FEATURE: Music Videos and the Art of Expression

FEATURE:

IN THIS PHOTO: The heroine in the video for Beck's Up All Night 

 Music Videos and the Art of Expression

________

THIS sounds like a rather grand title for something...

IN THIS PHOTO: Jay-Z who, in his video for The Story of O.J., created one of the most talked-about videos of this year

that is, in essence, a look at music videos and their importance in the current market. The music video has always been a pivotal and interlinked part of the marketing process. I have been watching videos on YouTube and unfortunately, as one is suspect to, there have been annoying promotional adverts (by Vevo) where various no-name artists talk about their music – and how important videos are to them. It made me wonder how modern artists use music videos and whether they see them as promotional tools – or they are a chance for creative expression and the chance to make something extraordinary. Newer artists don’t get the same chance/budget to film a video of epic scope and concept. Those kinds of dreams are reserved to the elite and wealthy of the mainstream. I do wonder if videos are a part of the process many stars feel weariness towards.

We have all seen recent videos by Taylor Swift, for example, absorb enormous numbers on YouTube. Her single, Look What You Made Me Do, was much-anticipated and, although it is not up to her best days, its build-up, fall-out and video put the song under the microscope. The video is full of symbolism and there are a lot of ‘what-ifs’ and ‘who-is-that-about’ visuals. It is a piece that, whilst hardly a visual feast, provoked a lot of interpretations and possibilities. I am surprised the video got as many views as it did. The views are into the hundreds-of-millions and it has been a huge triumph. I know YouTube videos that have surpassed two-billion and that is a rather eye-watering thing to behold. Swift’s recent video is as much about the existing fanbase and gap since her last release. If one looks at the quality and memorability of the video – you are not going to be talking about scene and shots days after seeing it. Returning to the Vevo/YouTube promotions and those artists – their names escape me! – chatted about how videos, to them, is about personalisation and bespoke films. It allows them a chance to express themselves and connect with their fans.

PHOTO CREDIT: Unsplash

In my mind, the music video is as important now as it ever was. The days of MTV have gone – or when it was considered ground-breaking and the go-to show for artists – as music T.V. does not have the same cachet and sheen as past years. I have written pieces about sexual exploitation and whether videos are being used to flaunt sexuality in order to get an artist trending. There is cynicism with a lot of videos that means they are used as weapons to utilise sexuality and feminism to shift units and get an artist into focus. That might sound cynical but there are those who freely admit it. To me, the most powerful and worthy videos fall into two camps. There are those that promote feminism and positive sexualisation – artists who display sexual freedom and promote a powerful and inspiring message. The other relates to the sheer memorability of a video. Whether it is funny or complicated: plainly simple or possessed of a U.S.P. – those are the videos that ensure through the years.

I fear those artists I saw on YouTube are no in the mind because their videos are quite generic and formulaic. One of the videos that has really stuck in the mind the past few weeks is Beck’s Up All Night. It follows an armoured heroine who drives in a modified Batmobile-type car as a ‘party vigilante’: scolding those who exploit passed-out revellers and try to take advantage. Her stern gaze repeals the worst high-jinx and her metallic clothing magnetically sucks keys and phones to her bodies – so people do not make foolish, ill-judged calls or drive home when well over the limit. It is a brilliant and simple concept that provides wonderfully rich scenes, comedy, pathos and filmic ingenuity – it could be made into a short-film, one feels. It is a brilliant video that matches the song’s lyrics and sticks in the mind long after it has finished. Other great videos this year are from Lana Del Rey and Kendrick Lamar.

The former, for Love, sees Del Rey singing as images are projected onto the screen. Kids get into cars, getting dressed and smiling. There are attractive beach-dwellers in sunglasses and a 1950s’-type family driving. It is a mix of nostalgic and modern that is another luscious and image-rich video. Kendrick Lamar’s HUMBLE. It is rife with symbolism and viral-worthy moments – the golf swing and burning heads; the re-enactment of The Last Supper and epic church scenes. It relies on a big budget and a lot of creative license. Few artists have the pockets and teams to be able to realise a video as stunning and ambitious as HUMBLE. Appropriately ironic in its posturing and scale: a fantastic video that will not escape the brain anytime soon. An history of music videos shows you one does not need a big budget to get into the consciousness. It is interesting arguing whether that is the case now. As much as I love underground artists and their music: the more money one has; the greater the opportunities when it comes to videos. A couple more mainstream videos have really resounded and resonated this year. Lorde brought the long-awaited Green Light earlier in the year. There was so much fever and build around that song.

The video arrived and instantly made an impact. It is not as grand in concept – compared with Kendrick Lamar – but it relies on a sense of triumph and confident imagery. The heroine barely smiles throughout but, whether skipping the street or hanging out of a car window – she is commanding, compelling and completely free. Haim’s Right Now saw its video directed by the legendary Paul Thomas Anderson. It sees the girls in the studio as they call up their mum's old student as he comes by and says "Why don't I just record a video right now?". Anderson shot the video in a single take – or near-as-dammit – and captures the girls perfectly. Their parts and performances are given gorgeous treatment as we get a glimpse into the recording process – based on a wonderful premise and backstory.

Kesha’s Praying, like Taylor Swift's video, gained a lot of success because of its sense of reaction and build. Following the court case with Dr. Luke and the attention that case gained; it was inevitable a video whose song addresses the turmoil and torment Kesha went through – it was always going to be huge and get into the forefront. Regardless of whether an artist has a big reputation or budget: a great video can arrive from any direction. The ones I have mentioned – aside from Kesha and Swift, perhaps – have succeeded because of their concepts and creativity. It shows even the bigger artists are not ignoring the importance of videos and making a statement. One can argue the fact these videos got big is because of the millions that support the artists. I am not interested in popularity and streaming figures – more the quality and role videos play in these times. Charli XCX’s Boys saw, um…boys doing various things.

These were no ordinary boys: these were big celebrities in rare and unfamiliar settings. Showing Pop music can have a sense of fun and playfulness – we see Joe Jonas with a milk moustache; Stormzy eating cereal and Mac DeMarco licking a guitar (as one does). It has sexy images and comedic moments; a lovable and fun-loving charm that subverted expectations one would have had. Rather than cavort with boys and create a sexual and sweaty video: Charli XCX went for something more creative, intelligent and wise. It got huge figures but, more than that, showed one does not need to sell videos through sex and easy routes - big artists do not need to have enormous concepts and budgets to make a celebrated video.

IN THIS PHOTO: A shot from the video for Charli XCX's Boys

There are so many great videos from underground artists – it would be a Herculean feat naming them and finding the best. To mainstream artists; they always need to make a video in order to make their songs more visible – it is part of the marketing route and one cannot release a song without making a video (unless you want it to pass people by). I am always against those videos that go for the sex angle: artists exploiting their assets to get the YouTube roof bursting. It is rather cheap and raises questions about morality and ethics. I wonder whether artists like Taylor Swift, in a video so symbol-heavy, has the right approach. If one wants an innocent and stunningly unexpected video this year go to Jay-Z’s The Story of O.J. I feel Swift could have learned something from that video – it is a Disney-esque/Mickey Mouse animation that adds new spin and angles to a fascinating artist. Look What You Made Me Do is all about symbols, controversy and enigmas.

Nobody remembered the storyline (if there was one) and it seems like the exercise was a chance to get people speculating and gossiping. I admire those big artists that do something inspiring and important with a video. Those who want to connect with fans and promote something positive should be applauded. Regardless of how much money their teams have: something simple and honest can do a lot more than a multi-million-dollar visual extravaganza. It is wonderful seeing a blend of Kendrick Lamar grandeur and a more modest Jay-Z film. We do not leer MTV and tune in for the big video of the week. We have sites like YouTube so are less reliant on T.V. for providing visuals in music. I wonder whether the sheer volume of music videos out there makes it harder to decipher the best – there are so many treasures waiting to be discovered.

This applies more to the newer artists who have a choice regarding music videos: they do not need to release one and it can often cost too much to even consider. I sympathise with them and hope, one day, more money is reserved for new artists who want to release a video. Most make do with a modest budget but you can get some really incredible examples coming through. They do not get the same views and attention as the mainstream stars but, in many ways, finer work is being created in the underground. Videos are a massively important way of showcasing an artist and allowing them license to create something magic. I would love to see a music channel – on YouTube or elsewhere – reserved for new artists and their videos. Every time I do a review/interview, and there is a video attached, I am amazed by the dexterity, resourcefulness and imagination of our best artists.

Many only have a few-hundred-quid and have to stretch that budget to a number of different people. It is getting easier and easier to stream a video but harder to get them made in the first place. Many yearn to have the same opportunity as the mainstream artists. All the acts I feature love videos and that chance to add a visual dynamic to their art. Many people write songs a certain way because they imagine a video in their head. One cannot write a song without imagining it and seeing how it will come to life. Even if you are a newcomer and on your first album; there is still the chance to do something incredible and striking. I will leave this piece and, as this year has (already) seen so many senses-striking videos – from the big and humble – it shows how much importance is placed on that side of the industry.

PHOTO CREDIT: Unsplash

Whether you see videos as a way of cynically marketing and engaging in popularity contests – one cannot deny how inspiring a wonderful video can be. I know the best of the underground can, with the right backing, conceive and create videos that endure for years to come. I think there is a division in the mainstream between those who are unconcerned with trending – and release videos that are there to amaze and compel – and those more concerned with grabbing headlines. That is always going to be the way but, whatever the motives, the video is as important (if not, more so) than it has ever been. I feel, although they don’t need to, many new artists realise how important platforms like YouTube are. Journalists and fans are attracted to songs because of videos, to a large extent.

I love to see a video as it embodies the story and emotions of the song – allowing the listener to appreciate the song in a new light. Because of this; I hope more subsidy and expenditure goes the way of new music. Anyone who questions whether videos have validity or worth should look at the incredible array out there right now. In a lot of cases; a video can be more memorable and celebrated than the song it accompanies. I love the medium and think, if new artists had the ability to make more ambitious videos, they would ascend to the mainstream a lot quicker. Whether it is a reactionary video or one loaded with symbolism; a comedic piece or one that engages the brain; one cannot deny the music video…

PLAYS a vital role in the music industry.

FEATURE: F*ck That! Is Censorship in Music Completely Necessary?

FEATURE:

 

F*ck That! 

 Is Censorship in Music Completely Necessary?

________

MY enjoyment of music is being sullied…

by this generation’s fear of anything honest and direct. It may seem odd to condone all censorship in music but I feel we are being too rigid and puritanical. Everyone today has exposure to bad language and controversy. The world is consensual and unfiltered. There is no way to shield the ears and imagination of those young and vulnerable. I understand why some songs need editing: homophobic and racist language, often heard in Hip-Hop, should not be allowed through the airwaves. There is a thin line between offensive and rude. There should be reasoned debate because, in order to get on the radio, so many artists either can anything mildly offensive – fearing mainstream radio will filter their songs out or edit them to the point of mutilation. That is how it sounds when music is edited so strongly: you get lots of gaps and it takes away the flow and reality of the piece. As I said; I can see reason and logic when it comes to offense. I am a big fan of Hip-Hop and Rap but know a lot of its artists (not all of them) perpetuate sexist ideals that seem natural to the culture – woven into the fabric of the genre so its artists are desensitised and immune to its toxicity. I wrote a piece about Eminem a couple of months ago in relation to his phenomenal record, The Marshall Mathers LP.

IN THIS PHOTO: Eminem (photographed in 2000)

The album received incredible praise upon its release back in 2000. One of the reasons some critics were left sour by the record was because of its misogynistic, homophobic and provocative language. One can argue Eminem is an artist imbued with enough genius and purpose – one should not sweat the odd off-the-cuff remark or acidic moment. The fact of the matter with the album is this: it is rife with offense, explicitness and vile. I am a huge fan of the album but do feel the homophobic nature of the songs – not all of them but many – does not represent who Marshall Mathers III is and what he talks about in his personal life. The same can be said regarding violence towards women and the misogyny one hears in many numbers – a man who is not prone to domestic violence and anything like that. Eminem is, as we hear in interviews, quite modest, shy and loveable. One hears no malice and he is an artist, one imagines, loosens morals to shock and get people reacting – rather than believing what he puts on the page.

PHOTO CREDIT: Unsplash

The same way the troublemakers at school would rebel and create conflict: they are doing it for show and to get noticed; take them away from that environment and they are very different people. I can do not defend or condone the contents of the album – when it comes to racism, sexism and homophobia. The fact The Marshall Mathers LP is a fantastically intelligent and accomplished work is a testament to the phenomenal wordplay and commanding performances throughout. How does one reconcile and adjudicate the debate between talent and controversy?! I love the album (and Eminem) but feel he is someone who walks a dangerous line between off-putting and encapsulating. Recently, after his performances at Leeds and Reading; he whipped the crowd up in an anti-Trump shout – getting them to flip off the President; Eminem used his set to tirade against Trump and his governance. That, to me, is a good use of language and offense – rebelling and protesting against tyranny and allowing that crudeness to articulate an aggression and anger that straight, more refined language cannot articulate. I use Eminem as an example as his songs, as you’d expect, are heavily redacted – few manage to get regular play on the airwaves.

PHOTO CREDIT: John Gress/Getty Images

I do worry we are being over-protective and hysterical when it comes to artists. Any slightly mild language gets edited and erased: even the merest suggestion of a bad word get cut before you hear it. In spite of that; there are plenty of songs that are sexually suggestive and lurid. Why do we feel it is okay to allow sexual language and intimations to slip through?! Is swearing a lot worse than talking about sex and chasing girls/boys? People do not sit down and discuss what is classed as genuinely unacceptable – or that which is deemed offensive to a small sector. I find no rationale for including any racist or homophobic language in ANY song. I understand, in some ways, racist language is part of certain genres. Is it okay for a black artist to use the N-word? Is it okay for a radio station to broadcast it? Those are different debates: I agree with the first statement (to an extent) but disagree with the latter.

