INTERVIEW: HIGHLIVES

INTERVIEW:

 HIGHLIVES

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IF a band can accrue a large following on social media…

they are in a good position of authority. That may seem axiomatic but HIGHLIVES’ credibility and popularity stems from the strength of their sound – not some shallow sense of fame and looks. The boys are, admittedly, not ugly but they trade on quality music. I talk to the guys about their new single, Nothing Left, and what the song is about; whether there will be an E.P. following and what their tour diary is looking like.

I ask about how they connect emotions and relationships to their music and how their new music differs to the 2015-released E.P., Misguided Youth; how they all got together at the start – and what the origin of that unique band-name is.

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

Ben: Hey. We are HIGHLIVES: a Pop-Punk band based in Bristol, U.K.

What is the origin of that band-name, ‘HIGHLIVES’?

Liam: The name was decided before the band was fully-formed - we just thought it sounded cool.

Tell me about the single, Nothing Left. What compelled it and can you remember the moment it was written? 

Ben: Liam came over to my house with the lyrics finished and within half an hour we had the majority of the song written. After that, we went to Jordan’s to record a demo and came up with some lead guitar - and over time; James came up with the bass and Steve wrote the drums.

How connected to personal realisations/experiences is the song?

From my own interpretation of the song; I feel that it is about giving it your all in a relationship and it all falling apart anyway – which, I think, a lot of people can relate to.

It has been premiered here and the U.S. Is it flattering having American sources backing your music? 

I think it’s crazy how people in other countries are listening to our music - let alone media outlets working with us.

Is this single going to lead to a new E.P. or album? 

We don't have any plans set in stone yet but we are always writing new material - so there may be something coming soon.

How does your new material differ, it at all, to your 2015-E.P., Misguided Youth? 

Liam: Nothing Left, in particular, is a lot more Pop-y than most of our previous stuff. We've never really stuck to one sound though - so it's difficult to compare them as each song we put out tends to be very different to the last.

Can you tell me how you all got together? Was it an instant chemistry in the HIGHLIVES camp? 

We all met through friends or friends of friends...

It took some time to learn how to work best with each other- but, now, ideas bounce quite easily off of each other. We often stick to particular ways of doing things like songwriting and organising shows - because we've figured out what works best for us as a collective and makes us most productive.

Did you all share a love of the same acts (when you met)? Who are the artists you all grew up listening to?

Ben: We all like different bands. Growing up, I always loved Sum 41, The Offspring; Blink-182 and Good Charlotte. The first C.D. I ever owned myself was Blink's self-titled album.

Who are new acts you recommend we check out? 

Better than Never: best band ever!

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

All Killer No Filler by Sum 41. My dad has owned the album for as long as I can remember and I've always loved it.

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) 

Learning to Swim by Better than Never

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Follow HIGHLIVES

 Official:

http://highlivesuk.com/

Twitter:

https://twitter.com/highlivesuk

Facebook:

https://www.facebook.com/HighlivesUK/

Instagram:

https://www.instagram.com/highlivesuk/

Spotify:

https://open.spotify.com/artist/6ci7ueg0h2IfN6KBiQaGoj

YouTube:

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

BandCamp:

https://highlives.bandcamp.com/

INTERVIEW: Michael Oakley

INTERVIEW:

 Michael Oakley

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ONE cannot begrudge the excellent Michael Oakley for…

slightly delaying sending back my interview. He was, rather selfishly, getting married and moving to Canada. I speak to the Scottish-born musician about his new video, Turn Back Time, and what it was like to shoot. Oakley chats about the concept and the stories within his E.P. He is a fan of 1980s music and has a real passion for the synthesiser. I ask him about the artists he grew up with and what it is about the 1980s that strikes him.

Oakley reflects on recent changes in his life and what the future holds; whether there will be new tour dates – and what advice he would offer any new musicians emerging.

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

Hey…well, funny you should ask... my week has been totally crazy!

I just got married to my amazing, beautiful wife in Canada - and we have spent the past week with my family and her family (which has been really nice).

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

I'm a singer/songwriter from Glasgow, Scotland and I love writing and producing retro-sounding, 1980s-inspired Electronic music.

What can you tell me about the song, Turn Back Time? What is the inspiration behind it?

Turn Back Time was written at the end of 2016 when I was seeing a girl I used to know from high-school - and we were getting on great…or so I thought. She cut me off and started seeing someone else without telling me - and I found out from one of her friends that it was because she didn't think I was all that interested in her…which I was totally surprised by. I was left with an overwhelming feeling of wishing I had made more of an effort and not been so cautious - maybe things would have been different if I had.

So; that was definitely the starting point for the concept of the song and, while writing it, I thought a lot about how, when you break up with someone and move on, you still sometimes have those moments of remembering how you felt when you were with them - when things were good and wishing you could be back in that moment; even just for a little while to feel the way you used to feel and remember what it felt like when they loved you. 

Musically, I wanted the song to have a John Hughes movie soundtrack feel to it - so, I started playing with those kinds of sounds to build the emotional backdrop for the lyrics.

It seems to, appropriately, hark back to the 1980s. What is about the decade, and Electro music, that appeals to your creative sensibilities?

Well, for me, the 1980s is the greatest decade for music…

It's a time when everything was really vibrant, colourful and larger-than-life. It's the decade which has always emotionally moved me the most - and hit me in the feels - and made me feel warm and fuzzy inside for sure - as well as sparking my lifelong love for synthesisers. 

The video looked like it was awesome to shoot. Where was it filmed and whose concept was it?

Yeah. I had the most amazing time shooting my video!

It was filmed in Long Beach, California with my great friend Brad Kinnan and Joshua Paul Millar. When Brad and I met to talk about it, we didn't really know initially what the concept of the video was going to be - other than getting a DeLorean car and revolving it around that! I then had an idea of the video revolving around a happy relationship but, at the end, you find out the girl is really dead - and what you were watching was my memories. I liked the idea of that being a sort of metaphor for what it feels like when someone you love walks out of your life...

Certainly, the person you knew and shared your life with no longer exists: the way you knew them and all you're left with is memories. It was Brad's girlfriend Madison who suggested we make the video mostly first-person perspective; from me having the memories and focus on the girl in the video, Camille Prior - who was absolutely fantastic as my dead girlfriend.

She brought a wonderful charm and melancholy to the video that was perfect. The DeLorean was great because I'm a HUGE Back to the Future fan, but for me, Camille is the centrepiece that really made the video incredibly special.

Looking at the video and it seems you have a future as a bit of an actor. Has going into T.V. and film, as an actor or composer, ever appealed to you?

Haha! Well you know I felt quite at home being filmed, believe it or not. I thought I would get all self-conscious and flaky when the camera started rolling - but I managed to slip into character and, luckily, it translated back well on scree…so, phew!

I don't know if I'll be making a cameo appearance in Game of Thrones anytime soon, though.

Is it true your sister got you into the synth. music of the 1980s? Do you give her royalties for that great tip – or tell yourself you would have discovered the music without her help?

Well... I had to wait till she went to work first before I could sneak in and listen to it!

Then, make sure I had dusted my fingerprints off all the L.P.'s and put everything back EXACTLY how she left it when I was finished. L.o.L. 

IMAGE CREDIT: Tony Skeor

Who are the artists from that time that first struck your ears?

New Order, Pet Shop Boys; Depeche Mode, Erasure; Duran Duran and Tears for Fears were definitely the first artists that I got obsessively into.

I still love them now just as much as when I first heard them.

How instrumental was the music you were brought up to where you are now? Do you think music peaked in the 1980s – or is there something about the decade that stands out to you?

I would say that, contrary to what a lot of people I know, think; I really believe this is a great time for new music right now. We live in the recycled generation where, creatively-speaking, we're taking the most beloved elements from past decades; fusing them together to make something completely new - but with modern production techniques.

I also think it's great that anyone can now buy a laptop and start making music easily - and have access to the kind of creative studio tools which weren't easily available and affordable ten or twenty years ago.

Everyone has a level platform to express themselves with, musically - and that, in itself, is amazing.

IMAGE CREDIT: Tony Skeor

How much of your E.P. deals with personal events and romantic fall-out? Was there a time, when everything was going wrong - and you felt that music was the best way to make sense of things?

Yes, absolutely.

I started writing California shortly after a very painful break-up with someone I was in a long-term relationship with. I was completely lost in every way - emotionally and spiritually. The one good thing that came from that was that I started writing again after a long period of not doing so. I felt I had something to say and needed a place to channel my despair - and writing music was my kind of cathartic way of processing everything going on in my life.

Every song on the E.P. is a love song in all the different shades you can have: a love lost, a love found and a love you're trying to find. I didn't intend to write music again for anyone else to hear except me - which I think is why it's so retro-sounding. I decided to make the kind of music I loved listening to when I was a kid just for me - and I was shocked and overwhelmed at how well my music been received so far. 

California is the name of the E.P. You took a trip there to see John Glenn Kunkel from The New Division. How did you two spark up a friendship and how important is his friendship to your life?

Well. Apart from being a massive fan of The New Division; I had also heard and loved John's solo-work on other projects; so I contacted him in the middle of 2016 and, from that, we started talking - and I asked if he would help me with my album which, thankfully, he agreed to do!

John is one of the most talented guys I've ever met and it was a real honour for me watching him work in the studio. He's the melodic master when it comes to getting detail on a track and finding what parts melodically complement each other - and changing parts that don't so that the music flows and builds naturally.

I think I drove him crazy towards the end of the sessions with my overly-obsessive ways when I'm in a studio working! But John is one of only a few people I trust enough to just sit back and let him take complete creative control on my songs - when I feel I have taken them as far as I can and need direction to get me back in ‘the zone’.

I'm heading back to Los Angeles in a few weeks’ time so it will be great to hang out with John and my fellow bro-ducers who helped me on the album - but this time, in a non-musical capacity but, knowing us, we'll probably end up working on something one of us has started! 

IMAGE CREDIT: Tony Skeor

What was it like recording in California? Did it provide some reflection and was it the perfect place to rebuild and find some peace?

