right age to be the daughter of a middle-aged man. It is impossible escaping the ghosts of artists like Amy Winehouse and Ella Fitzgerald. There is modernity in the performance but, especially in the chorus, one detects a definite Jazz and Soul influence. I can see Daughter becoming popular in French bars and coffee shops at night – there is a certain vibe and romance to the song that would appeal to the French. The fact the subject matter is quite raw would not offend them at all. They are open-minded but not a race who would ever tolerate the kind of things Bella Barton has had to face.

The chorus is extended and almost becomes a mantra of delirium. The word ‘daughter’ is repeated and it seems to be something haunting her mind. One imagines Barton might say this to a man that approaches her – the only response she could give is a scared and tired realisation she is young enough to be his child. Maybe she has been cornered and made to feel that uncomfortable. Barton’s debut single has two sides to it. The music has a charm and skip to it that would seem perfect for festivals and the sunshine: suitable for evening walks and small crowds in bars. On the other side of the coin is a vocal and set of lyrics that talk about something very serious and unnoticed. Few people are tackling the way young women are devalued and abused on the street. They are degraded and demeaned for the simple pleasures of men. Many would put this into a song angry and harsh. Bella Barton ensures Daughter is accessible and has an appeal to it. The fact one can sing the chorus and it is memorable means its message and core gets into the head a lot quicker than other songs. It is important that realisation and matter get into the brain and onto the tongue. If people, though the simple act of singing the lines, can make others aware of the sworded problems girls face – that can make a difference and make others vigilant. In the final stages – as the chorus keeps its repetition going – we hear snatches of Barton speaking. Words about her age (being a child and someone’s daughter) add a straightness and conversational element to the song. By the end stage; one has a lot to chew over and has witnessed a song among the most relevant and crucial of this year. A fantastic offering from a wonderful and rare talent in music.

IN THIS PHOTO: Barton and her friend, Sylvie, busking

I will wrap things up but, before briefly tipping my hat to some previous subjects, a look at where Barton is heading. The album, 10 Songs, is coming soon and is exciting indeed. Her Bossa Nova-inspired tracks and deep messages are an intriguing blend that has seen her compared to everyone from Amy Winehouse to Lily Allen. I know there will be a lot of different styles and ideas expressed within the album. Daughter is a great example of what one can expect from the London teenager. I mentioned she has a couple of great gigs coming up, earlier. A week today; Barton takes to the stage of Chelsea Theatre on the Kings Road. The following week, Richmond’s Star & Garter will be welcoming her in. These are great venues and will bring in fantastic crowds. It gives her the chance to premiere and showcase material from 10 Songs. I wonder how many of the remaining album tracks have already been performed live. It will be interesting whether Barton plays the entire album or mixes in cover versions. The maturity Barton displays is something that new songwriters should learn from. Her music looks at issues that affect a lot of young women in society. When talking about Daughter – as she says on her website – Barton explained it like this:

“I had already been catcalled and wolf whistled at in my school uniform while walking to school but had never been followed by a middle aged man until I turned 14 and I was on my way to my friend's house. I didn't know how to deal with it, if I should ignore him or confront him etc because I was extremely scared. We had never been taught about this at school, so we definitely hadn't been taught about what to do in this situation.

This is something I wanted to let people know about, so I went on Radio 4's The Listening Project after being followed/sexually harassed in the street almost every day for a year, and discussed how common it was for me and all of my female friends. Soon after this I was invited to a select committee in Parliament with a group of girls of different ages and we spoke to seventeen MPs about it - I remember pointing out that it seems that many people (from my experience of talking about this topic) always want to defend men in this situation, which is strange to me. For example, the response I often got was 'but boys get cat-called too'.

 I found this interesting as of course men go through the same thing, but statistically a huge amount less than women do. So, I wrote my single 'Daughter' about these experiences and the awful environments they put vulnerable girls in”. 

The live shows Barton has approaching is a good chance to expose new material and wow unsuspecting audiences. I am interested in Daughter and how it came to be. The very fact Barton has to endure cat-calling as a schoolgirl is a troubling insight into the modern age. That perverted and seedy attention is something, I fear, many girls are experiencing on a daily basis. It is important musicians like Bella Barton talk about this through music. There are few, especially on their initial release, that takes the trouble to talk about something important and relevant. It is tempting to discuss love and relationships – it is the currency the mainstream goes for – but there are artists like Barton taking a stand. She wants to call-out the creeps and odd figures that degrade women and make them feel uncomfortable. I am not sure, at seventeen, whether she still experiences the same degree of abuse and unwarranted focus as she did a few years ago. It seems even stranger a lot of men get off to schoolgirls and those of a certain age – when they become more grow-up; that attention is not quite as severe. If Daughter raises eyebrows and makes people think: that is what it should do; to get us discussing things and making changes. I will bring this down because, I can imagine, many are keen to explore Bella Barton more. She is an exceptional artist that has a great and long career ahead of her. Make sure you buy 10 Songs when it arrives in the world. It is one of those albums every person should have and take notice of. Barton is a rare artist who, in a way, reminds me of Jazz greats like Ella Fitzgerald. That same command, allure and ability is something one does not see too often. There is a great career ahead of Bella Barton. She is an exceptional talent whose music, even this early on, is a lot…

BETTER than most.

<

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Follow Bella Barton

 Official:

https://www.bellabartonmusic.com/

Twitter:

https://twitter.com/BellaBarton_

Facebook:

https://www.facebook.com/bellabartonmusic/

Instagram:

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

YouTube:

https://www.youtube.com/channel/UC3AKof74Morrbko694bEQcg

SoundCloud:

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Spotify:

https://open.spotify.com/artist/4E0qcQ1yJQvPuhzOBfsw0V

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

________

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

_______

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.

_______

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

________

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.

_________

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

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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

Official:

http://www.fridasundemo.com/

Facebook:

https://www.facebook.com/fridasundemo/

Twitter:

https://twitter.com/fridasundemo

Instagram:

https://www.instagram.com/fridasundemo/

YouTube:

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

SoundCloud:

https://soundcloud.com/fridasundemo

Spotify:

https://open.spotify.com/artist/5vuIOnOp6NI06rjLgTpYiY

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:

https://www.facebook.com/Sally.Caitlin17/

Twitter:

https://twitter.com/SallyCaitlin17

Instagram:

https://www.instagram.com/sally.caitlin/

YouTube:

https://www.youtube.com/c/sallycaitlin

SoundCloud:

https://soundcloud.com/sally-caitlin

Spotify:

https://open.spotify.com/artist/3tnKhnNZEMhVMaBQtle3S2

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.

_________

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

_____________

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.

__________

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

________

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.

_________

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:

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Instagram:

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

SoundCloud:

https://soundcloud.com/meforqueen

Bandcamp:

https://meforqueen.bandcamp.com/

Spotify:

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