It is a lot more acceptable for a black artist to use the N-word than other person but does that mean we should allow them to get onto radio unedited – and white artists, who use the same word, being censored?! If a gay artist used homophobic language than we would not allow that to make its way onto the airwaves – there cannot be any exceptions and loopholes in these areas. We are a modern and progressive society and feel we should not be so rigid when it comes to language. I get fed up hearing so many songs with pauses in them. A lot of times word like ‘crap’ are removed – if we have a scale and gradation of explicit language; where does ‘crap’ fall on the scale? Radio can be heard by anyone at any time. We can pick up albums with explicit content and play them to anyone. There are no age-limits when it comes to selling C.D.s – or, people are not enforcing them if there is. We can sell a Hip-Hop album to a child and they can experience a torrid of foul language and terrible messages.

Why, then, do we allow the same songs no freedom when they are on the radio – a platform where the same child can listen to the same song; only without all the language and explicitness they heard before. I was reading an article about Hip-Hop/Rap and artists re-recording songs so they are deemed radio-friendly and safe. Looking at the piece and some interesting points emerge:

“LISTENING to rap radio is often like reading a declassified government document in which thick black lines obscure the most tantalizing parts. Except that instead of black marker, rap singles are doctored for the public with sound-effects CD's. Gunshots, sirens, car screeches, turntable scratching and lyrics played backward conceal words deemed dirty, derogatory or harmful to minors. Some songs, especially ones with obscene words as their chorus, become so bowdlerized that their meaning is no longer even fathomable on the radio.

But recently, certain rappers have made it their duty to go back into the studio and rap extensive new lyrics to a song being considered for airplay. In one extreme example, Eminem takes ''My Fault,'' a song about fatally overdosing a girl with psychedelic mushrooms, and makes it PG by rapping instead about how he slipped normal, everyday mushrooms onto his friend's pizza, triggering an allergic reaction.

PHOTO CREDIT: Unsplash

Typically, the notion of artists changing their music to please the prudish and commercial elements of society is odious to critics, but in the case of several recent singles, the editing has actually improved the song. In a pop landscape in which the crude come-on has replaced the sly innuendo, some remakes are bringing a touch of subtlety back to urban music”.

That piece was written in 2000 – the same time Eminem was alienating a lot of media types with his album The Marshall Mathers LP – and one wonders whether things have got any better? More recently, in 2014, another piece added a new dimension:

“Music censorship has a long history. As early as 1940 George Formby had his song “When I’m Cleaning Windows” banned due to its alleged smutty lyrics!!! The Sex Pistols infamous Jubilee punk anthem ‘God Save The Queen’ suffered a similar fate, and one of my favourite anarcho-punk bands Crass, had to suffer the indignity of a record pressing plant refusing to press  the song, "Reality Asylum", accusing Crass of blasphemy. Instead, they had on the record a blank space with silence in its place, which Crass humorously dubbed "The sound of Free Speech" in protest.

More recently fewer songs are getting outright bans, however the BBC, and similarly the USA radio network Clear Channel, also deemed some songs inappropriate for airplay during the Gulf War such as “War” by Edwin Starr, “Give Peace A Chance” by the Plastic Ono Band and “(I Just) Died in Your Arms” by the Cutting Crew-which in my humble opinion should be banned outright for just being plain awful.

 IN THIS PHOTO: Sex Pistols

However the ‘alteration’ of lyrical content to enable airplay, or ‘radio edit’ versions is becoming more commonplace as artists strive to express themselves more freely whilst their record labels try to maximise airplay by remaining within broadcasting guidelines. Of course with the availability of music online, either as downloads or streams, censorship is now losing some of its bite as listeners are freely able to source ‘explicit’ versions of popular songs”.

It is interesting posing a straight question: Should we allow censorship in music? Many would say we shouldn’t: everyone has a choice to listen to what music they want and do not have to subject themselves to anything distasteful and ‘adult’. I mentioned how we, in the streets and homes, are open and free to swear and say what we like. How is that kind of permissiveness fine and healthy for a child, for instance?!

PHOTO CREDIT: William Matthews Photography

Many parents swear around their children and take them through streets where one might hear awful expressions, violence and sex – that might be a rough area but one can see some rather risqué and sworded sight if you are on certain streets at a particular time. Do we wrap children in cotton wool and shield their eyes and ears?! No, of course not, as that is ridiculous nannying and hysteria. The government is busy doing that so it should not be down to broadcasters to deem what is acceptable. I listen to BBC Radio 6 Music daily and find a lot of new songs are censored really heavily. Artists, in a bid to be accepted, popular and radio-worthy are dumbing—up their music and carefully picking their words – so their song can remain virginal and unspoiled when it gets to a D.J. I do get annoyed hearing a song with many gaps. You know that is their way of bleeping the swearing out but I know what the words are! We all know what is being said so what is the point of removing them?!

I think we have become less hysterical and overreacting when it comes to censorship. I remember a time when a ‘Weird Al’ Yankovic song was edited/banned on MTV because it name-checked banned streaming/downloading platforms. Sex Pistols and other Punk bands of the time were barred because of their anti-establishment rhetoric. More recently, artists have been censored because of the rather mild language on their albums. The braggadocio and womanising rituals one hears spat and boasted by many male Hip-Hop stars, apparently, is more acceptable than someone saying the S-word a few times.

PHOTO CREDIT: Juneberg Weddings

I agree we should have barriers to prevent homophobia and racism reaching people’s ears but, actually, that is only for radio consumption. One can never (nor should) tell an artist what they can say and how far they can push themselves. If we start limiting expression and speech we are impinging a human right. By the same token; one should not indulge hatred and vile sentiments. That might seem like a contradictory standpoint but, when it comes to radio-play, I agree listeners of a younger disposition should not be vulnerable to that kind of extreme language. Play those songs later in the day but why do we need to be so strict when it comes to language?! A lot of artists, knowing sexual expression and innuendo is less immune to censorship than bad language, are upping that side of things in a bid to express themselves through sex – that bad language manifests itself in something a lot more controversial. It is good to see artists reacting this way and finding ways to circumvent censors. Should we arrive at a time when the big acts have to do this I wonder? There should be no limits or boundaries for artists at all. If they do release a song/album that causes controversy then that is on their own head. Eminem, in 2000, was a subject of derision and accusation.

Many saw him as the worst kind of musician; a villain who was trying to corrupt the impressionable. He was, in actuality, verbalising cultural and pre-existing traditions countless artists projected before him. The fact his celebrity was on the rise was the reason he was targeted and criminalised. Hip-Hop artists are those recidivist characters who say exactly what they want to. They should be allowed to write about anything but people do not have to love certain aspects of their music – homophobia is something that needs eradicating. There is a school of thought that argues those who hear artists swear, use disparaging expression and perpetrate causal sexism are setting bad examples. Everyone has their own mind and should not be guarded and monitored. There are worse things in the world and if we castigate musicians for expressing themselves it damages the threads of music and undermines its power. Music is an immense platform that can bring about change and inspire generations. Part of that is the freedom to say what you should and put a bit of spice into the music. If artists can talk about sex and violence; if they can brag about shootings and blaspheme – why is swearing the enemy of the radio bastions?!

I should end this argument soon but think a lot of the problem lies in other areas of the industry. Consider T.V. and film, for example. Swearing is a lot less rigidly policed than sex, for example. There is nothing offensive about sex but it is seen as more corrupting and provocative than bad language. I watch sex scenes that see the parties disrobe slightly and, someone, have sex in underwear and layers of bedding. They usually get through with things in a matter of seconds without any nipples, genitalia or organismic moaning being revealed to the audience. Even if there is a suggestion people are naked and fully committed – when you see them in the morning, they are either clothed (or underwear, at least) or wrap themselves in sheets! How unrealistic and stupid is that?! There are a lot of syndicated shows, even The Simpsons, where a minor bit of swearing or explicitness if cut. One sees entire scenes removed and the show butchered. It is happening in music and it is completely unnecessary. I am not suggesting we allow the F-word to freely flow through the daytime schedules: I am arguing we should be less rigid and show some common sense and understanding.

One can look back at the ridiculous days of Mary Whitehouse and how insane the censors were. That is still happening now – to a lesser degree – and it is stopping artists fully expressing themselves. Swearing is all around us and, while it something that should not be encouraged to breed unnecessarily, we cannot ostracise and eviscerate those who indulge that habit. We are all human and responsible for our own minds and voices. That is true of music so I wonder why we still ruthlessly and obsessively censor music in such a regimental fashion?! The argument about censorship is not binary, by any extension of reason. In terms of what we hear on the radio, of course, we need to judge things on a case-by-case basis. I agree Eminem is an artist whose music needs to be heard a lot more – his peers and many like him find few stations who play their music. Artists who rely on certain times of day to get exposure are angry and aggrieved. A daytime show should not play a song like Kim or The Way I Am (The Marshall Mathers LP) unedited. That said; why is every suggestion of swearing removed?! It is a tiresome fallacy that needs to be removed from its cloistered environs and shown the unfiltered reality of the modern world. We are less stringent about political censorship because artists do not write about it so much. How successful and likely would a Punk movement be if we took every song by The Clash, Sex Pistols, Ramones and took our all the edgy and anti-establishment messages?!

IN THIS PHOTO: Mary Whitehouse

Music needs to address a lot of issues and problems: censorship is right near the top. The same way the lack of working-class journalists and musicians exist – to show the country the realities of a less-privileged society – censoring an artist so candidly is turning music into a scholastic and overly-disciplined forum – it should be Socratic and rational (with a leaning towards the liberal and accepting). Censors and the music industry cannot reasonably edit music and think issues like sexism and racism do not exist in music. Those are big concerns but not being tackled as energetically and persistently as censorship. I think we have become more tolerant and less parental but still lack the perspicacity and reasoning to work pragmatically. There are, however, areas of society where the spicier and more human elements of the human psyche are allowed to fly unharnessed and without surveillance. An interesting article by Rockandrolljunkie.com looked at some older examples where censorship reached extremes - words and phrases being misheard and misconstrued:

"When the Taylor Swift song “Picture to Burn” first hit airwaves, some radio stations changed the line, “That’s fine, I’ll tell mine that you’re gay” to, “That’s fine, you won’t mind if I say”.

In Tom Petty’s “You Don’t Know How It Feels”, the line usually censored from airplay is “Let’s roll another joint”. In MTV’s airings and on many radio stations, the word “joint” was reversed, obscuring it.

In 2009, Britney Spears’ single “If U Seek Amy” sparked controversy in the United States due to the implications of the title. When sung fast, as Spears does in the song, the words “if you seek Amy” appear to spell out F-U-C-K me. The song was censored in the United States and retitled as “If U See Amy”, removing the “k” from “Seek”. However, the song went uncensored in most other nations. In the United Kingdom, the song was retitled “Amy” in which the chorus and bridge lyrics are mostly removed or replaced. This is the version that has been played on BBC Radio 1 and most other radio stations in England.

IN THIS PHOTO: Britney Spears in 2009

In many songs, the word “ass” is usually censored when it is used as an insult or sexually, usually by distorting the word, or silencing part or the whole word. The word “asshole” is usually completely censored, but sometimes, only “ass” is censored, while “hole” is not.

The word “crap” is usually censored in songs, like in the clean version of “Hip Hop is Dead” by Nas featuring will.i.am. When the word “sex” is used in a sexual way, it might be censored; exceptions include rapper 50 Cent’s “In da Club” and Ed Sheeran’s Don’t (in which the entire first line of the chorus is removed). The word “pissed” would not be censored if used in a way meaning “angry”, like in Papa Roach’s “Scars”, Lloyd Banks’ “Hands Up” and Lil’ Kim’s “Lighters Up”, but censored if used in a way meaning “urinating”, which is also on “Lighters Up”.

In a time when we should encourage our artists to articulate their anger and discontent with less mediation and fearfulness, censorship is a parochial and unstructured matriarch that needs…

TO allow musicians to say whatever the hell they need to!

TRACK REVIEW: Ocean China - Feng Shui (I Like the Way)

TRACK REVIEW:

 

Ocean China

 Feng Shui (I Like the Way)

9.4/10

 Feng Shui (I Like the Way) is available via:

https://soundcloud.com/dalienmarz/ocean-china-feng-shui-i-like-the-way/s-PLurk?in=dalienmarz/sets/ocean-china/s-vNaDk

GENRE:

R&B

ORIGIN:

Luton, U.K.

PRODUCER:

DALiEN

LABEL:

Radar Music

RELEASE DATE:

15th September

____________

I will start this review getting a few things off my chest.

As much as I am looking forward to investigating Ocean China – and have much to enjoy and recommend – I am forced to bring up images and the online. I accepted her review before I put my foot down regarding images – and could not reject this review because of that – but, from now on, I am turning away reviews and interviews where people cannot provide photos. It is a shame but you would be stunned how many that includes. There is an assumption, in the modern age, one can get by with very little. More photos have been taken in the past year than any time in human history: if musicians think they are able to skate by with a few images, they are in for a big shock. It is quite aggrieving seeing a profile bare and image-free. Any blog/site worth their salt are image-conscious and it is not good enough having a few snaps – the artist wanting to project a certain image and planning new shoots in the future. One cannot be precious and precise about their image and when they take photos. Grab a photographer; get a dozen photos shot and get them online. Everything I have published in the past few days has been easy: lots of images and plenty of choice for the blog. It is a relief because it makes it a lot easier for me. It is quite dangerous holding back photographs because you are going through stages and phases – it sounds quite pretentious and a little strange. The level of competition in music is so high; anyone who shows a weakness is going to struggle to get their music shared and ahead of the pack. Ocean China, fortunately, has a fantastic sound and intriguing enough that I am overlooking the lack of images. I shall come to her good points in a minute but I am being very strict with people going forward.

I, as a reviewer, can whip out my iPad and take a lot of photos over a few days – if someone wanted to run a piece about me. I could hire a local photographer and get a range of photos shot. It is never the case a photoshoot would bankrupt an artist. If one can make music and share it: they are able to take photos and accompany sounds with images. It is natural, in social media and a modern age, a musician has a selection of images. I shall come off this point but, another issue I have is artists that do not place their links in one place. So many reviews, I have been to their Facebook page. There, one finds no links to Twitter, Instagram and YouTube. I go to their YouTube site and find no mention of their SoundCloud. Before you know it; I am Googling everything about them and taking so much time to piece together their links. Two simple rules for EVERY artist out there. Number one: get a range of photos shot before you release a song. If it puts people like me off – wanting a visual aspect and appeal – then it will to others, too. Maybe others are not so precious about this but there is no logistic or financial excuse for overlooking images and thinking it is unimportant. Photos and images are crucial and one needs to have a clear and concise aspect to get their teeth into. If I have to scrabble around for details and social media links then I am unlikely to come back again – there are a lot of artists who manage to get things straight and organised from the off. I shall leave this point but, in the future, I am rejecting anyone who does not conform with the two rules – the second being their social media and organising all the links in one place.