California, for me, is the most beautiful place in the world. I travelled over 6000 miles to record my album there, in Los Angeles, with some of the most amazing musicians I've ever met - and to have a life-changing experience.

It's definitely the best thing I've ever done and was great to step outside my normal life back home; to finish what I started but, you know, I went there thinking all I was doing was recording an album and having an extended holiday - when really what I was doing was making some great new friendships - and meeting and falling in love with my now-wife. 

IMAGE CREDIT: Tony Skeor

How did it feel heading home after that time? Were you in a better space or was there a lot to sort out?

When I returned home, I was initially elated from my trip but quickly I felt frustrated and unhappy.

I think I thought I would go away and do what I wanted to do: have a holiday and come back to my old life refreshed and ready to carry on as normal. In reality, my experiences had changed me and I couldn't continue with my old life.

I connected with my true calling again and fell back in love with writing music - and I guess with life, also. I had met someone wonderful that I wanted to be with permanently who lived half the world away.

So, yeah, that was hard to deal with because I felt trapped - and it took a few months to slowly transition away from that and leave Scotland.

Glasgow is your home. What is the city like for a musician such as yourself? Are there a lot of artists who play the same kind of music?

I'm now living in Canada with my wife but Glasgow will always be my homeland: I just haven't had enough time to miss it yet.

I think there are a lot of musicians living in Glasgow but opportunities to be successful and break out are very limited. You can try to build a fanbase online independently however, depending on what style of music you make, it can be almost impossible to break through without any help and outside support. I was lucky that I was in the right place at the right time when I started writing again. I sent the first song I finished, Rabbit in the Headlights, to online music station New Retro Wave and, to my surprise, they loved it and put it up on their station.

The reaction I got from that was unlike anything I have ever experienced - and I think the video is now sitting at 150,000 plays…which is insane. 

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

I can't wait to play live but, as yet, I haven't got any plans to tour until 2018 - so watch this space…

IN THIS PHOTO: Ulrich Schnauss

Who are new acts you recommend we check out?

Artists I've been listening to recently are Ulrich Schnauss, The New Division; Missing Words, FM-84; The Midnight, Talamanca and deadmau5.

PHOTO CREDIT: Brad A. Kinnan Photo + Video

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

Ulrich Schnauss – Goodbye

For me, Ulrich Schnauss is the king of Electronic music. I don't think anyone makes a synthesizer talk as expressively and emotionally as he does. It's hard for me to pick one favourite Ulrich album but, if I was pushed, it would be this. Goodbye is a hauntingly beautiful album. 

Jimmy Webb - Ten Easy Pieces

Although I love Electronic music and retro-sounding stuff; I also have a love for Acoustic singer-songwriters. Jimmy Webb is one of those songwriters from the golden-era who wrote for Frank Sinatra and Glen Campbell. He never took the centre-stage and always wrote songs for other artists. On his fiftieth birthday; he decided to record himself singing his ten most-popular songs - just him on the piano…and it's one of the most beautiful albums ever recorded. 

Depeche Mode – Violator

This is the band and album that changed my life. When I first heard Enjoy the Silence, as an eight-year-old kid, I knew immediately that electronic music and synthesizers were my future as a musician. If The Beatles spawned a whole generation of kids in the 1960S - to want to pick up a guitar - then Depeche Mode are the band that spawned a generation of kids in the 1980s - to want to pick up a synthesiser. I love this album so much that I have the rose from the album cover tattooed on my arm. 

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

Always keep your music and artistic expression pure.

Don't get side-tracked, mentally, with making money from your music - or how other people are going to respond to your music. You're making music for the love of doing it and for you and no-one else. You then sell that love you have for it more than the actual music itself. It doesn't matter if you aren't talented enough or don't have the right equipment - or if you don't really know what kind of music you want to make and lack direction. All that will come in time as you develop but, right now, make a decision to be creative with what you have - and keep moving forward.

I used to be in bands before writing and singing my songs which, looking back, weren't great but it was all part of my developmental journey. I still don't think I have reached that point yet where I feel accomplished or anywhere near as good a writer as the people I listen to and respect – which, I think, is a good thing.

There’s always room to grow - no matter what level you're at.

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).

John Waite - Missing You

This is one of my all-time favourite songs. I'm a sucker for a power-ballad…

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Follow Michael Oakley

 Twitter:

https://twitter.com/MichaelOakleySW

Facebook:

https://www.facebook.com/MichaelOakleySynthwave

Instagram:

https://www.instagram.com/michaeloakleysynthwave/

SoundCloud:

https://soundcloud.com/michaeloakleysynthwave

Spotify:

https://open.spotify.com/artist/7mxepENRg71jHuLHVeK07c

YouTube:

https://www.youtube.com/channel/UCVCnbrETvgFXwgkC1JelYXQ

INTERVIEW: Ali Tommis

INTERVIEW:

 Ali Tommis

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THERE is no doubting Ali Tommis is a busy man right now…

what with the video for Leave It All Behind fresh in the ether – it was released on Sunday. He talks about the E.P. of the same name and the kind of music he grew up listening to. I ask him about his E.P. and what it was like recording it; why it has a piano-driven feel and the sort of events that compelled its best moments. He discusses his musical progression and how he transformed from a hopeful young artist to someone who is gaining a lot of attention.

Tommis looks ahead to tour dates and reflects on the time that has passed – and recommends a musical name worth keeping our eyes out for.

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

Good, thanks.

Got rained on a lot but it was good to get a great magazine feature this week - and a lovely blog review. Also, have been getting things ready for the Leave It All Behind video premiere this Sunday (17th September).

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

Sure.

I’m Ali. I’m twenty-five and I write my own music, sing - and plonk away on a piano. Apparently, I began playing the piano when I was three but, to be honest, I don’t remember.

Can you tell me about the upcoming E.P., Leave It All Behind? What stories and events inspired the songs?

I think it was more my situation that inspired the songs rather than particular events or stories. I wanted to be a musician at seventeen but went to university and did a degree in Business - as a ‘back-up plan.’ When I graduated at twenty-one, I was like ‘ok; now, music.’ I was naïve about how difficult that would be. I love music and I love writing and making music - and trying to forge a career out of it has been the hardest thing I have ever attempted to do.

I think Leave It All Behind is about finding the strength to leave your old life in order to strive to live a life of your dreams - and the struggle of doing that.

There is an accompanying video shot in Portmeirion. It is home to Festival No. 6 and was where Supergrass filmed (the video for) Alright. What was it like filming there?

Amazing!

An incredible place to film and I never expected them to say ‘yes’ when I asked! Huge thanks to the location manager Meurig Jones who, not only allowed us to roll around on pedal go-karts, but escorted myself, my mates and the film crew around all day on a golf-buggy…absolute star! Incidentally, the golf-buggy has a guest starring role at the end of the video.

Joshua Leo Dorfman directed it and he and his film crew were really in tune with my ideas - and a great bunch of lads. The final edit that Josh produced is amazing and really shows the passion he has for filmmaking.

Also, two of my best mates from uni, Ed and Jamie, made the mammoth journey from Aylesbury (in England) to appear as the people chasing me in the video. I was really humbled by so many people coming together to help me make this video - and am still filled with such enormous gratitude to everyone that helped!

Is there a track on the E.P. that especially resonated and means a lot to you?

Ooh…that’s tricky. They all mean a lot to me and my favourites change all the time...

At the moment, I would say the ones that resonate the most are Leave It All Behind and The Fear.

Leave It All Behind as it really captures the moment I’m in now: a real drive to make music my career; but also something that many twenty-somethings can hopefully relate to: as in the line “Wearing a brand new look to see the same old view, guess you miss what you never even knew.”

The Fear (too) as it is a song about battling self-doubt and fear - something we all face and that, as a musician, I have faced a lot. Someone told me the other day that the song really resonated with them so that meant a lot to me - as I always want to make music that connects with people.

It is piano-driven and relies on a huge musicality and sense of feel. How early did music come to you and what compelled you to start performing?

Well. My dad is a guitarist and my mum a pianist - so I was born into a very musical household. I was always doodling on the piano at a young age - though a real interest and passion for music didn’t begin to develop till I was about fifteen when I found an old Crossroads: Best of Bon Jovi album - and discovered I could play the piano parts.

Do you remember the artists you grew up listening to and heard around the house?

I remember my parents listening to things like Sting and Chris Rea - Sting is amazing.

My own taste began with the Best of Bon Jovi album when I was fifteen: I realised that’s probably the least-cool band going. Those choruses were so big and unapologetically anthemic that it was just exciting. I was thinking ‘what is this’? The fact that my dad didn’t like them made me listen to them more: good old teenage rebellion. That evolved into Coldplay, OneRepublic; Thirty Seconds to Mars, John Mayer and Stevie Wonder.

I played their songs on the piano and really became obsessed with how songs were made; what chord progressions were being used; what key was the song in; what was the highest note the vocalist was singing.

I became such a music nerd (and haven’t stopped).

You began songwriting aged seventeen. Eight years on; how do you think your music has changed and evolved?

I think when I started songwriting, I hadn’t developed my own style - so I was imitating the people I was listening to a lot more. Now, I like to think that, hopefully, it’s more me that you’re hearing rather than somebody else.

How does music drive and move you as a person? What does it mean to you, personally?

It’s hard not to sound like an X Factor contestant here...

It’s what I feel the most at home doing. I feel, when I’m writing and playing music, I’m being true to myself. I think nothing has the power to move people like music doe: it’s the most powerful medium in the world. I don’t know what I’d do without it (Hopefully, that wasn’t too cheesy).

What tour dates do you have coming up?

I’d love to say I had a sell-out tour coming soon but, at the moment, I’m playing local venues around the North Wales area. Hopefully, this E.P. can be a catalyst for playing bigger venues - and going further afield for gigs.

Your fanbase is growing and show you a lot of love. Is it important having that support and how does it affect you?

Absolutely!

It’s the fuel to keep going. In music, there are no guarantees no matter how much work you put into something. It is daunting. So, when one of my songs gets played on the radio - or when people say they can’t stop listening to one of my songs - or that a song struck a chord with them...

It inspires me to keep working.

How does the rest of 2017 look? How will you be spending the next few months?