As I said; there are things one needs to address when talking about Ocean China. I know there are more photos coming – and I hope she manages to put all her links into one place – and, let’s hope, a biography will arrive so we know more about her and what she is doing. As it is, many will pass by because the cupboard is extremely bare. I am glad I was able to procure a few details about her because, it would be a shame to let her music slip by because of this – as it is; Feng Shui (I Like the Way) is a great song that I wanted to review because I like Ocean China’s sound. I want to look at the role of the black female artist in the music scene; location of musicians and how their surroundings enforce their sound; R&B and its changing sound; the way urgency and focus are more important, at this time, than anything else – female musicians and changing the gender balance in music. I want to raise a point about black artists in music and the struggle they face. Ocean China is a fantastic artist whose sound and manner deems her worthy of further affection of investigation. I have written about race in music and how, in 2017, it seems insane we have to talk about it. I know black artists are not getting the focus and opportunities as their white peers – it extends to Asian acts, to an extent, too. I will not go into the reasons behind it but I feel there is assumption music needs to be a white medium. Genres like R&B, Rap and Hip-Hop are not as racially imbalanced as others: it is fortunate these genres are more open but one would like to see mainstream sounds take a more level-headed and less racist approach to artists. Modern Pop has a few great black artists but one feels there are restrictions and hurdles to overcome. If one looks at festivals and the big lineups and you’ll notice a comparative lack of black names. I know the majority of people in the U.K. are white: that does not mean music needs to reflect this.

It is not the case music is representative of the racial demographic and not holding black artists back. There are so many great black artists that are worthy of attention. I do worry we are denigrating and tarnishing music’s name because of the proliferation of white artists. I know genres like Pop, Folk and Alternative would benefit from being 'less white' and homogenous. How many black Rock bands does one see?! How many black Pop stars does one see?! There are a few but the vast majority are white. I do worry many (black artists) are resisting music because they feel there is no way for them to be heard. Ocean China is someone who, when her social media/photos are in order, has the ability and talent to go as far as she needs. This is an issue that warrants deeper discussion but one need only hear Ocean China and realise her background and skin colour is irrelevant. Well; there is a sense of identity she has but I mean the fact she is not white is irrelevant. She, as she claims, is a Chinese Assassin and embraces a variety of characters, cultures and images. Ocean China is a fantastic artist who improves with every release – I shall address this more a bit later. What I want to see is her music elevated from the underground to nestle alongside the best and brightest of the mainstream. Maybe she does not want the control and lack of freedom a chart artist experiences. I think she would benefit from the attention and the chance to create influence. I look around music and wonder whether we will ever see the racial imbalance redressed. There are fantastic black artists in music who are not being given adequate props. How futile it would be for me to point the obvious out: we are all the same and music is about talent and sound: the colour of one’s skin is immaterial. Maybe there will be progressive change but I do hope the industry listens to artists like Ocean China and where they come from. In her music, name and images; one draws a line to Africa and Asia – there is something worldly and continent-hopping about the young songwriter.

I want to move on to look at location and the background of an artist. One can, I guess, trace certain genres to parts of the country. R&B, I feel, as with Rap/Hip-Hop/Grime, has its roots in and around London. Ocean China is from Luton – Bedfordshire is close enough to the capital and is an area with a few R&B newcomers laying down their music. Ocean China is no moniker: that is her real name and one assumes she has rather open-minded and quirky parents. I like it because it means she stands out from the crowds and intrigues the imagination. Luton, one imagines, is not stocked with great and legendary artists – you’d be right there! What it does have is a lot of great new artists that deserve acclaim. Luton, itself, has a few radio stations and local media; there are a few good venues and there is that proximity to London. One imagines it is not as stressful and busy as London but has enough ‘inspiration’ for lyrics. There is a fairly small Afro-Caribbean population there but it is no different to anywhere outside of London. For Ocean China, she has the capital close by and the chance to reflect and create. I feel she will spend more time in London as her career expands but I have seen a few R&B/Rap artists based in Luton. It seems like a part of the country that has a certain scene and flavour. Maybe there is a sense of disaffection and detachment among the young there: perhaps there is that proximity to London and the need to break into the city. I am not sure whether Luton, in the past, has been a hub for great Urban artists but it seems there is a movement brewing. One might look at areas like that and assume it is quiet and inactive. Ocean China is among a band of great acts from the area trying to put it on the map. I am not sure how bonded she is to her hometown but it seems like a great place for her to learn and grow.

Ocean China kept her music quite until she was fourteen: up until that point; her shyness kept that magic inside. Many were shocked to hear that confident and sassy personality come through. Ocean herself grew up with MTV and would listen to artists like Destiny’s Child and Michael Jackson. That American influence was strong from a young age. One hears elements of big U.S. R&B artists in her work and, I guess, the current crop of American best are high in her consciousness.  Maybe, as a child, she did not know how to express herself or felt her music would not be accepted by the community. I have said how Luton is growing but it is not the same as London when it comes to R&B and those genres. There is a sense of the unsure and people there are not as switched-on as those in London. Maybe, during the early part of this decade, tastes were more tuned to Rock and Pop – having someone like Ocean China in their midst is quite an eye-opener! It is good to see she has allowed the music to flow free and bringing it to the people. That confidence one hears is a sense of revelation and emancipation. She has broken from a cage and prison of shyness – now, one hears a young woman making up for lost time and striking out. I am fascinated by Ocean China’s upbringing and the people she grew up around. Ocean China, in her latest track, unites Asian culture with British R&B; American sounds and a little bit of Africa. There is a clash of cultures and different sounds throughout Feng Shui (I Like the Way). I hope Ocean China remains in London as I feel it would benefit her in so many ways. She would have the chance to build her music and has a broader population and demographic on her doorstep. Luton is a great part of the country but it seems natural Ocean China would come to the capital and join her peers in R&B.

The reason I mention this is because one cannot simply label Ocean China’s music as ‘R&B’. There is Rap, Grime and Pop elements in her music. You cannot assume R&B, like Pop, is a one-dimensional genre that has a typical ‘sound’. Look at previous images and campaigns from Ocean China – for the track, Tell Your Man – and there is a cool and swagger that comes from her. It is hard to believe this is the same woman who, a few years ago, was a shy and hesitant teenager. Maybe that exposure to MTV helped bring the cool and confidence from her. There is a contemporary and cool sensation that breezes from the pores and lines of Ocean China. She oozes charisma and reflects the sounds of the street. Her put-downs and observations are cutting-edge and she fuses sounds from various genres to create something physical and emotional. The music provokes physicality and reaction: the soul and mind and pricked and one imagines what lies behind the song. Previous numbers such as Tell Your Man and Cash Me Outside are modern, streetwise songs that document the life of a rare and special star. She goes through the same tribulations and trials as everyone. Hearts and broken and there is an urgency and danger in her life; a sensitive soul and someone who does not like being betrayed. Luton is not as sleepy and docile as one would expect but, at the same time, provides enough energy and inspiration for music. When listening to Feng Shui (I Like the Way); I get a bit of where she is from but, moreover, Ocean China expands her horizons and brings in other sounds. Here is someone who is affected by men and the uncertainty of life but has an inner-harmony and need for calm. Every new song seems to bring a new identity and evolution from Ocean China. Cash Me Outside, with its Destiny’s Child/Beyoncé vibes and swagger, saw Ocean China decked in orange and (in the video) gyrating and flexing by a lift.

It was her on the street giving it two fingers – a woman brash and accusatory; forthright and in control. Touch and Feel and Honest – her earliest tracks – had a different vibe and, in a sense, a little more restrained and controlled. Every new release sees the confidence level go up but, on Feng Shui (I Like the Way), there is a move away from Cash Me Outside. Rather than seeing a hoodie and pointed lines: one finds Ocean China with an oriental fan and talking about balance and spirituality. Of course, there is plenty of swing and confidence so she does not lose her identity – she has changed her persona and addresses a new subject. You still hear Ocean China but, like any good star, she has evolved and taken on a new form. I mention Beyoncé because, from album to album, she adopts a new side. Lemonade, released last year, is an angry album that documented political and racial tensions; infidelity in the marital bed and the need for freedom and equality. Before that; albums have been more tender and personal. Beyoncé is always adapting and, not to keep mentioning her, Ocean China has that same need to keep things fresh and unexpected. Feng Shui (I Like the Way) is a different beast to anything she has done before. Having recently reviewed Grime/Hip-Hop star Signal – who is based in Basingstoke – I am hearing some fantastic artists, playing in the ‘Urban’ realm, able to evolve and shift between releases. They are not chasing a commercial vibe and are following their own path. Maybe Ocean China’s next release will be a more ballad-sounding thing where she adopts a more classic/regal look. Given the fact she is a cool and edgy artist: maybe that is a stretch but one can never tell with her. The reason Ocean China excites me, among others, is her urgency and sense of passion.

Not that calmer and more precise music is insignificant: I find the more spirited and to-the-point sounds get into the brain a lot quicker. I feel music needs artists that articulate their points with greater expediency than most. Ocean China gets to the crux and does not mess around. Maybe there is a boldness and over-confidence but it is exciting seeing a young woman that has such a flair and determination. Her raw energy and physical approach to music is typical of many R&B artists but there is something different about her. The way she fuses sounds and what she talks about – a rare artist who cannot be easily compared with anyone else. I am excited hearing her flow and rap; she works the microphone and brings every word to life. Feng Shui (I Like the Way) has different shades and colours compared with a song like Cash Me Outside. It is still an urgent song but not quite as intense as her previous work. I am excited to see whether a video will follow as I can imagine the kind of scenes and images that would come through. No doubt, with each song that arrives, the Luton-born star improves and strengthens. I guess that is natural for someone who is getting more exposure and seeing her music regarded in wider circles. I do wonder whether she has any gig arriving – I will go into depth later – because I sense a hungry and ambitious artist who wants to take her music to the masses. I will move on but wanted to highlight how a song that moves and gets to the point is a lot more likely to get into the head quickly. That may sound obvious but there are many artists writing big and intense tracks that fail to carry any substance and nuance. This is not the case with Ocean China. She is a woman who can write a banging and intoxicating tune and keep you coming back for more!

The opening notes of Feng Shui (I Like the Way) trip and dance their way into the imagination. In a way; it reminds me a bit of FKA Twigs and Dizzee Rascal. One hears the intense possibilities and street-ready dangers of Boy in Da Corner – there is relief and the kaleidoscopic tenderness of FKA Twigs’ best moments. In many ways, there is more breeze and ease to Ocean China’s notes. Opposing the more sassy and strident swagger of Cash Me Outside: Feng Shui (I Like the Way) is a more calm and spiritual number – in the opening stages, at the very least. The heroine does not want any bad vibes – she is putting that all behind her – and those bad characters are being cast away. Maybe this relates to lovers and friends that send negativity and shallowness. “Whine up yuh waistline” is an interesting expression and not one I have heard before. A couple of artists have used it as a song title – or variations on the phrase – but it shows the way she used modern and niche lexicon to explore common themes. It seems, as opposed to previous numbers, there is more peace and contemplation in Ocean China’s heart. One gets a flavour of the East when listening to the song. There is a definite nod to Asian sounds and philosophy. When the chorus strikes; you get Pop and R&B sensations that bring smile and comfort. It is a beautiful and rushing sound that unites 1990s’ best R&B with the eclectic and modern sounds of the day – a blend that is hard to refuse. The heroine likes the way (the hero) makes her feel good – the way he puts it down and picks her up. There is sexiness and sensuality to the words but a comfort and sense of purpose. Maybe she has experienced enough heartache and disruption in the past – now, there is the excitement of a pure and solid love. It is the electricity and smile of the song that makes one connect and bond with Feng Shui (I Like the Way).

What I love about the song is the performance and diversity Ocean China displays. Her voice is able to cut and draw blood but here she is in a more balanced and secure mind frame. Adopting the peaceful and soul-balancing practices of feng shui; one feels Ocean China is trying to erase the past negatives and embrace a more calm life. It would be quite hard to hear a woman going through perils and seeing her stressed. Because of the issues she has faced – previous songs provide story and clarity – here is someone who is more secure in her skin. The boy looks at her like she is ready to be devoured. She wants him to come over and satisfy her – one of the rawest and most direct songs she has created. Maybe that sexual relief and release, tied with a deep affection and comfort, is what is needed to eradicate the stresses and problems of life. Too many problems have come her way so far: this is what she needs; the need for something physical and satisfying. Of course, there is spirituality and mindfulness in everything she says. Feng Shui (I Like the Way) is not only about attraction and physical satisfaction. There is a deeper needed to cleanse and castigate spirits that have been haunting her. Those bad vibes and energies have poisoned the water – she is making changes and getting rid of all those people that create issues and drama. It is refreshing seeing an artist so determined and assured of what she needs. So many songs are filled with recriminations and blame. Here, there is a more positive and calm demeanour. In terms of sounds; the composition does inject elements of the East; there are Rihanna-like vibes and, strangely, sounds of the Caribbean. A certain cool and wind come into the music. Notes bend and contort; the vocals have sensuality and allure that matches the lyrics. There is sweat, saunas and suggestiveness – that is a Jackie Collins novel that never was! – and the heroine wants her boy to get with her and show what he is made of. It is never lurid and too profane – there is tease and suggestiveness that projects images and possibilities.