I’m looking forward to releasing the video on the 17th - and the E.P. on the 22nd. I’ve had great feedback so far so off the back of the release. I hope to start gigging further afield and really getting this music out there as much as possible.

Towards the end of this year, I’ll be working on new material (as well).

IN THIS PHOTO: Quarterlights/PHOTO CREDIT: Natasha Barrett

Who are new acts you recommend we check out?

There’s this new band from London area called Quarterlights that’s fronted by my friend, Ollie Clark.

He’s a phenomenal musician and plays pretty much every instrument going. For Quarterlights, he plays the keys and sings. Their songs are fantastic and they’ve got a new video out for their track Why Don’t You Like Me? Catch it here.

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

Tough question….

I have to say that James Bay’s 2015-album, Chaos and the Calm has to be one my favourites

Such a classic, authentic sound - and phenomenal songwriting. His voice and guitar-playing are next-level - so definitely that’s got to be up there.

John Mayer: Where the Light Is (is) such a fantastic live album

His guitar-playing is, in my opinion, the best of his generation. He does three sets - acoustic, trio and full-band - that are all amazing. I lived off that album in university!

Finally; I’d say the 2009 album, This is War, by Thirty Seconds to Mars

Insane vocals and choruses. I remember seeing them at the Big Weekend in 2010 and thinking that they wouldn’t be able to play the songs well live - because of the vocal difficulty. I was very, very wrong! (The fact that they were being sued $30 million by EMI at the time makes it all the more impressive).

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

Not sure I’m in the best position to answer that question but I’d say just keep working and believing in your music!  

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).

Ah, great!

It’s gotta be Closer to the Edge by Thirty Seconds to Mars

That drumming and those crazy vocals! Never gets old! Thanks for having me!  

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Follow Ali Tommis

 Twitter:

https://twitter.com/AliTommis

Facebook:

https://www.facebook.com/AliTommis/

Instagram:

https://www.instagram.com/alitommis/

SoundCloud:

https://soundcloud.com/ali-tommis

YouTube:

http://www.youtube.com/channel/UC1VXtZCSaKlw0_IFInw6sig

FEATURE: Gemma Louise Doyle: Reason

FEATURE:

 

Gemma Louise Doyle

 Reason

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LATER in the week...

I will look at acts to watch right now; a bit on Marc Bolan and forty since his passing – fashion in music and how that has evolved through the years. Right now; a look at someone whose life has been saved by music – in a semi-literal and real way. I have interviewed Gemma Louise Doyle before and, in lieu of reviewing her new track, a chance to promote a song/artist who dedicates her all to music. I have listened to her music in the past and always find myself drawn to the power and magnetism of the voice. Gemma Louise Doyle has a multi-octave voice and has performed all around the world – she speaks multiple languages and is a cross-genre artist who can apply her unique and flexible voice to anything. There is a biography later in the piece – for those who want more – that shows where she has come from and how her career has progressed. Doyle almost died when she was younger and told she only had hours to live.

Coming back from that would scar many and cause them to retreat a lot. Instead; the talented and curious singer used her recovery as a chance to embrace music. Her previous work – like the album, Inspire – show what a passion there is in her heart. One listens to her music and feels the full effect of that four-octave voice: an itinerant imagination and huge soul that manages to take the listener somewhere special and eradicate any stresses and problems. It is a magnetic and emotional experience. Reason is the story of Gemma Louise Doyle’s survival and subsequent pursuit of music. It has taken a while to write the song but it is dedicated to her fans and followers – who have stuck by her and been rewarded with words of compassion and inspiration. Reason (and its creation) is explained by Gemma Louise Doyle:

“Co-written with former member of Iron Maiden, the song is based upon the true story of how music saved my life. For the first time, I've got the single on iTunes, Spotify and hundreds of platforms. I will have more music distributed soon”.

Here's the iTunes pre-order link: https://itunes.apple.com/gb/album/reason-single/id1280959733

There's also a preview on her website: www.gemma-doyle.com

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About Gemma Louise Doyle:

PHOTO CREDIT: Debbie McGregor Photography

“Gemma Louise Doyle is a unique, international music artist, who says that music saved her life.

Gemma believes that we all have significant talents & abilities in our lives, which are our purpose, to share and help people, making the World a better place. 

Having once spent nearly 5 years recovering from a life-threatening illness, Gemma discovered that her voice could uplift people, inspiring them to make a change, and be happier. 
As she began to sing from a hospital bed, Gemma started receiving messages of praise & gratitude from other patients, which gave her the strength and courage to fulfil her dream of singing on stage and inspire many other people across the World.

A determined young talent, Gemma has spent the past eight years performing for audiences, live in Las Vegas, London, and across the globe. 

Today, Gemma commits all of her time, travelling to events, creating music, videos & positive messages for her followers.

Gemma has focused the past few months into developing her new record, called Reason, which she is about to release. The song was created & recorded in London, with a close friend, a former member of World famous bands; Iron Maiden and Cutting Crew, who Gemma met through mutual friends in New York. 

The single is written, based upon multiple sources. One of which is Gemma's experiences, how her musical talent gave her a reason & motivation to live. She says that the song is also for her supporters and audiences, who continue Gemma's belief & determination to achieve her dream.

Having a versatile 4-octave singing range, despite being a tiny frame, the song and power of her voice, surprises listeners, incorporating elements of Pop, Rock & Inspirational Crossover music.

You can pre-order the single now, by visiting Gemma's official website www.gemma-doyle.com, where you can also hear more of Gemma's music, and find out where you can see her appearing live.

You can also follow Gemma's journey, receive updates of new music and watch videos online, at Facebook, YouTube, Twitter and many of your favourite social media platforms. 
All of these links to follow, can be found at Gemma Louise Doyle's website www.gemma-doyle.com

Contact Details:

www.gemma-doyle.com

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07757 216112

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FEATURE: Later…with Jools Holland at Twenty-Five

FEATURE:

 Later…with Jools Holland at Twenty-Five

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AN established and legendary music show is on its fifty-first series….

and will take to the stage of the Royal Albert Hall in a few days. If one goes to the website of the Royal Albert Hall they can find out how to get a ticket and the acts that are involved that night. If you are a bit lazy, or want a general overview; they bottle it down to this:

“Jools Holland brings his iconic music television show to the Royal Albert Hall to celebrate 25 years, 50 series and over 360 programmes on BBC Two.

Featuring a typically eclectic blend of signature artists including major stars, legends, artists of the moment and brand new talents across genres from rock ‘n’ roll to jazz and all points in between, this multi-artist show will be filmed in the round, filling the Hall’s main stage and floor with artists in the style of the Later… studio as seen on TV.

IN THIS PHOTO: The artists who will perform at the twenty-fifth anniversary of the show

See the Later… experience as normally enjoyed only by a few in the television studio now laid bare in the bowl of the Royal Albert Hall. For one night only, this magical musical mystery tour, with a special line-up, will celebrate Later… with Jools Hollands’ commitment to all manner of musicians and musics that matter!

The show will feature old friends of the show and some new ones – Foo Fighters, Paul Weller, Van Morrison, Dizzee Rascal, KT Tunstall, Gregory Porter, Kali Uchis, Camille, Songhoy Blues and Jorja Smith”.

IN THIS PHOTO: Jorja Smith, who will be among the musicians celebrating Later...with Jools Holland at the Royal Albert Hall

The xx and Royal Blood were among the artists that helped bring the fiftieth series to a rousing conclusion. Two days ago, there was an A-Z of Later…with Jools Holland on BBC 2 - and it was a wonderful chance to see musicians brought together to provide their views on the long-lasting series. Many compared Jools Holland’s show to a cordial battle-of-the-bands. There is no competition or rivalry: more a group (of) of-the-moment musicians performing at the top of their game. Before I come to my views and what makes the show so special; a look (via Wikipedia) at the show’s origins and development:

“Later... with Jools Holland (previously known as ...Later with Jools Holland) is a contemporary British music television show hosted by Jools Holland. A spin-off of The Late Show, it has been running in short series since 1992 and is a part of BBC Two's late-night line-up, usually at around 11 pm to 12 midnight. The day of transmission has varied, but currently it is usually recorded on a Tuesday for Friday broadcast[1] and features a mixture of both established and new musical artists, from solo performers to bands and larger ensembles.

  The show is considered an institution, having notched up millions of fans around the world.[2] It is currently broadcast in America on MTV Live (formerly known as Palladia); previously it had been shown on Ovation, BBC America, Fuse, and Dave. The Ovation and Fuse broadcasts leave out several performances (and usually one or two performers entirely) to air commercials within a one-hour timeslot. It is also shown in Australia on the UKTV channel and ABC2, in Canada on HIFI and AUX TV, in Germany on ZDFkultur, in Spain on Canal+ Xtra, in Croatia on HRT 2, in Latin America on Film&Arts and in Belgium, France, Portugal, Switzerland, and the United Arab Emirates on iConcerts HD.

The 200th programme was broadcast on 1 February 2008.[3] The 250th edition was broadcast in September 2010.

In 2008, the head rock and pop critic of The Guardian, Alexis Petridis, claimed the programme featured a "distinct lack of spontaneity" and was failing to showcase enough dance music, pop, hip-hop, experimental music or present R&B artists. He also argued "all the artists it breaks are essentially the same: MOR singer-songwriters".[6]

In 2010, Joe Elliott, lead singer of rock band Def Leppard, criticised the programme for excluding the band from appearing on it, claiming "Jools Holland won't have us on his show because we're not cool enough."[7] Executive producer Mark Cooper responded to this comment in 2013, claiming: "The aim is to put together the best mix from various genres. We’re not thinking, 'Oh no, we’ve never had Def Leppard on, we owe them one'." Cooper acknowledged that the series had "not had much metal" but denied accusations that it was "snobby" about pop acts”.[8]

It is easy to argue against critics who say Later… is an elitist and snobbish format. It does not exclude artists and is one of the most all-inclusive and varied shows I know. There is a camp that says it does not feature enough Dance and Pop artists but is designed to feature the best and brightest acts. Not many ‘classic’ artists are featured if they do not have new material out. Maybe there is a sense of ‘cool’ and contemporary about the show but it does not shut its door to music’s variegated and broad spectrum. On 26th of this month; Liam Gallagher, Benjamin Clementine and Nadia Reid will join LCD Soundsystem, Jorja Smith and Jimmy Webb. That line-up is of-the-moment and cool but there is no difference to the ethos and structure of Later… and stations like BBC Radio 6 Music. Nobody criticises the station for not including a lot of Thrash and mainstream Pop. Each show or station has its own dynamic and breakdown. Later… has featured Pop in the past and is a broad-church that is not keen to exclude. There are limits and cut-offs but looking at the series fifty-one opener and there is a range of genres and tastes among the cut. The show’s helm and frontman has been interviewing to promote the big anniversary. Some of the most-recent series have brought together everyone from Kano and Paul Simon through to Ed Sheeran and Haley Bonar.

I cannot understand anyone who claims the show is snobbish and restricted. It takes from music of the moment but casts its net over a huge range of sounds. I agree there are very few mainstream Pop artists and Country acts but the show has always been keen to focus on quality and currency – if it opens the doors to anyone then it loses appeal and the quality goes down.  Older, established bands/artists have been on Later… so the likes of, say, Def Leppard making complaints, is a little strange – the fact a band like that would not be included is down to a lack of quality and potency rather than them being prejudiced. The same goes for a lot of Pop in the charts. That music has its audience but it lacks the allure and pull that warrants a place on Later… The show is a not a drop-off for any artist promoting a song: it is for the best artists around who can get the audiences hooked and make a real impact. There is no sense of pushing people away or limiting the type of artists that are featured. Later… is intended to put the best music on the screen and that, in an age where there are so few music shows, is why it continues to thrive. Consider past years when we have had the likes of Top of the Pops on our screens. Music is because more digitalised and insular – in terms of promotion – and the wealth of music T.V. is down to this one show.

The reason Jools Holland’s show has survived so long is for a number of reasons. The magnitude, passion and likeability of the host, yes, is why so many people tune in. Holland is an enthusiast who has the desire to put all kinds of musicians into the studio. It is rare and almost alien-like finding a T.V. show with a live audience that has no gimmicks – it is musicians performing tracks and that, is essentially, it. Little chat and brainless promotion; you do not get the drawn-out interviews you might hear on radio. It is all about the music and keeps things pure and simple. That battle-of-the-bands-style format is a tried and true thing. The fact Top of the Pops died is because it lost an edge and sense of purpose. It seemed dated and was a bit old and creaky as we moved into the streaming-age. Later…with Jools Holland has never relied on bright lights, chart acts and anything cheap. It is a pure and unchanged show that continues to bring us the best music around. One of the reasons I love it is because there is that mixture of cultures, styles and ages. One can find an older/established act like Robert Plant or PJ Harvey. You have the newcomers and underground acts on the same bill as legends and titans. There are no egos and reservations at all: any musician who can put in a great performance is welcomed on the show. Each episode has a great blend of sounds and never relies solely on Rock, Alternative or Soul.

IN THIS PHOTO: M83 and Mai Lan performing on Later...

These days; survival and durability is a dying pleasure. So few people can maintain successful and evolving careers; T.V. shows never last that long and the only way music-lovers can hear true and quality musicians is through the radio. I am a devotee of stations like BBC Radio 6 Music but want the chance to see their kind of musician perform on stage. The live music scene is dwindling and threatened so it is always good finding a show that puts the prominence and focus on the live performance. One can argue shows like Later…with Jools Holland is responsible for inspiring people to go to gigs and embrace venues. It is always great seeing Holland join a guest and play piano: he gets involved and loves to be a part of the mix. He is a great interviewer and has that charming and down-to-earth conversational style. Seeing musicians relax and causally chat to Holland is contrasted by their electric and stunning performances. Over the years, and through the series, we have witnessed amazing performances that stay in the mind.

It is great to see a show that has seven-eight guests and does not feel the need to adapt and evolve to fit with the digital age. Imagine if it booked its guests on the strength of Spotify figures and what was trending. That would be ghastly and galling! Later… is all about quality and the true spirit of music. Anyone who dares strike against such ethics and morals has no right to call themselves music fans. Take a look at the fifty series of Later… and one will find so many genres and artists on the list. That will continue for many years to come and remain the sole source of T.V. music. The twenty-fifth-anniversary show at the Royal Albert Hall is a worthy celebration of a show that continues to amaze, compel and inspire. Jools Holland is the ever-enthusiastic curator and amazes me with that constant verve and energy. Long may the show continue and bring the people the best and boldest musicians from around the world. I have found so many artists and new discoveries through later. Jools Holland’s show is a tastemaker in the same way John Peel was at his peak. The formats are different but one is allowed the chance to unearth brilliant new acts on Later… It is not only about the mainstream and what is hot at the moment. Who knows how far the show can go but, in an age of disposability, seeing something survive and grow is truly inspiring and rewarding. If you cannot get to the Royal Albert Hall on Wednesday; make sure you tune into the opening edition of the fifty-first series and see some awesome musicians captivate and enthral. Raise a glass to Jools Holland and an amazing BBC dynasty. It is Later… but there are plenty more great years…

 IN THIS PHOTO: Sonnghoy Blues, who are among the musicians who kick-start the next series

IN this incredible show (sorry for the poor time-related/’later’ pun!)

FEATURE: Festifeel 2017

FEATURE:

 Festifeel 2017

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HOSTED by CoppaFeel!; the annual...

IN THIS PHOTO: Anna Jones (@we_are_food)

Festifeel festival is a unique event that puts boobs at the forefront – in the sense that it encourages young women to check their breasts. It is a way of making breast cancer more visible and less frightening/lonely – a way of taking any hesitation and stigma out of it and raising awareness. The event is not only a change for women to come together. Co-founder Kristin Hallenga, when talking about the ethos of the festival, explained it in these terms:

"I want everyone to know that cancer doesn’t conform to the over-40s rule we try to impose on it; and that getting to know your boobs from a young age, and making checking them regularly a habit of a lifetime you could save your life one day."

IN THIS PHOTO: CoppaFeel! founders, Maren and Kristin Hallenga

CoppaFeel! was founded in 2009 and twin sisters Kristin and Maren Hallenga started the movement following Kristin’s breast cancer diagnosis at twenty-three. Due to her late diagnosis; CoppaFeel! C.E.O. Kristin lives with stage-four breast cancer. Last year; she explained why she was stepping down from helming CoppaFeel!

“In fact, at the moment I am not just looking at the more recent months, but my past eight years running CoppaFeel! Why? Because I have decided to step down as CEO of the charity.

This is in no way linked to my health – in fact, I feel better than ever. And I’d rather step away when I am well than on my last legs.

IN THIS PHOTO: Kristin Hallenga

I never wanted to be in a panic about the future of the charity. I feel so very lucky then, to be in the position to step away when both me AND the charity are feeling strong.

CoppaFeel! is at its peak, it is saving lives and has a kick-ass team leading it to even greater things.

Honestly, I never wanted to be a CEO. I am not a natural leader, just very passionate, and my passion has got us to this stage.

Now it’s time for a new pair of eyes and fresher leadership to take it even further.

I recently read an article about Founder’s Syndrome, and how founders of charities often don’t know when to relinquish their powers – to the detriment of the charity. I never want to be in that position”.

The fact doctors, when she was concerned she had breast cancer, dismissed her concerns as irrational and hormonal – it shows, as recently as a few years ago, how much ignorance there was. It seems insane there would be such cavalier disregard and dismissal of anyone fearful of their health. The fact Kristin was right – and faced the most devastating news possible – does not make her (correct) instinct satisfying. Out of the horrible and bleak situation came the desire and dream to make breast cancer a less misunderstood and overlooked illness. The aim is to reduce the rates of death and ensure there is more early-stage detection and greater conversation. There is a stigma and sense of trepidation when it comes to men and checking for testicular cancer. The fact they are reluctant to check themselves is one barrier: going to a doctor and revealing something embarrassing is another hurdle. The fact is, like breast cancer, it is serious and should not be seen as embarrassing.

CoppaFeel! has the mandate that urges women to check their breasts and notice any abnormalities or changes. The Ambassadors of CoppaFeel! are called ‘the Boobettes’ – women who were diagnosed at a young age. I shall mention this year’s Festifeel but, before then, a little Wikipedia overview of CoppaFeel! and how it has grown:

“In summer 2014 they launched their ‘What Normal Feels Like’ campaign, which seeks to reclaim the language and imagery associated with breasts.[13] Hundreds of women have submitted pictures of their breasts, along with a descriptive word such as “wibbly” or “springy”, which have been used in a series of advertisements designed to normalise and desexualise female breasts.[14] According to The Daily Mail, the ‘What Normal Feels Like’ billboards had to be placed away from roadsides for fear of distracting drivers with images of naked breasts.[15]

In the same year The Sun newspaper started working with CoppaFeel! on ‘Check ‘Em Tuesday’, a bold campaign that features Page 3 models encouraging readers to check their breasts for signs of cancer every Tuesday.[16] CoppaFeel! founder Kristin Hallenga presently works as a columnist for The Sun, expanding on the important of ‘Check ‘Em Tuesday’ by regularly writing about her own experiences with cancer.[16] The campaign has been criticized by No More Page 3, who feel that the promotion “sexualised images of young women to highlight breast cancer”.[17] CoppaFeel! responded to the criticism by highlighting the importance of early stage diagnoses for the disease.[18] ‘Check ‘Em Tuesday’ has received support from several celebrities including motorcycle racer Maria Costello,[19] and actress Helen Flanagan.[20]

CoppaFeel! have also run a ‘Cheknominate’ campaign, which was their “healthier” take on the Neknominate craze.[21] Cheknominate encouraged people to record themselves checking their breasts before nominating a friend to do the same. The Huffington Post were supportive of the campaign, and encouraged their readers to try to get the hashtag #Cheknominate trending on social media”.[22]

IN THIS PHOTO: Russell Howard

CoppaFeel! and Festifeel have gained celebrity support from the likes of Fearne Cotton, Russell Howard and Danni Minogue. Radio presenters such as Dermot O’ Leary have thrown their support behind it – O’Leary and Greg James run the Bath Half-Marathon in 2013 – and raised a lot of awareness/funds. It is important, as Chris O’Dowd stated in a vital video, men check themselves too. There is this assumption men cannot get breast cancer because they do not have breasts. Everyone has breasts in the same everyone has an Adam’s apple (a misnomer and confusion) – unlike an Adam’s apple: breasts are less prominent in males.