Feng Shui (I Like the Way) becomes less about a spiritual balance and more about a physical satisfaction. In a manner, when one thinks of what feng shui is – moving objects in a certain way and maximising the physical environment – you can apply that to the sexual. The bodies can move in a certain way and the lovers can position themselves in a manner that harmonises and satisfies – that is sounding rather sexual but that is the point I guess. The bodies move like furniture. There is contestant physicality and the need to reposition and maximise intensity. It is a clever way to look at sex and love: the soul and home are not going to be at its best if there if things are out of balance. The heroine seems is a satisfied and content space. She urges the boy to come at her and there is sweat dripping from the speakers. Whilst the verses have a rough and raw vibe: the chorus layers the vocals and has a sweetness that provides contrast and variety. It is a fantastic blend and one that creates a balance in the song. At every stage – and each component of the song – considers dynamics and environment. It is a testament to Ocean China and her abilities that Feng Shui (I Like the Way) is such a strong song. DALiEN expertly helms and bring the very best from lyrics and music. Controlling the flow and assuring it is given the best treatment possible; it gives the song the urgency it requires but does not wash all the colour and physicality out of it. So many songs are over-produced and lose their identity. DALiEN does not do this and allows Ocean China to have her voice and personality remain – whilst giving the track a polish and professionalism. That unity of American R&B and British Hip-Hop is an intoxicating brew and one that we need to hear more of in the underground. I feel Ocean China has the ability to transcend to the mainstream: Feng Shui (I Like the Way) is an example of why that statement is not an exaggeration.

I have talked a lot about Ocean China and shall not labour my point about photos and their importance – let’s hope that is something that improves with time and experience. I wanted to focus on the good points because there are many of them. There are few artists that have the same dynamics and abilities as her. Ocean China is a bold and passionate artist but someone who can mix tenderness into her sound. Looking at her and one senses a current and street-savvy performer – she is beautiful and striking but it is her fashion and stylistic approach that appeals to me. Every new song sees her project a new wardrobe and aesthetic. Feng Shui (I Like the Way) fuses Asian cultures with the sounds of British streets. There is Urban/R&B grit with something more colourful and light. Previous numbers have been direct and hard-hitting - Feng Shui (I Like the Way) absorbs new sounds and is a different experience. What I love about Ocean China’s music is its passion, quality and diversity. I can imagine an E.P. coming and feel she has enough material to put one together. I am not sure whether that is a plan for next year or whether she is releasing one later this year. Feng Shui (I Like the Way) is out in a few days and, one imagines, a video will arrive. I would like to see an Ocean China E.P. as that would unite all her songs and give the fans a chance to see how her music has progressed and shifted since 2015. Touch and Feel was her first track and, in the two years since, the Luton artist has grown more confident and assured. Maybe she wants to release a few more singles but, in terms of getting her name out there, putting all the songs in one place is a lot more effective. In everything she does; one gets a sense of the personal and romantic. Relationships and men are addressed; the way relationships are not as stable and certain as they should be. Hre music looks at confidence and being independent; not putting up with any crap, essentially.

These are subjects and sides that are common but it is the way she projects them that elevates them beyond the predictable. I am excited to see where Ocean China is heading and how far she can take her music. I know there will be gigs arriving but it would be good to see her perform as much as possible. Perhaps that is something planned but London is waiting, for sure. There are a lot of spots around the capital that would put her up. I mentioned Signal and how he has managed to progress and impress. He has performed at venues in Camden and seems at home in this part of the city. Maybe North London is a more profitable part for Ocean China but her music has the ability to grace any stage. She should have s think about that and how transferable her music is. When Feng Shui (I Like the Way) is officially released to the world; there is going to be that promotional drive and needs to get it to as many as possible. I know she will be looking for interviews and spreading the words. Gigs are important and easy ways of connecting with people so let’s hope there are some approaching. These are still early days but I sense an artist who wants to succeed and make her way into the mainstream. I have talked about black artists and how they are overlooked but that extends to females, too. In many ways; being a black woman in music is as much a challenge and issue as anything. We know, to an extent, music is aimed at the white man – and run by them – and there is discrimination that needs to be tackled. Growing up listening to Beyoncé and Michael Jackson means Ocean China has seen artists who tackle these barriers and have broken ground. Michael Jackson was one of the first black artists to feature on MTV and was often told he could not have videos featured because he was black. Beyoncé challenges racism and is one of these people who does not sit by and let judgement rule the world. Those defiant and passionate artists have helped Ocean China come out of her skin and strike. I am not sure how much prejudice Ocean China has faced but she must be aware her path to the mainstream is a lot rockier and longer than many of her peers. Her music is stunning and deserves all the respect it gets. Maybe she will remain in Luton but I feel London’s lure and opportunities will be too sexy to resist.  She has the city near-by but basing herself there would mean she is more visible to the most influential and prominent labels and venues. Let’s end this by saying one needs to listen to Feng Shui (I Like the Way) and experience an artist who is making her name known. That name is one you won’t forget: the music is as compelling and fascinating as one would expect from such a soul. The progression and evolution is a perfect example of what music is about. I hope success comes to Ocean China’s feet as she deserves many happy years in music. Feng Shui (I Like the Way) is a great example of where she is heading and what she is about. Make sure, with the song imminent and about to make its presence know, you are…re

READY for something special.

_______

Follow Ocean China

Twitter:

https://twitter.com/iamOceanChina

Facebook:

https://www.facebook.com/iamoceanchina/

Instagram:

https://www.instagram.com/iamoceanchina/

YouTube:

https://www.youtube.com/channel/UCbPlMcuO-7Okj0_5k6GTPNQ

SoundCloud:

https://soundcloud.com/iamoceanchina

INTERVIEW: EERA

INTERVIEW:

PHOTO CREDIT: Alice Rainis  

EERA

________

THE majestic and mercurial EERA announced the release…

 PHOTO CREDIT: Alice Rainis

of her debut album, Reflection of Youth – it is out on 3rd November via Big Dada. She has shared two new tracks: the sublime I Wanna Dance and Christine. I ask about the tracks and the origins of both. She discusses her album and working with Nick Rayner; what it was like working at a dairy farm in West Wales – and locating to Cork to record. EERA explains why the songs were recorded in the small-hours and why there is such a variety of sounds between tracks – a sign of an artist searching for answers and exploring her limits?!

She talks about tour dates and the artists influential when growing up; advice for any new artists out there – and the good and bad aspects of living in London (where she is now based).

_________

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

Yeah, it’s been a very exciting week - since I finally released two of my songs off my upcoming album! 

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

Sure. My name is Anna Lena Kirsten Bruland and I'm currently based in London - but I'm from a small town in Norway. I started EERA in 2015 and released my first E.P. back then - and now, I finally get to release my debut album. 

PHOTO CREDIT: Jodie Canwell

Reflection of Youth, your upcoming album, is out on 3rd November. What provided the inspiration for the songs and how much did you learn, about music and yourself, when recording the L.P.?

I just wanted to create an album that was very honest and true to myself. I have to admit that it feels a bit scary to release an album like this, but then again it's the most natural for me. 

I Wanna Dance and Christine are two new tracks. What can you tell us about the story behind each of those numbers?

I wanted to write a very ‘straight-to-the-point’ song (I Wanna Dance) where the message was very clear. I still find the so-called ‘standard’ things in life hard to concur: love, money; feeling free from worries. This song is about just wanting the simple things in life so that you will feel free enough to dance. 

Christine is about my sister and our relationship - that we always encourage each other to stay strong and (also to) believe in ourselves. 

In terms of sounds; there are a lot of differences between both tracks. Was it important to create contrasts and variations in order to give the album a sense of character and narrative?

I guess that just comes from me listening to a lot of different music.

My writing usually evolves around the Indie-Rock world but it varies from very heavy Rock to ‘quiet’ songs with synth. elements - so, I always wanted to combine these two worlds.  

I also get very much inspired by sounds and making sure that there's elements of surprises in each tune. 

You worked with producer Nick Rayner on Reflection of Youth. What was it like working with him and will you two be working together again?

Nick is amazing.

He found the EERA that was hidden within me and helped me to get all the sounds out from my head. When I first started working with Nick, I walked in with very simple demos; guitar and vocals. He really pushed me to start arranging everything myself.

So, when I walked into the studio with this album, my songs were much more evolved. 

PHOTO CREDIT: Alice Rainis

I believe the album was recorded at a dairy farm in West Wales and a studio in Cork. Why those locations and was there a sense of quiet and peace that meant you could knuckle-down and work?

Yeah. I just wanted to get out of London and really focus on the album. I was very determined that I didn’t want to focus on anything else whilst recording. 

Many of the songs were recorded in the small-hours. Was that the best time to record – to reflect the sense of reflection and investigation in the lyrics?

I love how quiet it is around me at night-time - and that no- one will disturb you. Perfect atmosphere to write for me.

PHOTO CREDIT: Jodie Canwell 

How do you feel about the record listening back to it? Do you notice a lot of changes and differences from your earlier work?

Yeah, absolutely.

I feel like this album is a lot louder and more confident than my E.P. Having said that, though; I still feel like I’m searching for my so-called ‘sound’. Maybe that's something that I will always search for?

You are based in London but raised in Norway. What was it like living there? How do expectations and society vary there and was it quite a different way of life growing up in Norway?

I loved growing up in Norway andI really miss the nature over there and also living by the sea. I wouldn't be surprised if I move back one day. 

However, it was definitely the right choice to move to the U.K. at an early age to pursue my music career. It's a lot more opportunities here for an Alternative artist like myself. 

PHOTO CREDIT: Jane Jimenez

How important are London and her people? Do you feel settled in and want to remain in the U.K.?

I have a love/hate relationship with London which I think a lot of people have. I love that it’s a busy city - but I also hate that it’s a busy city. Ha! I came to London with one goal; get a team to work with me and I'm so happy that I've managed to find the best team for me to work with. 

I don't feel settled - even though I've been here for ages. I'm still searching for the city that suits me, I guess. 

Can you remember the artists you grew up listening to – that inspired your step into music?

Yeah.

I started listening to Norwegian singer-songwriters: Thomas Dybdhal; Kings of Convenience and Ane Brun - but things quickly changed when I was introduced to Queens of the Stone Age: Rated R was on repeat. After that followed Interpol; then PJ Harvey; then Deerhoof…the list goes on.

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

I'm playing a show at Beyond the Tracks festival in Birmingham on 17th September. Following that, I have two in-stores: one at Rough Trade Nottingham on 7th November; the other, at Rough Trade East on 9th November. 

How is the rest of the year shaping up? Will you get a chance for a break or is it pretty busy until 2018?!

I hope it will be very busy!

I guess I’ll have to wait and see how well my album will be received...

Who are new acts you recommend we check out?

I love my mates in ALASKALASKA - I think they're awesome. Also; The Mantis Opera - they're insane, live! 

IN THIS PHOTO: ALASKALASKA/PHOTO CREDIT: Steph Wilson

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

This is such a difficult question - since there are way more than three…

I guess, Rated R - Queens of the Stone Age

It is important for me because it was when I realised that I love grungy, loud guitars! Ha! Simply put... 

I guess, also, Radiohead - 15 Step (from In Rainbows)

They introduced me to synth. sounds and Electronic elements.

The last one has to be Offend Maggie - Deerhoof

I remember being mesmerised by all the different details and surprises during their songs. Loved it. Since then, I've actually seen them play live seven times. Clearly obsessed.  

PHOTO CREDIT: Jane Jimenez

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

To work extremely hard and not expect fame and success over night. Believe in yourself and be patient. 

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).

Can I please choose two? It's too difficult to pick just one.

Black Hearted Love - PJ Harvey and John Parish

My Purple Past – Deerhoof

___________

Follow EERA

PHOTO CREDIT: Alice Rainis

Official:

http://www.eera.co.uk/

Twitter:

https://twitter.com/EERAmusic

Facebook:

https://www.facebook.com/eeramusic/

Instagram:

https://www.instagram.com/eera_annalena/

SoundCloud:

https://soundcloud.com/eeramusic

Spotify:

https://open.spotify.com/artist/1kr9ySHpN45SVd5nJVbIbc

INTERVIEW: The Rah’s

INTERVIEW:

PHOTO CREDIT: Mike Briggs 

The Rah’s

________

IT has a while since I have investigated a…

raw and ready Rock band. The Rah’s are a cheeky and fun quintet hailing from Prestonpans – and are one of Scotland’s finest young bands. I find out more about The Time Is Now – a call-to-arms and anthem for energy and change. The boys explain why there is a need for rebellion; why they feel Rock is alive and well, still – and how Pop music does not engage them the same way (as Rock).

I ask the band about their touring plans and what life is like in Prestonpans. They chat about their coming-together and what it was like recording at Maybank Studios alongside Producer James Darkin.

_________

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

We are all good. Excited for this release!

Musically, it has been productive. Work-wise, absolutely draining.

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

Well, basically, we are a bunch of good mates with a passion for bringing live music back to our area; creating our own songs and image on the way - and enjoying the adventure that it brings.

Prestonpans is your base. What is it like living there? Is it quite a busy music scene or do you have to go into Edinburgh to find a bit of musical action?

Living here is pretty standard: nothing exciting about it, but it’s our home. There is (just) your basic pub entertainment, really: to see bigger bands/gigs then aye you’ll need to head into Edinburgh for that - even though the music scene isn’t up to much at the moment.

The venues are shutting down left-right-and-centre.

The Time Is Now is your new single. What can you tell us about it?

The Time Is Now was written a good few year back.

Our loyal fans will know the original version (from our 2013 E.P., Living the Dream). We decided to give the song another visit - to hype it up. Taking it to James Darkin was just what it needed - the final product we wanted.

It is a direct and charged song. How inspired are you by what is happening around the world? How do you judge where we are at the moment and the state of affairs?

The song is directed at every single person who ever had a glint of hope in them - to spark a change from the smallest thing in your life to an all-out rebellion. The current state of affairs makes it the perfect time to release this beast!

The world needs a drastic change!

What was it like recording in Maybank Studios alongside Producer James Darkin?

It was a new environment for all of us: we’d never recorded there before and it was James’ first time in bonnie Scotland. From the minute we met him, we got the feeling we were in for a treat. With his wealth of experience - from working with some of the world’s best artists - he opened our minds to ideas we normally wouldn't consider.

His input combined with ours made for a perfect match. The song was recorded with no click track involved to get the proper feel for a live, raw sound.

How would you say you’ve changed since your last track, Sweet Talker, and, say, your earlier E.P.s? Do you consciously set out to depart from what has come before?

We've always learned from our experiences along the way and we've definitely matured.

We accepted that the song wasn't up-to-scratch before - so we gave it a completely new feel. The music we have been making, recently, has been moving a lot more toward the Rock genre - from Sweet Talker-type sound we had before. The changes have kinda been gradual with no intent; sorta flowing naturally.

We’re all on the same wavelength now. 

Sweet Talker, I believe, was recorded in Bradford. Being a Scottish band; what was the reason for recording there?

Our manager had some contacts point him in the direction of Peak Studios.

The producer, along with the studio, was highly recommended. We are always up for a change of scenery - as being away from home always inspires and opens your eyes to new ideas.

Is there going to be more music later this year/2018? How fertile are the creative juices right now?

We have plenty more tunes brewing at the minute...

All of us can’t wait for our next session in the studio. It’s something we absolutely love: it gets us through all the long hours of practice. We’re looking into recording one more song this year and, as always, are buzzing to let everyone hear it! 

The Rah’s formed in 2011 through a deep friendship. What was the reason for starting the band and how did you meet the newest recruit, Chris?

At first; it all started as a little muck around. We all had a love for music but never really thought anything of it. We had a few practice sessions and the whole idea grew on us.

So, we thought we’d try our hands at it…after all: who wants a nine-till-five taking up the best years of life!?

What have been the biggest changes from your inception in 2011 to now, would you say?

Matured for definite - musically and mentally.

Our influences haven’t changed but we’ve definitely explored and studied music a lot since then - so we have opened a whole new bible of influences.

The likes of Arctic Monkeys are promising new material this year. It seems solid and dependable Rock bands are coming back strong. Do you sense something in the air or are people looking for music direct and meaningful?

Well, Rock music will never die. I’m sure Alex Turner said that himself: it’s inevitable. The Pop music of today is meaningful to some, but not so much to us. Being in a band makes you look into music a bit further than the standard music listener.

Pop music these days is only meaningful because the melodies are catchy; the majority of the lyrics are written by other people so to the artist singing and performing it seems pretty meaningless. I mean, fair enough making millions – but, having it spoon-fed to you and not showing any passion/input/talent towards the making of the music is very frustrating for bands like us.

Among your future tour dates is a gig at The Dublin Castle on 16th September. Are you excited about that one and, after dates in London, Liverpool and Manchester – will there be any more after that?

There will be plenty more to come this year…that is all we have confirmed so far. Also, more studio time - so more new music coming your way!

Who are new acts you recommend we check out?

Blossoms, Jagwar Ma (not-so-new  - but, possibly, for people in U.K.); Neon Waltz; Medicine Men; Saint PHNX; The Shimmer Band; Rituals; Morganway; Louis Berry; superfood; Tijuana Bibles…. The Rah’s.

Dig in!

IN THIS PHOTO: Tijuana Bibles/PHOTO CREDIT: David Muir Photography

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

Red Hot Chili Peppers - By the Way

It has absolutely everything in it.

The Beatles - Abbey Road

Inspiring.

Kasabian - Empire

Banging!

Tame Impala - Lonerism

Takes you away from reality.

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

Stick at it; dig deep: no matter how bad you think you are doing, just keep going - especially if you are enjoying it! Take everyone’s comments in but don't let them effect your decisions drastically: it’s for you to choose what music you create and if it sounds good to you - play it with pride!

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).

YAAS!

Jack: The La’s – Feelin’

Neale: Blossoms – Blow

Jordan: Black Rebel Motorcycle Club - Weapon of Choice

Andy: Temples - Mesmerise

__________

Follow The Rah’s

Twitter:

https://twitter.com/therahsmusic

Facebook:

https://www.facebook.com/therahsmusic/

SoundCloud:

https://soundcloud.com/therahsmusic

Spotify:

https://open.spotify.com/artist/5mNQ5IIvwRhcLKP0QSZNOq

YouTube:

https://www.youtube.com/channel/UCks2udwJN0vKiFpCrezcoaQ

INTERVIEW: Siobhan Wilson

INTERVIEW:

 Siobhan Wilson

________

THIS is a busy and hectic time for. Siobhan Wilson.

Her album, There Are No Saints, was released a couple of months ago and has been getting a huge amount of love. With the video for Dark Matter in the ether; a lot of eyes and ears will be on Wilson and her stunning music. I speak with the Scottish-born songwriter about her latest album/video and what tour dates she has coming up.

Wilson talks about the acclaim she has been receiving; spending time in Paris and whether her music has changed since 2014’s Dear God. She picks an artist we should check out and what advice she would give any new songwriters emerging.

_________

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

Hiya.

The best thing that happened this week was getting played on BBC Radio 2. The worst thing was that my goldfish King Alfred died.

Everything in-between has been fine.

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

I'm a singer-songwriter, musician; artist and writer who lives in Scotland but floats about a bit in Paris, in studios - and more remote parts of Scotland.

There Are No Saints, your recent album, has been gathering a lot of press since its release. How would you define the album in terms of the themes addressed and the stories included?

I think all albums are defined by passages of time. The time they take to write; the time spent in the studio; he time when people listen and reflect; the events that inspire songs; he way the songs become a version of the past. It's like a gathering together of a few years of my life: a huge release that took a lot of work, and now, I feel like somebody new.

By the time you've made an observation, everything has changed anyway. It's a bit like a photo or like putting your hand through water and letting the sounds ripple out - you wouldn't capture everything and it wouldn't be a true representation of the real experience.

Has it been flattering seeing sites like The Line of Best Fit backing and promoting your music?

It's been a surprise: I didn't expect it.

I care a lot about the music and it makes me happy when other people do too. I just think: "Well, what else is there to do?"

BBC Radio 6 Music has compared your voice to a nightingale. It seems like they are a station that has taken you to heart! Do you hope to perform for them one day and are you a fan of the station?

I played a session on Mark Riley when Vic Galloway sat in for him. It was so much fun! I felt like a Pop star. I loved being in the studio with all the big mics - and Vic made everyone laugh. I listen to '6 Music in my spare time; so it's surreal to be there.

I've got another '6 Music session in November but I've not announced it yet...it will be epic!

Dark Matter is your latest video. What is it about the song that meant you wanted to release it as a single? Can you remember writing it and why you were compelled to put pen-to-paper?

I wrote it very fast, I think - in an hour or two one afternoon. It started off despondent and depressed: really long strums and about half the tempo. It was dragging on and boring - like everybody would drown inside the song if they listened to it for too long and the world would disappear inside itself. Chris McCrory really brought it to life with percussion and his good attitude (and good vibes). 

The label released it as a single because they liked it. I like all the songs equally and always like the weirder ones. When it comes to picking singles, I'm not introspective enough to pick a song that represents me or a whole album. I let somebody pick who is good at seeing that.

The video is colourful, to say the least. What was it like filming and who came up with the concept?

Mario Cruzado did an awesome job. He's really sensitive to colour and light. He is going to do some brilliant things.

My favourite bit of the day was when I got to smash plates! 

I believe, of all the album tracks, Disaster and Grace, is your favourite. Why that track?

Right now it's There Are No Saints (the title-track). It changes all the time...

Song, By Toad Records is the label you are with. What are they like to work with and are you allowed the freedom to create the music you want to release?

Yeah. You can have lots of freedom and they are clever about that. They encouraged me to put the record out and they are nice humans.

You were brought up in Morayshire but moved to Paris. What kind of music did you listen to as a child and how important and influential was that move to France?

I think more Classical and Folk music when I was a kid - then some Jazz and Electronic music in Paris.

What did you learn from that time in France and do you hope to return there one day?

I just spent most the summer there.

I go all the time but mostly just a couple days at a time. It's a total change of scene and it's not that far away from Scotland. It's a romantic place but also a practical get away for me.

it's refreshing to be somewhere new that's not too far away.

How would you say your music has evolved and developed since, say, 2014’s Dear God? Have you improved and grown more confident since then, would you say?

I don't know. I think it's hard to measure. I definitely enjoy being on stages more than ever.

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

I'm on tour for most of this month and really excited about it!

8th September - The Blue Lamp, Aberdeen

9th September - The Drouthy Cobbler, Elgin 11th September - The Castle, Manchester 

12th September - 81 Renshaw Street, Liverpool

16th September - The Bothy, Glenbuchat

17th September - The Basement - Live Music & Comedy Venue, York

18th September - The Tree House Bookshop, Kenilworth Arts Festival

19th September - The Musician, Leicester

20th September - Sands Films, Tuned In London 

21st September - Kitchen Garden, Birmingham

22nd September - The Hall, Lancaster

24th September - The Voodoo Rooms Bar - Restaurant & Function Rooms, Edinburgh

28th September – Tolbooth, Stirling

Do you take other musicians on the road with you? Do you have anything outrageous on your rider - or is it quite modest?

Yes, I take my friends on tour with me and I'm very happy to have them there with me. My rider is really modest and boring. I don't want anybody to make a fuss. The French have got it sorted.

When I'm in France, I do what I'm told. I appreciate really good food and when food isn't good, I'm like, "Oh well, let's not dwell on it." It's the worst thing in life - talking about the food that you're eating and how you're not enjoying it.

I'm going to start asking for five lottery tickets to bring a flash of hope to the team's eyes.

Who are new acts you recommend we check out?

The Van T's (in Glasgow) are cool. 

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

Don't wait for other people to give you work: try to make your own. If you ever feel like you're a girl surrounded by guys: do everything you can to employ some women.

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).

Can you please play Just Like Honey by The Jesus and Mary Chain?

___________

Follow Siobhan Wilson

Official:

https://www.siobhan-wilson.com/?ct=t(Siobhan_Wilson_September_tour9_7_2017)&mc_cid=712b0cd0c2&mc_eid=811e7bccd3

Twitter:

https://twitter.com/SiobhanIsBack

Facebook:

https://www.facebook.com/siobhanwilsonmusic/

Instagram:

https://www.instagram.com/siobhanisback/

SoundCloud:

https://soundcloud.com/siobhanwilson

Spotify:

https://open.spotify.com/artist/4EDH5c8x5E958c3AUwqvlp

INTERVIEW: Violeta Skya

INTERVIEW:

 Violeta Skya

________

WITH its intoxicating sound and alluring video…

there is an arresting and memorable quality to Kiss Me’s video – the latest track from Lithuanian-born artist, Violeta Skya. That video was constructed by a talented team - Music Production - Jose Cubides; Videography - Jay Kristoffer; Model - Janis Zeilins; Video Assistance - Polina Lobasova; Video Editing - Valeria Meng; Colour Grading - Philipp Morozov – and shows what a talent Violeta Skya is. I speak to her about the song and its origins; what it was like shooting the video – how she finds London (now she is based here) and whether it differs vastly from Lithuania.

She talks to me about influences and the artists who made an impression on her young; whether there is an E.P. on the horizon – and how her time studying at BIMM (British and Irish Modern Music Institute) has strengthened her music.

PHOTO CREDITS (unless stated otherwise): Jay Kristoffer

_________

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

Hi, Sam.

It has been an extremely busy, but exciting, week. I am so happy there is a lot of positive extensive feedback about Kiss Me from music industry people – and I make new contacts. Also, I am finishing material for my next release - as well as planning a lot of exciting things related to my current release. There are few exciting surprises on the way.

Additionally, I’ve been contacted by several musicians from Chicago (I am going to visit the U.S. in a few days) and might be having some acoustic performances there - which take a lot of planning too.

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

I am a singer/songwriter based in London - but originally from a Lithuanian-Slavic family. Music is my biggest passion, my love and my main goal.

Kiss Me is your debut single. Can you tell us about its creation and what inspired the song?

The idea was to make a dark Dance track. I wanted to express one of the wild sides of my personality - which I am sure everyone can identify with.

Its video is quite racy and intense. What was it like filming it and was it quite nerve-wracking shooting some of the ‘sexier’ scenes?

Actually, shooting was so much fun and everything came very naturally. I felt really relaxed and comfortable with the model Janis Zeilins. We were dancing to the song, freestyling; letting ourselves go with the flow - so we ended up contributing loads of new ideas as well.

He definitely was the perfect match for this project. Also, we became friends and support each other now.

Kiss Me is a very current and accessible track. Do you take a lot of influence from mainstream artists or are you more drawn to the underground?

The idea was to make a (Dark dance) track with some Vogue vibes. I am inspired by Madonna, Kylie Minogue and Michael Jackson. I wanted to express some misty, sensual, yet empowering, feelings.

I have to say; this track is quite unique and different from my other music - so I decided to release it as the debut single...

...but it’s why I love it.

What is your opinion on modern music and chart acts? Do you feel there are a lot of positive role models and strong artists out there? Do you have a goal/dream you hope to achieve in music?

Yes. There are definitely some very talented artists as well as some great new acts - such as Dua Lipa and Camila Cabello.

My goal is to ‘make it’ on the music scene - to be a successful and well-recognised artist and be able to do what I love the most for a living.

Was it quite hard putting the song together? How does the music coalesce? Do you start with lyrics and add music or get caught by a beat – and the words flow around that?

It was a really enjoyable process as everything came very naturally - as the atmosphere in the studio is always very friendly and relaxed. This song was written with my producer, and dear friend, José Cubides. When I arrived at the studio, I had a beat and the idea in my head; he added a catchy bass-line and we took it from there. 

The melody and lyrics were written really fast and organically and, when I showed the idea to José, he loved it.

PHOTO CREDIT: Sandy Kohlmayer

Vilnius, Lithuania is where you started life. How does life in London compare to Lithuania? Is there much of a music scene in Vilnius?

London is a completely different world with all the possible opportunities and numerous events here. For me, London is the capital of music in Europe - and the place where I want to be. However, I love Lithuania - which is and always will be my home - and there definitely is a music scene with some prominent, very talented and unique artists.

What kind of music did you grow up surrounded by? Is it true you are a classically trained pianist? It seems music arrived in your life early?

I grew up in a multilingual environment; surrounded by many different types of music, such as Lithuanian, Polish; Russian Pop music - as well as listening to world hits and the most-prominent artists of that time. Also, I was studying Jazz at Vilnius Conservatory and had a chance to listen to a lot of Classic-Rock as it’s my dad’s favourite genre.