IN THIS PHOTO: Fearne Cotton

We need to check ourselves and ensure we perform regular inspection and maintenance of our bodies. The same way it is important for women to get men to check their testicles for cancer: men should - and have - urge young women to check their breasts for possible irregularities. Make sure you go to this year’s Festifeel and check Facebook for details. The official website provides links to tickets - and check the latest Twitter happenings here. It is a wonderful cause whose annual festival gains more traction and patronage by the year.

This year’s is going to be a huge gathering and a wonderful day – not only intended to raise awareness and support for breast cancer/detection but provide wonderful music/talent...

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HOUSE OF VANS

Arches 228 - 232 Station Approach Road, London SE1 8SW

Busted // Pixie Lott // Denai Moore // The Staves // Fleur East // Basement Jaxx (DJ Set) // Lauren Laverne (host) // Mystery Jets (DJ) // Goldierocks (DJ) // Abbie McCarthy (Radio1) DJ // Bear Grooves (DJ)

Welcome to Festifeel, an annual festival organised by, and raising funds for, the charity CoppaFeel!, who work tirelessly to raise awareness of breast cancer, in order to stamp out the late detection of the disease.

Heading into its eighth year, it’s known for its incredible and eclectic line up that switches from the best new bands to some of music’s biggest stars with DJs, comedy poetry hour with Laurie Bolger, graffiti workshops, boob chat, glitter, nail art and so much more, held in one of London’s most epic music venues.

IN THIS PHOTO: Festifeel host, Lauren Laverne

With a music line up curated by Fearne Cotton, you’re guaranteed to be in for a treat. Last year's line-up featured the Mercury nominated Laura Mvula, Rae Morris, Flyte, the legendary Stereophonics, + DJ sets from Goldierocks to Gok Wan and a comedy stage curated by Russell Howard.

October 14th is set to be a special day, and all for a pretty brilliant cause.

Presented by Festifeel.

Under 16s must be accompanied by an adult.

IN THIS PHOTO: The Staves

LINE UP

1pm Doors open

- Busted

- Pixie Lott

- Denai Moore

- The Staves

- Fleur East

IN THIS PHOTO: Basement Jaxx

- Basement Jaxx (DJ Set)

- Lauren Laverne (host)

- Mystery Jets (DJ)

- Goldierocks (DJ)

- Abbie McCarthy (Radio1)

- DJ Bear Grooves (DJ)

IN THIS PHOTO: Pixie Lott

FEATURE: It Ain’t Over Until the Fat Lady Sings: The Best Album-Closing Songs

FEATURE:

 

It Ain’t Over Until the Fat Lady Sings: 

PHOTO CREDIT: Unsplash 

The Best Album-Closing Songs

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AN album can succeed or fail simply because of the order…

IN THIS PHOTO: Nirvana in 1993

the tracks are placed. I have heard great records top-loaded and too eager to please: others end with their best songs and rely on a lot of patience for the listener to get that far. Programming and correct assortment is a vital – and very difficult – discipline to conquer. Of course, if you have an album with great material throughout, there is a golden rule: end with the best track and start with one of the better ones – sprinkle the rest in an order that will keep the listener hooked and guessing.

I take a look at albums that end with a real bang: those unexpected treasures that give you that last-gasp burst of brilliance.

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The Beatles – A Day in the Life

Album: Sgt. Pepper’s Lonely Hearts Club Band

Year of Release: 1967

Muse – Knights of Cydonia

Album: Black Holes and Revelations

Year of Release: 2004

Björk – Play Dead

Album: Debut

Year of Release: 1993 (Reissued Version)

Joni Mitchell – The Last Time I Saw Richard

Album: Blue

Year of Release: 1971

The Jimi Hendrix Experience – Voodoo Child (Slight Return)

Album: Electric Ladyland

Year of Release: 1968

Glassjaw – Convectuoso

Album: Everything You Ever Wanted to Know About Silence

Year of Release: 2009 (Remastered Version)

Radiohead – Street Spirit (Fade Out)

Album: The Bends

Year of Release: 1995

The Jam – Down in the Tube Station at Midnight

Album: All Mod Cons

Year of Release: 1978

Kate Bush – A Sea of Honey

Album: Aerial

Year of Release: 2005 (Re-release)

Oasis – Champagne Supernova

Album: (What’s the Story) Morning Glory?

Year of Release: 1995

Dire Straits – Brothers in Arms

Album: Brothers in Arms

Year of Release: 1985

Beyoncé – Formation

Album: Lemonade

Year of Release: 2016

David Bowie – Rock ‘n’ Roll Suicide

Album: The Rise and Fall of Ziggy Stardust and the Spiders from Mars

Year of Release: 1972

Bob Dylan – Desolation Row

Album: Highway 61 Revisited

Year of Release: 1965

Pink Floyd – Eclipse

Album: The Dark Side of the Moon

Year of Release: 1973

PJ Harvey – We Float

Album: Stories from the City, Stories from the Sea

Year of Release: 2000

Nirvana – All Apologies

Album: In Utero

Year of Release: 1993

Fiona Apple – Hot Knife

Album: The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do

Year of Release: 2012

Sufjan Stevens – Impossible Soul

Album: The Age of Adz 

Year of Release: 2010

Joy Division – Decades

Album: Closer 

Year of Release: 1980

Fleetwood Mac – Gold Dust Woman

Album: Rumours

Year of Release: 1977

Prince and The Revolution – Purple Rain

Album: Purple Rain

Year of Release: 1984

FEATURE: Sticks and Stones: Incredible Drum Performances

FEATURE:

 

Sticks and Stones:

PHOTO CREDIT: Unsplash

Incredible Drum Performances

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THE drummer is a part of the band…

IN THIS PHOTO: Led Zeppelin's John Bonham

that often gets overlooked. The focus is on the singer and it is not often the percussionists get a chance to stand in the spotlight! Often, a meaty or energetic piece of sticks-work can elevate a track to transcendent levels. I am seeing a greater number of people take up drumming: a lot more women are playing with fellow women/men and showing they can mix it with the very best of them. It is encouraging seeing more female musician taking up drums – I am hearing so many fantastic drummers who will be future stars. I have been urged to seek out some of the finest drumming performances of all time - to show why an epic piece of percussion can raise a track to the heavens.

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Queens of the Stone Age – No One Knows

Drummer: Dave Grohl

Album: Songs for the Deaf

The Beatles – The End

Drummer: Ringo Starr

Album: Abbey Road

Led Zeppelin – Moby Dick

Drummer: John Bonham

Album: Led Zeppelin II

Fleetwood Mac – The Chain

Drummer: Mick Fleetwood

Album: Rumours

Blondie – Atomic

Drummer: Clem Burke

Album: Eat to the Beat

Steely Dan – Aja

Drummer: Steve Gadd

Album: Aja

The Velvet Underground – Heroin

Drummer: Moe Tucker

Album: The Velvet Underground & Nico

The Who – My Generation

Drummer: Keith Moon

Album: My Generation

King Crimson – 21st Century Schizoid Man

Drummer: Michael Giles

Album: In the Court of the Crimson King

The White Stripes – Seven Nation Army

Drummer: Meg White

Album: Elephant

The Beatles – Ticket to Ride

Drummer: Ringo Starr

Album: Single Release/Help!

Led Zeppelin – When the Levee Breaks

Drummer: John Bonham

Album: Led Zeppelin IV

The Jimi Hendrix Experience – Fire

Drummer: Mitch Mitchell

Album: Are You Experienced

The Who – A Quick One, While He’s Away

Drummer: Keith Moon

Album: The Kids Are Alright

Soundgarden – Jesus Christ Pose

Drummer: Matt Cameron

Album: Badmotorfinger

Benny Goodman and His Orchestra – Sing, Sing Sing (With a Swing) (Pt. 1 & 2)

Drummer: Gene Krupa

Album: Single Release

Slipknot – Psychosocial

Drummers: Joey Jordison/Chris Fehn/Shawn Crahan

Album: All Hope Is Gone

Cream – I Feel Free

Drummer: Ginger Baker

Album: Fresh Cream (U.S. Version)

Miles Davis – Miles Runs the Voodoo Down

Drummers: Don Alias/Jack DeJohnette

Album: Bitches Brew

The Who – Won’t Get Fooled Again

Drummers: Keith Moon

Album: Who’s Next

FEATURE: Freddie Mercury: Why His Magic and Magnetism Lives On

FEATURE:

 

Freddie Mercury:

 Why His Magic and Magnetism Lives On

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A certain legend is back in the news…

PHOTO CREDIT: Getty Images

and with good reason. On 5th September, it would have been Freddie Mercury’s seventy-first birthday. I get it still IS but it makes me wonder, were he still with us, what he would make of music. I guess he would have got involved with the talent shows. I don’t think he would have objected and, if anything, might have been keen to be a judge. He would have been great cutting bad singers to size and inspiring the genuinely promising. Something bigger would play on Mercury’s mind: the tepid barometer and lukewarm temperature of modern singers. There are a few big voices on the scene but they come along so rarely. We have just seen a new single from Björk and, although it is not a hugely bombastic song – it shows what an intricate and nuanced voice she has. In terms of those dramatic and semi-operatic singers – one wonders where they are these days. Florence Welch, I understand is preparing new Florence and the Machine material.

She is someone who always brings a sense of theatre and captivation to her tracks. In terms of male examples, the mind does struggle for answers. I guess Freddie Mercury remains that unique and unbeatable performer. That is why I love him so much: he is a performer above all else. You get the sense, with so many singers, they are going through the motions and unable to fully articulate the complexities and heights music can provide. Their songs are relatively simplistic and, if they demand an extended histrionic range, many struggle to come up to the mark. Mercury, when faced with any material, would kick the hell out of it! Before I come to look at Mercury’s singularity and influence; we have all been hearing about the upcoming Queen biopic, Bohemian Rhapsody. Named for their best-known song, it features Rami Malek stepping into Mercury’s shoes. Many might recognise the actor from the series, Mr. Robot but, for the most part, he remains unknown to many.