So, when I was growing up, I had many opportunities to listen, as well as perform, a lot of different music.

Once you arrived in London, in 2014, you studied at BIMM (British and Irish Modern Music Institute). How important was that time and how important was your time there shaping who you are as a musician, now?

It was an incredibly important time at BIMM, as I was in great music environment where you can learn so fast; network with other musicians; get motivated and receive many opportunities outside the university as well. I used those years to experiment: go through many styles more in-depth; sing in several bands; collaborate with producers; write top-lines; write my own music and look for my unique style - which I think I finally found.

Are you looking ahead at a new single or E.P.? Can we expect another Violeta Skya song before the end of this year?

I would like to go step-by-step for the moment: I want to see how fast is everything going with this single and then make the next decision from there. However, I have been recording plenty of new material. I want to release soon and definitely think there would be some exciting releases this year.

Do you have any hobbies outside of music? Do you get much chance to explore Britain and see new parts?

I really like fashion, modelling and photoshoots. Also, I have other interests, like living a healthy lifestyle and psychology.

I love travelling and definitely would love to explore Britain more.

PHOTO CREDIT: Sandy Kohlmayer

Who are new acts you recommend we check out?

I really like Zak Abel and Mabel.

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

I’m Breathless: Music from and Inspired by the Film Dick Tracy – Madonna

It’s her second soundtrack album - which made me mesmerised. It was one of the first albums to inspire me to become a singer.

Crazy in Love – Beyoncé

Beyoncé is one of my all-time-favourite artists. When this album came out, it was really a ‘banger’ - with five hit singles. I was watching all her live performance at that time, too. Beyoncé is such an outstanding vocalist, incredible performer and an icon. Also, I love her attitude and work ethic.

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

I think one of the most important things is to be honest and real with your music and songwriting. Being sincere is essential: people can sense that and gravitate towards the 'read deal'. Also, always persist and be brave enough to go for things - which may scare you the most.

As Jared Leto said: “Work is the bridge between dreams and reality”.

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).

Erykah Badu – Next Lifetime

I don’t know why this song came to my mind first.  I just love everything about it. It’s very sensual.

___________

Follow Violeta Skya

PHOTO CREDIT: Jaro Michalko

Official:

http://www.violetaskya.com/

Twitter:

https://twitter.com/VioletaSkya

Facebook:

https://www.facebook.com/violetaskya/

Instagram:

https://www.instagram.com/violetaskya/

SoundCloud:

https://soundcloud.com/violeta-brodovskaja

Spotify:

https://open.spotify.com/artist/37ejdU331mtt2i5obvvWsz

INTERVIEW: Amy Lawton

INTERVIEW:

 Amy Lawton

________

I realise, I have interviewed quite a few…

female artists this past week. Part of the reason (I have done this) is to redress the balance of male-heaviness that was appearing on my blog: the other, to recognise some incredible artists producing sensational work. Amy Lawton is one such artist who is worth serious passion and attention. She discusses her single, Undone, and whether there is going to be more material before the end of the year.

I ask Lawton about song inspiration and what it was like being featured on Deezer; what it was like touring with Jack Savoretti – and whether artists like Suzanne Vega, who she has been compared to, were crucial in her early years.

_________

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

Hi, I’m good thanks.

My week has been good so far. I had a couple of gigs and in the studio - the rest of the week working on new material.

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

I’m a twenty-year-old from Manchester - who’s been writing songs since I was eleven. I’ve been gigging and working on music in London for the past few years.

I’ve been lucky to meet and work with some great people in the industry so far.

Undone is your new single. What can you reveal about its beginnings and story?

I was inspired to write Undone when an ex showed up at one of my gigs, uninvited.

It was an unusual situation, so I wrote a song about it. In fact, I started writing the lyrics to the song that night at the show.

As a twenty-year-old making her first steps into music; how are you feeling about the song and the reaction it is getting thus far?

It’s been a great reaction so far...

It’s really encouraging and it’s been great to put some music out there.

Does it encourage you Deezer have featured it in their ‘Brand New UK’ section prominently?

Yes. It was really great to get the playlist.

Deezer has a great reach - so it’s nice that lots of people are hearing it. It’s always good to get some positive affirmation and know that the song is connecting with people.

Its Country-Pop sounds are sure to lift the spirits! There is pain and a sense of struggle alongside that energy. Is it hard writing something personal whilst keeping it light and accessible?

A lot of my songs have a bitter-sweet flavour to them.

I like to juxtapose a happy, upbeat sound with lyrics that are heartfelt, meaningful and personal. This isn’t difficult for me as it’s always felt like a natural way to express what I’m going through.

Will Undone have a video in the future do you know?

Yes.

The video was shot about a month ago so it should be out in the next couple of weeks - it’s something else that I’m looking forward to sharing with everyone.

Listening to your voice and artists like Suzanne Vega come through. Who are the artists you were hooked on as a child and motivated you to get into music?

My dad used to play Suzanne Vega when I was younger - so she was definitely an inspiration. I was always into singer/songwriters who played guitar, like Tracy Chapman, but I also found inspiration from artists like PJ Harvey and Marina and the Diamonds.

Before Undone; you cut your teeth playing at venues like Ronnie Scott’s Jazz Club and The Bedford. How important were those London gigs – and what did you learn from those experiences?

I think all gigs are important and it’s always good to get experience and try out your music in a live environment.

Obviously, London is a great place to do that - especially in those legendary venues.

Your biggest show was supporting Jack Savoretti (last year) at London’s Cadogan Hall. What is he like to play alongside and how did that time affect your writing and ambition?

I enjoyed playing with Jack...

As an artist, I find him inspirational as he’s worked so hard to get where he is. Getting to play at Cadogan Hall gave me a taste of what it’s like to play to larger crowds – which, I guess, fuelled my dream even more. I was so excited when I came off stage after getting a good response to my own music.

I couldn’t wait to write more to play to people.   

Will there be an E.P. later this year? What are your plans going forward?

Yes.

I am planning on releasing another single - followed by an E.P. this year. I’ll be spending more in the studio, too.

Who are new acts you recommend we check out?

I like Lewis Capaldi at the moment - and Zach Said was someone I enjoyed seeing live recently.

IN THIS PHOTO: Zach Said

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

Marina and the Diamonds’ The Family Jewels; These Streets by Paolo Nutini and Red by Taylor Swift were all albums which I loved every song on.

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

My advice would be to (just) stick with it and keep going - if you have a setback don’t let it prevent you from moving forwards again.

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).

Kacey Musgraves - Late to the Party

___________

Follow Amy Lawton

Official:

http://phonofile.link/amylawtonmusic-undone

Twitter:

https://twitter.com/amylawtonmusic

Facebook:

https://www.facebook.com/amylawtonmusic/

Instagram:

https://www.instagram.com/amylawtonmusic/

YouTube:

https://www.youtube.com/channel/UCWXV3W3pPXJf1RnzsfjsLdQ/videos

SoundCloud:

https://soundcloud.com/amylawtonmusic

Spotify:

https://open.spotify.com/artist/3Z9pPrfELSOEIpIGqusQ3w

INTERVIEW: Rider

INTERVIEW:

 Rider

________

ONE sees Rider, and the spirit she has, and imagines her starring…

PHOTO CREDIT: Ollie Rillands/Shapeshifter Films

in an American Indie film. The U.S-born songwriter is based over here but definitely has a lot of American passion, humour and musical heritage – someone who has grown up with a range of influences and in different locations. I ask her about the new song, A Little Light. She talks about the song’s tough story and how, when the track was conceived, she had gone through a confusing and dislocating time. Rider chats about future music and gigs; the albums and artists that have helped guide her through her music career (so far).

I ask her about her evolution and progressing from penning radio jingles to, in a few days, performing at one of London’s best small venues – and what she has learned along the way. Rider talks about producing her own material and the influence her family had on her music/outlook on life.

_________

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

I’ve been great - and thank you for having me!

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

I was born in America but have lived in the U.K. since I was about five-years-old. I’ve lived all over England - as well as South West Wales, too. I grew up in a musical family and started writing my own songs around the age of eight - mostly by playing around on the piano and singing something that would stick.

I started to produce my own songs - using my dad’s music studio - from about the age of thirteen-fourteen - and I’ve been hooked ever since! I’ve worked in London, recently; recording vocals for radio, T.V. and film - but have always worked on my own music in my spare time.

I’m a dreamer, I’m an airhead: I’m serious; I’m crazy and I love a good-ol' deep-chat about anything - space, nature; quantum physics or spirituality.

Wow, that sounds like I’m writing for a dating site! That’s me, though...

That name, ‘Rider’. Is that indication that you push forward and have energy to keep dreaming? Was there a time or moment that inspired the name – or is it the embodiment of your passion and determination?

It means many things to me but, yes: it’s definitely a reflection of how I feel about my life and my outlook towards it.

It just sums me up well!

A Little Light is your new single. Can you tell me about the song and the story that compelled it?

It echoes a difficult time in my life from about three-four years ago. I basically found myself in a love-triangle. I also wasn’t sure if I was turning gay or that I was just bi. I felt lost...

To sum up the story; it goes like this:

I was in the middle of a hard break-up with a guy who I had been with for years - but I had also fallen in love with a girl who I had been seeing for a while - even though she lived in America. Every time she came to visit, we would act as if we were together. Eventually, I met another guy who completely changed my life! We started to hang out a lot and he just made me feel better about everything! He knew about this other girl and my hard breakup with my boyfriend and respected me - but we were both falling in love.

It was so hard for everyone involved. So, even though it was a real transitional time in my life, he was literally my ‘little light’ - that helped me get through the emotional mess I was in.

It seems like the song, in title and sound, is a relief and redemption after a fraught patch in your life. Are relationships and matters of the heart the biggest motivator for your creativity or was there something unique that led to A Little Light’s creation?

You’re right!

I would say the past four years of my life have definitely fuelled the need to write about my relationships - and the ups-and-downs of love. It’s what really affects me - more than anything, really! Perhaps that’s because I think a lot with my heart...or that I’m, simply, a girl - and us girls love to chat about our relationships. I’ve always been in one, too. The last time I was single for more than a week was when I was sixteen-years-old! I’m not sure if that’s a good thing or not...

I’ve wondered what it may mean - or maybe I’ve just been lucky enough to find amazing guys to be with at those particular times in my life.

Love is definitely the driving force behind my songs.

PHOTO CREDIT: Ollie Rillands

What was the video like to shoot? Can you tell me about the concept and how representative the visuals are the messages and truth of the song?

It was a lot of fun!

I feel it definitely tested my acting abilities. The bathroom scene was amazing because I had to make myself cry (after having to imagine sad things in my mind) and then, sitting topless in the bath - in front of the camera crew - was pretty funny. I wanted it to all be as real as possible, though, as if I was reliving my memories. It worked and I felt pretty exhausted after it. I love acting and will do anything to express and evoke what the song’s about - it has to be real to me!

The kissing in the alleyway scene was also a laugh to film because people were walking by sometimes and would stop in confusion and stare. It made it more exciting to film, though. All in all, it was filmed over two days: the first being the indoor shots and the second the outdoor shots.

The visuals, throughout, are VERY reflective of what actually happened to me. We wanted to create that massive divide between the happy times and the bad; light and dark. At that time, three-four years ago, I was a mess (from each day to the next). One minute, I felt the happiest I've ever been: the next, crying my eyes out like my life was ending. It was so weird and real hard to deal with.

Looking back, though: I was totally stuck in my head about stuff and just too scared of hurting anyone.

Does A Little Light mean there will be more material soon? What are your plans regarding an E.P., for example?

There’s definitely more material to release!

For the moment I’m just enjoying releasing singles and music videos across Vevo, Spotify; Apple Music etc. - I love to see people’s reactions/connections to them.

There is certainly enough material for an album - which may well be surfacing next year.

You’re an artist who writes and produces their own material. How important is it having that control and direction and do you think more artists should take this approach?

I am and I think it’s vital I keep writing and producing on my own - because I’m able to fully create what’s in my head. I’ve worked with other producers in the past and, although that has its unique benefits, I feel they can never fully create what I hear. I think if you’re able to produce your own music then, yes, I highly recommend it! No one can copy your way of writing or what sounds you want to use and how.

It’s the best!

You are U.S.-born but are based in the U.K. What was the reason for relocating and do you notice a big difference between the music scenes in both countries?

I moved to the U.K. when I was about five-years-old because my dad took a job over here - so I don't have much experience working as an artist in the U.S. From what I’ve heard on the radio though - whilst visiting family over there - the U.S. is definitely more varied and accepting of different types of music (more than the U.K.) - that’s no surprise since it’s a massive country with millions more people. The U.K. market is a lot smaller. Perhaps that’s a positive thing, though, because you’d get noticed over here more easily. I’m not entirely sure.

Either way; I’d love to break America and tour it a hundred-times-over (as well as the U.K.).

What was it like when you first arrived here? You moved about a bit. Was it difficult finding your niche here or was it a case of exploring the country? What were the best early memories you had of this country?

I was so young - but I remember my first primary school.

I also had a feeling that things were smaller in general - like our car, our house; other people’s houses. The weather was also a little different. Things like that were a little strange to me but when you’re as young as five-six years old…you adjust really quickly.

Before releasing music; you appeared on a number of jingles on big radio stations. What was that experience like and how beneficial was that time and exposure to your confidence?

Working as a session singer over the years and recording all sorts of things - not only radio jingles have helped me develop my voice in ways I couldn't do otherwise: all the experiences have been incredibly valuable! I’ve constantly been asked to sing like so-and-so; mimic this-and-that-artist and, through that, I found my true voice. Some say being able to mimic other artists can be a curse because you can lose sight of who you really are as a singer - but it’s done the opposite for me, actually, and helped me understand what’s the most natural way for me to sing.

Also; a lot of radio jingles require of a lot of tracking-up (layering up vocals and harmonies) and that’s helped me with my own vocal production.

Your music has been played at the opening and closing ceremony of the London 2012 Olympic and Paralympic Games. Are these your career highlights and how did it feel hearing your sounds being projected to so many people?

True!