IN THIS PHOTO: Rami Malek/PHOTO CREDIT: Mark Mann

Pictures and clips are capturing the actor immersing himself in the guise of the departed legend. It seems he is a natural adopter of Mercury’s tics, mannerisms and movements - able to project the same gusto, imagination and electricity. This is pleasing because, as we know too, there have been problems with the production. Sasha Baron Cohen was due to play Mercury – and is perfect in appearance and stature – but was not happy with the way the script looked (such diva-like behaviour hardly befitting of Freddie Mercury film!). Maybe they were concentrating too much on various areas and aspects of Mercury’s life – Baron Cohen feeling uneasy with the concept and representation. There wasn’t complete faith from the other members of Queen so it might not have been the most conducive and harmonious set. Malek seems like a better fit and prepared to castigate any doubts and artistic differences and embrace Mercury’s spirit. I am not sure whether Malek is tackling vocals himself but it will be interesting to see what he does in the role.

I am a bit sceptical about biopics because they fail to truly and authentically represent an artist – and can seem rather glossy and fake. I know many have been hankering for a Freddie Mercury biopic but there will be nerves seeing where the focus is and whether Malek fully embodies the complexities and physicality of Freddie Mercury. The best thing about the film is it revives some classic Queen songs and puts the spotlight on an artist who, nearly twenty-six years after his death, still enthrals and captivates. His AIDS-related death shocked the world and many were surprised he deteriorated so rapidly. The fact he announced the disease a few hours before his death was always going to create a shock. He would not have wanted speculation and tabloids surrounding his bed. He was sick and knew he was going to die. Exposing the intimate and upsetting details to the public was not right and, rightfully, Mercury did not mention his disease to the world. Maybe the ignorance and lack of AIDS awareness means Mercury’s death was not wholly unexpected.

There is more awareness now and, whereas AIDS is not a death sentence; it does still exist and it can be argued Mercury’s case put the disease into the forefront – more people aware of its dangers because of his death. It is tragic what happened and how Mercury’s life ended. That said; he was living each day as fully as possible and promiscuity, a sense of recklessness and abandon was part of his personality. It is interesting – as interviews show – Mercury was quite a reserved and shy figure away from the stage. His extravagance and flair was part of his stage personality: away from that, he was grounded, private and enigmatic. There was a sharpness and catchiness at time but plenty of cheekiness, fun and quotability. His humour and honesty was refreshing back then: today, it would be the subject of daily tabloid scrutiny. It is rare finding a true personality anywhere in music right now. Mercury seemed less of a nonpareil back then and would be alien in today’s climate.

Assuming he would be making music in his seventies; how would the world react to a creature as beguiling and counterculture as Mercury?! His voice, one speculates, would be more mature and calm; powerful and extraordinary but less broad and powerful as once was. There are so many memories that stick in my mind when thinking of Freddie Mercury. My earliest, when I was very small, would have been his set at Live Aid in 1985. When Queen took to the stage; they were in front of thousands – televised to a T.V. audience of millions. That kind of event would be unlikely in today to have such a huge-scale concert take place but, back then, the sense of expectation and nerves would have been immense. Not that one would notice from Mercury who, in typical fashion, provided a dazzling, audience-uniting set.

PHOTO CREDIT: Richard E. Aaron/Redferns

Listening to him singing Radio Gaga - when he got the crowd to engage in a mass call-and-response – shows what a hugely innovative and towering performer he was. No fear or nerves that day: a man taking to the stage and holding the world in his palms. The set was so huge and memorable it threatened to undermine and overshadow every other performer that day. The fact Live Aid was the chance to bring the biggest stars together and raise awareness of poverty in the Third World. It was not about one act but, such was the gravitas and immensity of Freddie Mercury’s performance, it remains in the memory longer than anything else. That set was typical of a man who was born to take to the stage. Most artists like Mercury – a free-flowing bird who was at his finest in front of an audience – would feel caged and constrained when in the confines of the studio.

Even though there were disciplinary restrictions in that environment; Mercury was able to extol some control and theatricality in the room. I remember watching a video when the band was recording One Vision. The lyrics went through various machinations and the overriding takeaway was Mercury being involved in every stage of the process. Each take had different nuances and qualities and the lyrics, whilst a little trite and faux-philosophical, allowed Mercury to indulge his full range. It would be good to see every Queen song filmed and documented as it would have provided historians and music-lovers the chance to unveil a superb talent and how his performances assembled themselves. A few magazines have run features that isolated Mercury’s vocal on Under Pressure. The fact he was going toe-to-toe with David Bowie – and HIS is the vocal celebrated and elevated – shows what an artist he was. He was not trying to outshine Bowie (nor was he given more time and lines) but he attacked the song in such a manner it stunned people.

PHOTO CREDIT: George Wilkes/Hulton Archive/Getty Images

I have always found it hard to bond with Queen songs because they are not the sort you come back to time again. There is campiness to them but that is never an issue. To me, the lyrics lacked depth and there was not a lot of real substance. Many people are off-put by Queen because they got all the attention they did and, to many, did not warrant it – magazines like Rolling Stone, for instance, hated the band for long periods. Some see them as throwaway but one cannot deny the fact the reason for their success is down to Mercury. Not only did he pen some of their biggest hits – including Bohemian Rhapsody – but he brought a new sensation to every song. So many singers repeat themselves and seem rushed when releasing music. Even the titanic voices of today get into the habit of repeating themselves. Amy Winehouse was the last truly big voice who could bring something fresh to every song she delivered. Adele, one of our biggest stars, seems to be treading water and leaves me rather cold.

IN THIS PHOTO: Freddie Mercury with Montserrat Caballé

How many modern singers could/or would tackle a song like Barcelona and make it stick?! Montserrat Caballé and Mercury traded vocals and created a rapturous and spellbinding duet. The fact Mercury could legitimately and bravely perform an operatic song – and make it sound real and easy – shows what a talent he was. It is the variation and daring of Freddie Mercury that means his legacy endures and he enjoyed such a varied career. Every Queen album provided something different and, whether on his solo album or performing with other artists, showed he was a singer that could handle anything. Mercury is an anomaly in music that has seen nobody get close to his talent. Every world-class singer sees a host of artists try and match their grandeur and majesty. From Aretha Franklin and Robert Plant to Kate Bush – they all have contemporaries who infuse some of their colours into their music. I hear some big-voiced singers but none who remind me of Freddie Mercury.

Maybe there are no bands like Queen who have that same pomp, camp and originality. The modern music press would not take too well to a modern-day Queen. They were a bit of an oddity in their day but did have a career that spanned three decades. From their eponymous debut in 1973 to their finale in 1995 – Innuendo, in 1991, was the last album that featured Mercury (Made in Heaven, in 1995, was released after Mercury’s death). There were some truly great albums – Sheer Heart Attack A Night at the Opera – in the early-mid-1970s and an ill-fated embrace of Disco. The band’s greatest hits collections show they made some truly excellent music but they were very much of their time. Music has changed so much that we cannot have another Queen in our midst. A ‘new Freddie Mercury’ would need a band support and, one feels, they would need to be Glam-Rock.

That genre is not exactly thriving so one wonders whether we can ever breed someone like him? I think the reason we will not see another Freddie Mercury is a lot simpler: he was a one-of-a-kind that left a huge mark on music. Go watch Bohemian Rhapsody when it is out because it will show where Mercury came from and what he was like behind the scenes – and how he brought people to life when he was in his element (on the stage). I hope the flick does Mercury justice and has been worth the wait. My greatest hope is the film rekindles an interest in his music and tremendous voice.

PHOTO CREDIT: Getty Images

Freddie Mercury is one of those brave, incredible and mysterious figures the music industry desperately needs. Perhaps we have come too far to have unique characters and titans in our midst. Everything is marketed, rushed and meticulously planned. Imagine Freddie Mercury being made to go on Spotify or see his songs tortured and drip-fed to the point of exsanguination?! He would have rebelled against that and been ostracised from critical approval. The fact he died in the early-1990s is a tragedy but his legacy and music will never die. Who knows, though? Maybe, when people see the film and hear Mercury’s name back in the media; that will compel them to overcome fears and follow in his footsteps. Music requires that and, if we do see a singer compelled to reach Mercury’s heights, that would be…

TRULY wonderful.

TRACK REVIEW: MissDefiant - You Can’t Sit with Us

TRACK REVIEW:

 

MissDefiant

 You Can’t Sit with Us

9.4/10

You Can’t Sit with Us is available via:

https://itunes.apple.com/gb/album/missdefiant/id1273159288

GENRES:

Pop; Electro

ORIGIN:

London, U.K.

The album, Missdefiant, is available at:

https://open.spotify.com/album/5pqRehKPl33Bq1HUUwVnUN

____________

I suppose I am breaking some of my reviewing…

PHOTO CREDIT: Michaela Efford Photography 

cardinal rules because, in a brief side-step, I am looking at a duo I have assessed before. I will look at their new album – and a song from it – but I wanted to explain why I follow certain acts and come back to ones I reviewed. After that, I will have a peek into Pop and variations on the market; putting fun and energy back into music; artists who dig deeper and defy expectations – a bit about artists who have exceptional social media links and make it very easy to discover their music. I am pleased to be back with MissDefiant as I have been following their career for a little while now. When I last reviewed them, it would have been for their latest single release and, before that, the single that preceded that. It is interesting charting an act and how they can develop over the months/years. In terms of MissDefiant; I am pleased they have continued to grow and develop. That may sound condescending but a lot of artists in these times do not ensure and impress as much as they have. It is a tough industry and can be very hard when performing Pop/Electro. There is such a proliferation and promotion of the mainstream: artists who perform outside of that have to struggle a lot and work that much harder to get recognition. For Jordan Cather and Emily Rose Adams, there is a sisterly bond that touches me. They have a deep connection and understanding of one another. A lot of times; duos are together to sell records and because of some marketing plan. You can tell when they are together to make music – there is no personal connection and understanding. I find duos, actually, are more solid than bands. You can get a lot of unpredictablness with bands because there are often four/five members and tensions can arise through the years. Because of that, one finds some groups – you thought were brilliant and solid – that break-up without warning.