My music was played on T.V. during the showing of the Olympics and Paralympic Games. But, because I don’t really watch T.V., I didn't even hear it while it was being played. I found out at a later date so I didn't get that instant buzz feel of hearing it live.

Still; I do feel a lot of pride knowing it was played.

Tell me a bit about your music idols and inspirations. Who are the artists that have been most instrumental and important to you?

I grew up as a Christian and used to listen to a lot of Amy Grant (whom I still adore). Her album, called The Collection (from 1986), was almost on constant-repeat in my bedroom. I would say the production on those tracks has greatly influenced me from a young age.

I’ve gone through phases of listening to certain artists on repeat like Prince, Michael Jackson; Third Eye Blind, Faith Hill; Céline Dion, Leann Rimes; Donna Lewis and the Goo Goo Dolls. Each of these artists, I feel, has all influenced me at certain stages in my life - there’s tonnes, though! Also, growing up in a musical family, I used to hear my dad and brother improvise on the piano all the time - they are my number one influences, to be honest. I do feel being exposed to a lot of Classical music whilst growing up too has influenced me.

I would go to many concerts from as young as I can remember - with full orchestras performing. I grew up singing in many choirs too - so that’s definitely influenced my creativity with vocal arranging and naturally understanding harmony etc.

 It’s been a rich musical upbringing and I’ve been inspired by all of it!

You play The Water Rats on 19th September. Are you looking forward to that gig and what can we expect in terms of songs and set?

Oh, my word…I am seriously looking forward to the gig!

Set-wise, they’ll be some little surprises along the way: some emotional ups-and-downs and some serious rocking-out. It’s an all-killer set - so I really hope to see you there. Come along!

We’ll be on stage at 8 P.M.

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

Apart from my gig on the 19th September; we have another gig lined-up at The Camden Assembly (London) on 30th October. Come to it!

Tour dates will follow soon, though!

Who are new acts you recommend we check out?

You should really check out The Kondoors. These guys have THE most incredible voices and write the most beautiful songs. They’re real soulful and their song, Forgiveness, makes me cry every single darn time! They’re amazing!

IN THIS PHOTO: The Kondoors

Another is a band called Fickle Friends. I really love their vibe and energy. Their production is so upbeat and has that happy '80s feel to it - I can’t get enough them!

Check out LANY, too - man, I love these guys so much! I went to see them live at KOKO (in London) some months ago and I fell in love with them instantly. They have that sunny and dreamy quality to their production and songs - which instantly makes me feel happy and relaxed.

IN THIS PHOTO: Fickle Friends

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

Wow: this is tricky to answer…

Ok; my first album is Songbird by Eva Cassidy

The album holds a lot of weight for me - so many memories. I used to listen to it on-repeat during my A-levels - and throughout my years at uni. Eva’s voice is beyond perfection.

My second is an album by Sting called All This Time

It’s actually a live recording of a concert he held on the 11th September, 2001 - the same day the Twin Towers were hit in N.Y. The songs he performed on this album and the rich arrangements created are so sublime.

One word: inspirational.

My third album is a tough decision - because I have so many more - but I think it has to be Amy Grant’s The Collection (released in 1986). This album takes me right back to my early-childhood years. I instantly get that feeling of warmth, safety; home; being with Mum, Dad and my brother; America, being naive…everything. It makes me feel everything! It’s so hard to describe.

Have a listen!

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

Be self-sufficient: learn as much as you can and keep learning about the industry you’re about to get into.

Read the fine print….

Practice.

Follow your vision: don't let anyone change what you truly desire to be.

Dream big - and then dream bigger than that!

Be nice.

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).

I Love You Always Forever by Donna Lewis (one of my (most) favourite songs of all-time).

Thank you so much!

Your girl,

Rider x

___________

Follow Rider

Official:

http://www.sapienrecords.com/rider

Twitter:

https://twitter.com/ridermusicpage

Facebook:

https://www.facebook.com/RiderMusicPage/

Instagram:

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

YouTube:

https://www.youtube.com/channel/UC_8fHwfPAhcObjV9B9c6mEg

Spotify:

https://open.spotify.com/artist/5G2EghUKgFfKXlghzyBVM6

INTERVIEW: Maria Moss

INTERVIEW:

 Maria Moss

________

IT has been an eye-opening and fantastic experience…

finding out about Maria Moss. The Spanish-born songwriter talks about how languages and different cultures feed into her music - and the difference between Spain and London (where she is based). I find out more about her latest single, We Will Dance; whether there is going to be more music in the pipeline – how Latin and Arabic twists are integrated into her art.

Moss talks more about her influences and proudest moments; the message she would offer her (many) fans and, as We Will Dance’s video captures the singer-songwriter on the road - what it was like shooting (the video).

_________

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

Hi, Sam! I am very well, thanks.

My week has been crazy! I have just come back from my holidays in Colombia and I have been very busy preparing the official video for my new single - that will be released around October/November.

I have been promoting and doing interviews (to promote) We Will Dance. We are also preparing a tour and some festival appearances.

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

I am a singer, songwriter and a dancer, based in London. I fuse Pop with R&B; Dance and Soul – plus, Latin and Arabic elements. I was born in Tarragona, a small city in Catalonia, Spain. I have been singing since I was three. At the age of fourteen, I won the 'English Key’ prize singing When You Believe, by Mariah Carey and Whitney Houston, on Cantamania, a Catalan T.V. programme (TV3-Salou).

By the age of sixteen, I was already singing professionally and touring Catalonia. As I wanted to pursue my musical career, I decided to move to Madrid - and then London - where I have just finished studying BA Creative Musicianship in BIMM London. Since 2015, I have performed around Spain, the U.K. and the U.S.A. 

Even though I have collaborated with different artists and producers, it was not until this January when I released my first E.P. called Old Times. New songs will be released around October/November - with a completely new branding.

We Will Dance is your new single. What is the story behind the song?

We Will Dance is based on my own experience when I was travelling around the U.S.A. and Europe in 2015.

I felt so lucky to be able to see all those places, meet and play to people and learn from their cultures. I felt so inspired.

Since then; I travel frequently - if my music schedule allows it.

The video follows you around various locations. Was the video shot whilst you were on tour? What was it like shooting it?

Even though the song was inspired while I was on tour, the video was made while I was on holidays - in places like Berlin and Canary Islands - and arranging business meetings and music sessions in London and Tarragona.

We Will Dance is the second track taken from the E.P., Old Times. Was it a good experience recording the E.P.? Will there be another release from Old Times?

Old Times took me a long time to write and record as I wanted the songs to be good - and I had the pressure of having some good material out. I had a lot of fun and it made me learn a lot about my artistry, my music; the music industry and myself. 

As I have evolved since then; my new music released soon will be different. I am not going to release any other single from Old Times - but I may do a remake of Not Enough in the future.

How do you think We Will Dance differs from the previous release, Light? Do both songs address similar subjects, would you say?

While Light is a ballad about acceptance: loving yourself, illuminating your own path and fighting for your dreams: We Will Dance is a song about freedom, travelling the world and enjoying (things).

You are based in London but born in Spain. How does the music scene differ here (compared to Spain)? Is there a big difference between the people?

This is a very difficult question - and I will answer it from my own experience...

In London and the U.K., there are so many active signed and unsigned artists working towards their dream. You can feel the music industry is vibrant; radio presenters look for new artists; people go to concerts of unknown artists because they want to listen to new music; music tastemakers go to concerts to pitch new artists; music stakeholders may contact some of them to offer help; many artists will have to play for free in order to be in the spotlight, etc.

While in Spain, due to the economic crisis and, maybe, a difference in the music industry foundation, the radio just plays the songs on the charts. I feel that not many music industry tastemakers go to underground venues to see unsigned artists and people don’t go to see unknown artists that much - as they may not want to spend money or they prefer other activities.

Can you tell me how you got into music? What kind of artists did you grow up listening to? What were your first successes and memories when you stepped into music?

When I was three-years-old, I decided I was going to be a singer and a dancer. I am not sure how I came to that conclusion, but since then, I have loved performing arts and music. Thanks to my mother, I grew up listening to Aretha Franklin, Whitney Houston; Mariah Carey, Michael Jackson and Tina Turner. I also loved the Spice Girls, Destiny’s Child; Christina Aguilera and Britney Spears.

When I was a teenager, I discovered and loved The Black Eyed Peas, Alicia Keys; Linkin Park and Evanescence. I have always listened to so many styles of music.

I remember how I felt when I won the ‘English Key’ prize on Cantamania, a Catalan T.V. programme, in Salou. I was so nervous when I sang the son - but I felt so comforted when Roser, the presenter and singer, said that she was my fan.

You speak different languages and have seen your music shared and loved around the world. How connected are you with the world and is traveling/touring international something that makes you happy?

I only speak English, Spanish and Catalan - but I also understand a bit of German, Italian and Portuguese. I would really love to speak more languages!

My passions are music, travelling and dancing: touring and travelling around the world for a living - it would be my life dream. Currently, I travel and go on tour whenever I can but, if I could do it more regularly, I would be the happiest person in the world – as, to me, it is very important to meet people; learn from new cultures and discover new places.

How important is it to see your music get big radio-play and shared on social media?

Seeing people liking my music and sharing it on social media and having my songs played on the radio makes me very happy. I love seeing that my music can make some good to the world.

If my songs energise people and push them to work for their dreams, be more positive and enjoy life - my mission will have been accomplished.

I hear Latin and Arabic twists in your music. How much of that is because of your family roots and do you believe putting passion and dance into your music is the best way to make it connect with people?

I have always been attracted by Latin and Arabic influences, Hip-Hop, Soul and Pop - that is why I love mixing elements to make the music more interesting. Perhaps, the fact that I am a Spanish singer and dancer, helps with the whole idea of mixing styles.

I believe that music has to, first, be connected with who you are as a person. When people see honesty: they can connect with the music more easily.

 What message would you give to the fans that follow you and take your songs to heart?

I want people to build a positive feeling. I want to help people to achieve self-esteem and acceptance; to be brave to work for what they want; to live the moment.

Who are new acts you recommend we check out?

I recently discovered Lianne La Havas, Dua Lipa and Ella Eyre.

Of course, I love my friends’ music: Carry Lyanne, Ina Shai; Katie Waygood and Andrea Di Giovanni.

IN THIS PHOTO: Ella Eyre

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

Monkey Business by The Black Eyed Peas

Because I remember how much I loved it when it came out when I was a teenager.

Loud by Rihanna

As I really loved the new branding of Rihanna.

El Viaje de Copperpot by La Oreja de Van Gogh

They are an amazing band from Spain - with a really unique style and fantastic lyrics.

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

Learn to be yourself; find what makes you unique; do what you think it is best. Work hard; read the small print; pay attention to the detail; believe in yourself and be brave.

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

I really love the song called Vivir Mi Vida by Marc Anthony - that talks about being positive, enjoying life and leaving the suffering behind.

___________

Follow Maria Moss

Official:

www.mariamossofficial.com

Twitter:

www.twitter.com/maria_MOSS_

Facebook:

www.facebook.com/mariamossofficial

Instagram:

www.instagram.com/mariamossofficial

SoundCloud:

www.soundcloud.com/mariamossofficial

Spotify:

https://open.spotify.com/artist/6KZs2lJQM6k6r3JdDFohTH

YouTube:

https://www.youtube.com/channel/UCKTa8e290nWIiV58NmlKDKA

INTERVIEW: KTEE

INTERVIEW:

 KTEE

________

EVERY day brings something different to my thoughts...

Today…I have been getting to know more about Austrian-born singer-songwriter, KTEE. She is based in Dublin now but has had quite a packed and adventurous life thus far. I ask about her early music memories and the artists that she holds dearest. KTEE talks about her new single, Rollercoaster, and what it was like shooting the video. She discusses future music and whether there are any tour dates coming up.

I was eager to learn about her brand of Pop and what compels her process; the inspiration behind her latest track and when she knew music was the career for her – that one moment where everything slots into place.

_________

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

Hi, you! My week has been good so far...

I have been working on the lyrics for my next single: I won’t tell you yet what it is about, sorry (still a work-in-progress). Unfortunately, I got a bad ear infection today so - today has been quite painful.

Ouch.

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

Hi. I am KTEE. I am a Pop-singer from Austria and I just released my newest single, Rollercoaster - which compares a rollercoaster ride with the ups-and-downs a couple can experience in a romantic relationship.

The video for Rollercoaster has been released. It seems like it was a blast to film. Was it as fun as it looks?

Yes.

It was really great fun, although, it was really cold most of the time. We expected it to be a bit warmer in Spain in April - but it wasn’t. So, driving around in the convertible and experiencing a very cold wind was not that cool - but everything else was really super-fun. It took us two whole days and (actually also) a pool scene was planned - in which the male model and I were supposed to jump into. I think that would have been a great scene. Unfortunately, there wasn’t enough time left, so we had to cancel that scene. Secretly, I was relieved since it was soooo freakin’ cold.

The whole team was just so relaxed and nice. We all enjoyed those days in Barcelona.

Where did you film the video and what was the fondest memory from the shoot?

Since we wanted something to represent the ‘speed’ of a roller coaster - and some movement in the video - we found the idea of filming in an actual roller coaster too cheesy. We came up with the idea of including a road-trip into the video. Since it was, firstly, very cold in April (in Austria) - and we wanted a city that could offer both beach and city - we chose Barcelona as a film setting.

The fondest memory from the shoot was when we were filming the beach scenes. Despite the coldness, it was really cool to shoot there. We were fooling around, having fun - and I even fell into the water. This was really, really cold (I even caught a cold from this) but it was worth it, because we had a blast. One funny moment was when we parked the car in a no-parking zone at the beach to film the last scene (when we say goodbye to the car and leave at the end of the video) and, while we were filming, we saw a police car coming towards us. We really wanted to finish filming the scene because the place was perfect - so we didn’t move until the police stood right in front of us to call us off. The cool thing is, the police car is actually in the music video (you can see it in the last scene).

Afterwards, we actually regretted the fact  we didn’t run away from the policemen -  just for the sake of the scene (you know, stealing a car - and being caught by the police in the end and running away from them - would have been the perfect ending for the music video, don’t you think?).

Was Rollercoaster easy to put together - and will it lead to an E.P./album?