PHOTO CREDIT: Michaela Efford Photography

Duos are usually comprised of great friends or those in relationships. MissDefiant spend a lot of time together so can’t exist as a distant and detached unit. The songwriting, performing and promotion is the two of them – if they did not get along then you would notice and they would not survive long. Cather and Adams have a great friendship and have a lot in common. I do not get the same feel from other acts as I do from them. One can tell they are meant to be together and have a great compassion for one another. It is not only their relationship that impresses me: the music they produce continues to evolve and improve. Their earliest songs are brilliant but I find, with every new release, they get stronger and more confident. I think the touring they do – and the people they meet – has pushed that. Each gig pushes love their way and they, in turn, have the confidence to grow their music. It is encouraging seeing the girls grow as a duo. Their debut album – semi-eponymous (‘Missdefiant’ rather than ‘MissDefiant’) is a collection of all their past material; combined with their new songs in a fourteen-track bonanza. I can follow their career and periods through each song. Those earliest numbers – Robot, Venus & Mars, for example – seem effortless against newer tracks like Robot and You Can’t Sit with Us. Another reason MissDefiant have made me stick with them is the way they continue to put their music to new crowds. They do not sit back and let marketing people do all the work for them. Keen to play to crowds and ensure their songs get to as many hearts as possible – a fantastic duo that persevere and campaign harder than most. Who knows how far MissDefiant can go but, the fact they have been together for years suggests they are in no mood to quit anytime soon. In fact; I feel they could go on for many more years and record a few more albums at least. I will talk about touring later but, for now, a time to move on.

PHOTO CREDIT: Michaela Efford Photography

I wrote a piece yesterday – after a very stressful and fraught day – about how much has been split between North and South. It seems there is a division between the areas and the media puts too much emphasis on London. The fact I am reviewing a London duo does not undercut my point but I am keen to focus on acts outside the capital going forward. I think London will always have its place and is vital in regards modern music. I feel there are too few media sources looking further north and the great acts emerging there. I will do my best but what I wanted to talk about is the snobbery still afforded Pop music. We often get the idea all Pop formations and sounds will be commercial and off-putting. I agree there are so many unappealing and weak examples performing in music right now. I am not a huge Pop fan because, a lot of my exposure to it, consists chart performers and something rather hollow. When it comes to acts like MissDefiant; they have a fantastic sound that matches intelligent and wise lyrics with deep and nuanced sounds. They do not go for the marketable looks and sounds so many artists do. They have their own identities and songwriting – they do not have a huge team controlling everything and telling them what to do. Naturally, like most artists of the moment, there are people helping produce and write but, in the most part, it is the girls’ personalities that come through. That sense of personality is what brings the music to life. One gets a real identity to their music. A lot of performers sing and release music but you never get a sense of who is behind the music and what they are about. Every track reveals a bit about MissDefiant’s twosome. Each member has their own dynamic so it is never a case of Adams and Cather blending together and an indistinguishable whole.

PHOTO CREDIT: Michaela Efford Photography

There are many things that impress me about MissDefiant but it is the way they evolve and subvert that sticks. They do not perform the same style of music that everyone else does or want to be celebrated in the mainstream. By that, the duo does not compromise and write music that sacrifices substance and distinction. Their music has a populist edge – in so much as it can be taken to heart by the masses – but it does not rely on gimmicks, cheapness and aimlessness. What we get are songs that have spirits, physicality and memorability; tied to lyrics that make you think and ponder – vocals that have so many different aspects and colours. The girls have worked hard to craft that sound and are always developing what they do. I know they will release new material next year but, for now, their debut album is out and turning heads. It would be a risk compiling an album that has songs from the start of their career to now. Some do it but there can be a sense of incompatibility. Some of the tracks sound older and they struggle to gel with the new songs. Also; many people have already heard (most of the) singles and it creates a familiar-yet-unexpected listening experience. Most new artists release albums and then put out four or five singles before the record gets to us. It gives us a chance to discover what’s on the record but it can get quite tiring – do we need THAT many tracks out beforehand?! MissDefiant are different because they released their singles not sure whether they would release an album. The demand came in and reception received. The fans want to hear their older songs but some new ones from MissDefiant. We get a nice and easy mix of the heard and fresh from the London duo – it all sounds perfect together and flows as a whole. It is the way MissDefiant add something new into Pop and Electro that means their music is timeless and always warranted.

One other reason I love MissDefiant is, because, they inject fun and energy into music. I find the industry is becoming too serious. You either have artists that are too po-faced and emotive or the acts that try to be loose and fun but sound very forced and limited. Of course, there are artists that can lift the spirits and body but, for the most part, we are being fed those artists that could do with a bit of a kick. I am all for musicians that document something serious but I always look to detach once in a while and have my mood elevated. MissDefiant are not your average and fluffy Pop act that throw all the beats, electronics and production layers into the mix and bamboozle the listener with force and intensity. It can create a hypoxia and weariness that one looks to remedy. MissDefiant are different in the sense they write music that gets into the head but makes the body move with it. I know Cather and Adams have been working together for a while and they have researched the market. When I look at duos, I always investigate why they formed and how they differ from the rest of the music out there. In a way; being in a duo can be tough and easy. The relationship is solid and there are few extra bodies but they do not have the options of a band – to make something fuller – or the chance to be as intimate as a solo act. It is tricky so, for that reason, duos tend to play in particular genres. You get few Rock/Alternative options: more Pop, Electro and Folk brands. MissDefiant know this but do not limit their imaginations because of their restrictions. From their very first single, the girls struck away from their contemporaries and ensured they would do something original. Fun and involvement is at the forefront of everything they do. They want people to move and bond with the music.

The U.S.P. of MissDefiant is their lyrics: addressing themes and subjects that many of us can relate to but are not often spoken about by the more popular artists. By this, I mean we hear about the dangers of clubbing – drinks being spiked – and gender inequality; the differences in love and problems in society. MissDefiant do not merely talk of love and all the problems one has in relationships. That is common stock and, because of that, they are more concerned with talking about things that many of their peers do not. Their music appeals to everyone but they do not feel the need to talk down to anyone. We get the impression Pop artists are going to focus on narrow themes and denigrate music by presenting immature and shallow lyrics. That is not the case with every act and, if one looks around, you can find acts that put intelligence and wisdom into their words. I have heard songs from MissDefiant and been made aware of areas of society I was foreign to. It is good when music educates you and, in the case of MissDefiant, I am more aware of things they face in their everyday lives. Music should be about educating and informing people. So few artists take the time to write about what is around them and stronger issues in society. There would be some that assume, because Adams and Cather and beautiful and stylish, they would sing about love and relationships in a very ordinary way. This stereotype, in fact, does not apply to most Pop/Electro acts but the girls do address relationships in their music – they would alienate listeners were they to neglect that vital commodity. It is hard pleasing everyone but I am impressed with artists that do not follow everyone else and decide to talk about something important and serious. MissDefiant never abandon their sense of physicality and fun and have that intoxicating brew.

PHOTO CREDIT: Rob Gardner

I will move on and come to the music soon but, before then, a look at social media and how important that is when it comes to new artists. There are so many who still labour under the assumption they can ignore imagery and information and let the music do all the work. This is ground I tread commonly but I still see too many artists committing ignorance and naivety with little embarrassment. MissDefiant, I challenge, would not be as popular as they are if they were to overlook social media and be as prolific. Their music is solid and excellent but the way it gets to people is through social media. I see so many acts that have great songs but put very few photos out there. They might provide status updates once in a while but forget to keep the pressure on and do anything proactive. MissDefiant are keen to get in front of the camera and produce various shoots. They have a great look and sense of fashion and that comes out in their images. Music is not a fashion show, I know, but one needs to see the artist and have images available. For people like me, it can be rather depressing if there are a few half-decent photos and nothing else. It makes articles look bare and shows laziness on behalf of the musician. These days, anyone can take a photo of themselves and there is no point being ‘mysterious’. Music has power but not so much it can elevate an artist that chooses not to put their face out there. This kind of arrogance is leading journalists and fans to look elsewhere. Music and social media are visual mediums and, as such, this is a side of the industry many need to think about. MissDefiant are prolific with their photos and always update fans about goings-on and gigs. This means they feel more connected to their follows and, in turn, bring people in.

Consider looking at an artist’s Facebook page and seeing a few scratchy images and very little information. They might have a new track out but, psychologically, one is less likely to investigate because the rest of the profile is unattractive and sparse. It is a worrying trend but I am concerned few artists are doing anything to counteract this. I would not have bonded so hard with MissDefiant is they ignored photos and information because it would be hard to know where they came from and what they are about. The songs are the personality of an artist but it is good having visibility and something aesthetic to tie together. Music is a marketing tool as much as anything and a business. Success is down to talent but one cannot underestimate how pivotal social media is. Streaming figures and exposure arrives when artists put themselves out there and promote their work. People only pick up on an act when they think there is something intrigue and appealing about them. It is vital having a full package and profile. I bring back the dating analogy when one sees a profile that has great photos but the profile consists of a single line – normally asking someone to email them to find out more. If it is the other way – no images but lots of information – then you are not going to be enticed. The way to attract relies on revelation and visibility. One cannot be guarded in one area and expect people to be allured and hooked. The same goes for music. Those who succeed have every aspect of their music figured and active. MissDefiant are always busy and ensure they keep their profile fresh and mobile. It is a reason I remain with them and I can say that about many other people. What Adams and Cather do is engage with their followers and bring them into their world. There is no sense of the listener being a separate and intangible entity – they are drawn into the music and an integral part of MissDefiant.