Well. My co-writer and I were in Croatia/Rovinj to write some good songs. It was our last day there and we had the feeling that nothing creative was going to come anymore. So, we were about to give up when my co-writer played that cool riff on the guitar - and my creativity came to life. I immediately found the melody to the verse – and, also the bridge and chorus line was (just) there hidden in my brain somewhere waiting to come out. So, the melody was quickly found but the lyrics were quite hard to find. I think there are three versions of Rollercoaster’s lyrics now; so it took me/us quite a long time to write the lyrics. I wanted something easy and catchy but also something that is kind of cool and metaphoric.

One day, I was sitting on the sofa watching T.V. when I suddenly, out-of-the-blue, sang the chorus line “Love is a rollercoaster ride/It goes up, up, up, and down” – and, from then on, it was easy to find the rest of the words. When you know the topic and you have a great hook-line the rest isn’t that difficult anymore.

Of course, we are working on some more songs and we are planning to release an album.

Life, for you, began in the small town of Maria Neustift, Austria. It seems like you spent hours signing and practicing music. Was that because there was little else to do or did the lack of distractions mean you could focus on performance?

Well. I would say both are true.

Maria Neustift is really, really small and I didn’t even live in the ‘center’ of the town. Basically, you can say I lived in the woods, about fifteen minutes away from civilization (by car). I was surrounded by nature and animals (we had deer in front of our house!).

There weren’t many kids my age so there was a lot of time to spend alone in my room. Of course, I played with my siblings (I have one brother and one sister) but I really focused on practicing singing from early on. My mum gave me her old bulky radio and some cassettes - and I recorded myself again and again and tried to sound like Celine Dion (she was my first favourite singer). I also practiced with the songs of the musical, Dance of the Vampires. I still know all the songs by heart.

I didn’t have the chance to receive professional voice training because there were no singing coaches. So, I HAD to teach myself - which was a hard journey (I made a lot of technique mistakes; ruined my voice once....) but it all led to the way I sing now - so I am kind of proud of myself. Of course, later, when I moved to Vienna, I had an amazing vocal coach and she helped me a lot!

Thanks, Natascha!

What was the reason for packing your bags and moving to Dublin? What differences did you notice between Austria and E.I.R.E. in terms of music and people?

After school, I wanted to see the world after being stuck in Maria Neustift - that’s the reason why I went away. I don’t know why I chose Dublin: I guess I saw some nice pics on the Internet.

I love Pop music and mainstream: so neither the traditional Austrian nor the traditional Irish music made (and make) me wanna dance and cheer. I am not the biggest fan of the sound of the accordion, the Irish flute and fiddle.

So, actually, maybe this was the reason why I locked myself in my room in Dublin - to write my own songs.

Can you take me back to those early years in Austria? What music were you typically listening to and learning from? Were your family quite musical?

When I was a very small child, I experienced the effects of the so-called ‘mere-exposure effect' so, since my parents listened to Schlager music (difficult to describe what that is but it is a music genre that many Germans and Austrians like), I liked those songs as well (just because I didn’t know that there was something else out there). I have to admit that, today, I kind of hate this music genre.

Later, I became a huge fan of Céline Dion: my first C.D. was a Céline Dion album. I always recorded myself singing those songs and analysed my singing skills.

I also practiced with the songs by Beyoncé (she was my heroine when I was about eighteen-years-old) and I always wanted to sing like her.

And, of course, Jessie J - she has been very inspirational for me.

Was there a moment you knew you wanted to be a songwriter – or was there a single artist that motivated that desire?

No. It wasn’t really an artist that motivated that desire. It was lovesickness. I wrote my first songs when my heart was broken. I just grabbed a guitar and started to sing....those weren’t very good songs but they helped my soul to heal.

Since then, I haven’t stopped writing. 

Comparisons have been made between you and modern chart successes like Dua Lipa and Zara Larsson. Is it quite flattering getting those comparisons or are you keen to forge your own identity and be recognised on your own terms?

Of course. It is flattering to be compared to those great artists/singers but, in the long-run, I am very keen to forge my own identity - and the actual goal is that, one day, other artists are compared to me (instead of the other way round).

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

Since we are currently working in the studio - writing and producing new songs - there are no upcoming dates at the moment - except for some small, unplugged gigs in Vienna.

But, follow me on Facebook or Instagram - or visit my web page regularly - and I’ll keep you posted.

Who are new acts you recommend we check out?

Oh, yeah. Have you heard about this Austrian singer KTEE? She is great.

Jokes apart: I am such a mainstream-lady, so I guess, whatever artist or act I would name here, you’ll know them already.

PHOTO CREDIT: Aaron Jiang

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

Sweet Talker - Jessie J

I am a huge Jessie J fan: she inspires me in so many ways and this album is simply fantastic. I, basically, listen to it every day.

4 – Beyoncé

It’s not her newest album, but this album just means a lot to me - because, all of her songs and the power of her voice. It (just) gives me goosebumps.

Grace - Jeff Buckley

His music is not comparable to the music I usually listen to - and I haven’t listened to this album for a long time now - but it was very important to me when I was younger. There was a time in my life I wasn’t that happy, and my heart was broken, and, you know...just not the best months in my life...

Jeff Buckley’s Grace gave me some kind of comfort (although; many songs are very sad...).

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

Find your sound; stay true to yourself; be critical with yourself and your music (at first, it always seems as if the song you have just written is the song the world was waiting for – but, from a distance, it might look different) - so be critical and be ready to learn (and to improve and develop). 

Most important: never give up. It can be a very long and hard road and there will probably be times in which you’ll be devastated, sad and desperate, because you only get ‘nos’, or you aren’t even heard or taken seriously.

But, if this is your dream: DO NOT GIVE UP - no matter what.

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).

Tell Me You Love Me by Demi Lovato (I love that song).

Thank you for the interview!

____________

Follow KTEE

Official:

https://www.kteemusic.com/

  Facebook:

https://www.facebook.com/KTEEsings

Instagram:

https://www.instagram.com/kteemusic/

YouTube:

https://www.youtube.com/channel/UCLr-Hb2Qj7mGIqxD5vEkHng

Spotify:

https://open.spotify.com/artist/16RDAkL9ygzmY49DzTXJCp

INTERVIEW: Annie Taylor

INTERVIEW:

 Annie Taylor

________

I think Cold Reading was the last Swiss band I featured here…

but I always knew, without much pause, another would come along. The growing Swiss music scene is something that is rather unexpected and fascinating. With that in mind; it was great discovering the guys of Annie Taylor. I ask them about that name and its incredible backstory; how the members got together through time and what Switzerland is like for music – since it is a small country and, traditionally, has not produced a lot of stars.

The band discusses the forthcoming single, Wasted Youth – it is not released until Monday – and the story behind it. I ask how it differs from their previous track, Partner in Crime, and whether there are more recordings in the future. They reveal their touring plans and whether we might see them in the U.K.

_________

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

Hey. We are feeling great!

Just returned from France - where we played some shows. It was our first time over there, and wow, is was a lot of fun: music, wine; the sea, my birthday party (Gini’s); new friends and a huge police control (not so much fun).

The dog was really cute, though…

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

We are a four-piece band from Zurich, Switzerland - who likes to play Girl-Grunge; Psychedelic-Rock (and some kind of Garage).

We released our first single, Partner in Crime, at the beginning of this year. Cyril is the guy who loves to play Psychedelic tunes on his twelve-string guitar; Michael is a good dancer while playing the bass; Adrian spanks his drums (harder than his girlfriend) and I sing and play guitar.

The reason we formed a band was friendship - which Adrian, Michael and I had before we met Cyril.

I believe the reason you have ‘Annie Taylor’ as your band-name is down to the woman who jumped Niagara Falls, in a barrel, in 1901. What was the reason behind that inspiration? Does her feat symbolise and signify a similar leap of bravery from the band?

Yeah, that’s right!

We were looking for a strong name which encourages ‘Girl Power‘. There are a lot of impressive women around! I really liked the stories and history behind Marie Curie, the female Pope; Sophie Scholl and so on - but their names didn’t sound like a band…

Also, there was this story from ‘Lawchair Larry‘ (Larry Walters) who flew with his lawn chair and a bunch of balloons through the L.A. sky. But, then we found the ridiculous biography of Annie Taylor; jumping in a barrel off the Niagara Falls. When we read that she sent her cat down first - in another barrel - is was clear we had to honour her!

Wasted Youth is the new single. What is the story behind that one?

Don’t you ever feel like you're wasting your time while working in a full-time job; paying rent for a flat; forgetting about things you love - cause you’re so caught up in stuff which is automatically encircling you?!

Well, during the past few years, I think all of us figured out, in their own personal way, that this is not how we want to spend our youth. So, by saying ‘wasted youth‘; I am not talking about partying all the time or getting fuc*ed-up: it’s more about finding what you love and live your life the way you want to live it - without anyone telling you if it’s right or wrong.

I guess, in Switzerland, it’s very common to live this way (you learn it) growing up - the whole thing about a full-time job and having a successful career. So, this is why, maybe, some people could see this way of spending time - or our generation-goals as a ‘waste of time‘…

How would you say the song differs to the previous release, Partner in Crime? To me, you sound more confident. Is that something you have noticed with your music?

Partner in Crime has a totally different subject: it’s about this (kind of) friendship you can’t find with everyone. You know, it’s about this person you can fully trust in whatever you are doing - and just feel real, honest and comfortable with. So, I guess that why it has a different vibe...

We wanted Wasted Youth to have a bit more ‘drive‘. Also, when we were rehearsing this song, it got more and more angry. I suppose we wrote it with a bit more piss off attitude - which made the reverbs and fuzz work together, as if to say, "Do what you love!“.

When Wasted Youth arrives, on 11th September; you share the stage with L.A. Witch. How excited are you guys about that?

You can’t imagine how great it is to play with one of your favorite bands, twice in a row - while (also) your new single is released! IT’S AWESOME!

L.A. Witch is one of our favorite bands and they stand for a lot of things we want to achieve with our music. It’s great we got the chance to play with them in our hometown too - I am sure this is gonna be a lot of fun!

There is an album approaching, too. What can you reveal about its songs and the sort of themes explored throughout?

We haven’t decided, yet, if there is gonna be the release of our first album or (only an) E.P. There is still room for new songs – we want to produce a diverse album without losing our style. I think none of the songs sound the same: this is probably because they were written in different time periods and moods.

Some of them are really dreamy and mellow and have this space-Psychedelic touch which definitely comes from Cyril. Others are more Grunge or Garage - which make you move your feet.

I believe you spent time in an air-raid shelter this year. Was that so you could close off distraction and retune your music? What is the reason for the band changing your sound and starting again?

This air-raid shelter is the perfect place to disconnect from the world and just dive into music.

We recorded parts of our album there and, after spending weeks in this dark-hole, we felt sometimes like zombies who survived an apocalypse. The air-shelter itself wasn’t really giving us something unknown to figure out...how we gonna write songs? I feel more like the mood I was in, while writing the skeleton of the song, pushed the ambience (of a track) in its direction…

Hailing from Switzerland; is there a big music scene where you are? How easy is it to get noticed in the country?

Actually; there are some really cool bands coming from this tiny place.

We are, also, really lucky with the bands passing through, while touring Europe. It’s not hard to get to know people, and make friends with, someone who works in a bar - which hosts bands from time to time. So we were very lucky and grateful that we could play at some cool places after we just formed.

Switzerland is a town! This is probably why it’s easier to get noticed than in other places - everybody knows everyone.

 Can you tell me how you all got together in the first place? What was it about one another that led to the formation of Annie Taylor?

Well, I just told you: Switzerland is a town!

BUT, the funny thing is, Cyril and I met in Miami when were around twelve-years-old. His and my family were waiting for the flight back home to Zurich - where we got to know each other. Of course, being near-puberting teenagers; we had shared MySpace contacts and, later, Facebook. From time to time, one of us would 'like' the other‘s picture...but we never talked, wrote or met ever since…

It took me by surprise when he contacted me while I was diving in the Indian Ocean! As soon I was back in town, we met and started to play togethee. Adi kind of had no choice but join the band – 'cause he was (and still is) one of my closest friends, who shared the flat by that time. So, all we needed now was a bass player!

Michi is one of the funniest guys I know and I really wanted him to be in the band. The only problem was, he already was playing in a band (King Zebra) and he didn’t wanted to start again from the beginning. Luckily, after a few evenings in a bar, I could convince him to listen into one of the demo. songs.

Since then, he is full-on!

Are there any tour dates approaching? We can we come see you play?

There are some shows coming up in Switzerland before we start touring Europe in March. Right now, the bookings for the tour are in progress - so I can’t give you any 'save dates'…

Any plans for the band to come and do a few U.K. dates?

Playing in the U.K. is definitely something we are planing for 2018.

While touring Europe in March; we won’t be able to play some shows in the U.K. It seems like England is a great place to play - so we are very excited to get some more time over there.

IN THIS PHOTO: Voodoo Beach

Who are new acts you recommend we check out?

When we were recording and shooting the material for our first single in Berlin; we went to a few shows in town.

There was this band Voodoo Beach playing - who all of us really liked.

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

Gini: Fleetwood Mac - Rumours

Cyril: The Doors - The Soft Parade

Michael: Motörhead - 1916

Adrian: Bill Evans - Explorations

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

Be who you are: do what you do.

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

Las Robertas - Not Enough

____________

Follow Annie Taylor

  Facebook:

https://www.facebook.com/annietaylorband/

Instagram:

https://www.instagram.com/annietaylorband/

YouTube:

https://www.youtube.com/channel/UCiDZn25GaaIV6-Zu_uekMFw

SoundCloud:

https://soundcloud.com/annietaylorband

BandCamp:

https://annietaylor.bandcamp.com/releases

Spotify:

https://open.spotify.com/artist/3oR0fg4OcsTKOjVY17u1e0

INTERVIEW: Gráinne Duffy

INTERVIEW:

 Gráinne Duffy

________

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.

_________

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 ;-)

____________

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

________

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.

_________

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!

____________

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

________

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...

_________

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

____________

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…

________

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

________

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.

<

_______

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:

https://soundcloud.com/bellabartonmusic

Spotify:

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