PHOTO CREDIT: @robgardnerphotography 

There is a sense of the 1980s when one gets the first whiff of You Can’t Sit with Us. I was thinking about an early-career Madonna. Wordless vocals come in and the song gets off to a rushing and effusive start. A smooth and rushing horn sit with funky beats in a carnival-style jam where anything is possible. When the vocals come in we hear about club-life and being excluded. Our heroine approaches a group of girls and, when asking if she can sit with them, they turn their noses. I feel it is a situation many are familiar with. That desire to be communal and sociable is rejected by those who feel enjoying their company is a privilege. I am not sure whether MissDefiant are addressing the seedy and salacious girls that try and hang with them – the type that exposes themselves and bring a sense of shame to proceedings. I feel it is the former and that snotty kind who gives rudeness to everyone they met. “Hey girl/what’s that look for?” and “Hey girl/don’t start a catwalk” suggests a group of women who stare and glower at those who try and approach them. Maybe there is that vanity and exclusivity that means only the most fashionable and hip are allowed into the club. Social life should be about connecting with everyone and, listening to the song, you get a sense of division and oppression. How much MissDefiant have experience is hard to say but I imagine they have encountered that kind of hostility. Maybe it refers to a balance of clubs and cafes. Throughout London, there is a split between the everyday and common and the cliques. The posher areas are filled with the types who refute and criticise anyone they believe is not to their level. I guess this extends to all areas of the world but it seems pronounced in the capital.

PHOTO CREDIT: Anna Urik 

The song’s intoxicating and alluring combinations contrast the seriousness and strictness one finds in the lyrics. Even though the lyrics profess a sense of exclusion; the wording is conversational, fun and loose. You feel like you are alongside them in the club and the jabber and nonsense these snobby girls project. MissDefiant have always been great at talking about serious matters but providing an accessible narrative for the listener. The chorus repeats the song’s title and is punctuated by vocals of “Hey, hey!”. One feels like they are in the setting and following the course of events. Like all MissDefiant choruses; they are big and bright and will lodge in the head for a while. You Can’t Sit with Us is a Pop song that is not reserved for those who are fans of the genre. It has an amenable and flexible manner that means anyone can hear it and bond. I have heard it a few times and every listen reveals something new. Aside from the big chorus, it is the production that shines through. It has gloss and polished but is never too shiny and gleaming. There is room for a rawer club sensibility to come through so you get a mix of 1980s Pop and modern-day Dance. The resultant brew attracts the senses and makes the head swim. Our heroines ask whether it is their lack of Prada that means they are being shunned. The vacuous and air-headed clan have their expensive clothes and taking endless snaps of themselves. Our girls are not bothered they are being shunned but kind of glad they do not have to stoop to that level. Giggles, sarcasm and cutting jabs mean the song is always vivid, candid and real. It makes you smile and side with MissDefiant as they navigate a labyrinth of conversational nonsense, arrogance and cheap values.

The girls are not with their honies and not draped in diamonds. The fact they are not bejewelled and blinged-up mean they are not worthy of time with the ‘cool’ crowd. Many MissDefiant songs look inside the clubs and the social scenes they encounter. Adams and Cather, in various guises, have been around these types of people. Working in modelling, acting and fashion would have given them an insight into the rather regrettable sort they have to be around – radio reporting and interviewing does that too. One can call MissDefiant fashionable and cool but they bring people into their world. They never exclude and thing they are above other people. It is difficult knowing whether the duo want to be part of that inner-circle but one feels the song is a dismissal of those who shut themselves away and think they are better than anyone else. One feels this song, ironically, might be played during an episode of Made in Chelsea. You can, if you have the inclination, encounter the kind of scenes and snobbery (on the show) one hears in the song – they do it without irony. Maybe there are certain areas that have such a mass of bitchy and arrogant people but you can encounter it wherever you go. You Can’t Sit with Us is the second track from Missdefiant and a blast of energy and attack. The girls are cheeky throughout and expert when it comes to cutting the lesser sort down. A brilliant track that could get the clubs bouncing and, let’s hope, shame those who are being addressed throughout You Can’t Sit with Us.

IN THIS PHOTO: MissDefiant a Thousand Island

I will finish things very soon but wanted to talk about MissDefiant’s touring, future and album. They launched the album at Thousand Island in London and gained a huge reaction. The girls are bonded to London and have played in many different venues. They are comfortable at a place like Thousand Island (Highbury) as they are in Hoxton. They have a sound that is as fresh, colourful and varied as the city. This year is the biggest one for MissDefiant and this month especially. They have released the album and will want to get Missdefiant to the people. Because of that; I hope they have more London gigs coming up. There is a lot of love for them in the city and people are reacting to their unique brand. I know they have had a whirlwind last few months and will want a time to relax before the end of 2017. It has been great seeing them play at various venues this year and get a big reception. The people of London love them and the girls and getting more fans flocking their way. I wonder how much of the U.K. they have seen. I talked about the North-South divide in music there is a reciprocal issue arising. Many artists outside of London stay where they are because they cannot afford to come down here. The media does not often feature them and assume they are being distant – the fact is they are not allowed a fanbase because they get little attention. Those in London who have a fanbase here do not often travel further afield – either to secure their popularity in the capital or think all the great venues and crowds are down here. I can see MissDefiant going down a storm in other parts of the U.K. They could stamp a real impression further north and get some fans up there. I know they have an international following but there is a chance for them to make an impact further up the country. Manchester is a city that spring to mind and they could easily get dates here.

I would like to see them, in 2018, think about the country and where they would like to form. Their music is terrific and it is being consumed by so many people. Many are waiting out there so I hope the girls get a chance to explore more options. The same goes for international areas. I think MissDefiant could go down well in the U.S. and North America. I am not hearing many like them in America and feel there is a desire for their music and what they provide. One can say the same of parts of Asia and Australia. I know Australia would be hospitable and there are cities MissDefiant could conquer. Perhaps finance and budget are factors that will limit their horizons but their popularity is worldwide. They are keen to get London talking about their music but I hope they think larger next year. I know there is a lot of love for them in other parts of the world so it would be great to see that exploited. MissDefiant are fans of acts like Lady Gaga and Little Mix but, in a way, they surpass them. I find those artists – Little Mix for certain – to be too mainstream and not as engaging as one would hope. They are concerned with getting fans in and the way to do that is repeat what other artists say – appealing to the pre-teen market with lyrics that are easy to understand and common to them. Lady Gaga is not as limited but still does not dig as deep as MissDefiant. It is great seeing the London-duo rise and succeed. I feel they will be in the mainstream in due time and able to exert influence. They will bring their compelling and engaging music to the masses and be able to make some real changes.

The girls, through their social media strengths and awareness, have secured a contract with MAC Cosmetics and, between them, have enjoyed careers in acting, radio and modelling. They have played at some great venues in London and worked with amazing producers. Missdefiant is an album that has already gained some great reviews. It unites all their music and their earliest moment to some new songs. The songs are not chronological so there is that nice and unexpected mix. One might hear something from a year back and a song you have not encountered before. For new fans; it is a chance to see how the duo has evolved and the range of their music. I know Emily Rose Adams and Jordan Cather will be pleased to see the positivity flowing and will want to increase that. I feel their music will reach even more people and they have the potential to take their album worldwide. I am looking at their social media feed and seeing the reaction people have afforded the album. It is wonderfully produced and the running order is perfect. The songs all fit together and it is equally weighted so the best tracks are either end of the album. Every song is strong but you are never bored or feel the need to skip tracks. They do not throw all the bangers near the top or keep them for the end. It is evenly distributed so the listener gets a great hit of energy right through the album. By the end, you want more and will go back and repeat certain songs. I wanted to look at You Can’t Sit with Us because it is a new song and one the duo are keen to promote. It is one of their most confident and bold songs and is destined to be a big radio hit. I know many stations have played their music but they are not an act that are resigned and confined to London stations. I shall end this but would urge everyone to have a listen to Missdefiant and check out You Can’t Sit with Us. I have followed the duo since 2015 and am impressed by the fact they grow stronger by the year. They are at their peak but one feels they can actually improve and grow from here. It is an exciting time for MissDefiant and proof they are…

AMONG the finest duos out there.

_______

Follow MissDefiant

PHOTO CREDIT: Amy Spanos Photography 

Official:

http://www.missdefiant.com/

Twitter:

https://twitter.com/MissDefiant

Facebook:

https://www.facebook.com/MissDefiant/?ref=br_rs

Instagram:

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

YouTube:

https://www.youtube.com/MissDefiant

SoundCloud:

https://soundcloud.com/missdefiant

Spotify:

https://open.spotify.com/artist/7GD76wBSA6X3hLwMNKTKhN

INTERVIEW: Speak, Brother

INTERVIEW:

 Speak, Brother

________

THEY boast a powerful Indie-Folk sound…

and differ to any other band out there. Imbued with subtle Gospel tomes and hymnal strands – their storytelling abilities have been compared to the likes of Fleet Foxes. I catch up with Speak, Brother about their new single, Magnificent, and what it is all about. The guys have played throughout the U.K. and been featured on BBC Radio 2. The Midlands band are preparing for a U.K. tour in November that will see them build hype and tease ahead of the album, Young & Brave – expected sometime in spring of next year.

The boys talk about their formation and who their idols are; what they get up to in their spare time – and how it feels knowing their music is being championed and applauded around the country.

________

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

Hi. Cracking, thank you!

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

We're a group of five friends based in the Midlands.

Can I ask why the band is called ‘Speak, Brother’? Is there a special meaning/story behind that?

Many of our songs are story-based with an inclusive message that communicates value. The name, I guess, comes from desire to connect and share these stories (and hear yours).

Magnificent is the new single. What is the tale behind the song? How did the track come about?

Have you seen the recent film, Fences, with Denzel Washington? 

Well, without giving away too many spoilers, right at the end of the film – it shows the main character's daughter whose birth came in a dark place. You couldn't help but feel compassion, hope and love for that girl. That, even though three generations of pain, hurt and mistrust came before her - there was a beauty and innocence in her eyes.

It's like looking at the pure unadulterated beauty of a new-born baby. So small and fragile, yet so full of potential and purpose - and completely unaware of its own Magnificence.

There are Gospel and harmonic touches that recall Fleet Foxes. Are bands like that – Kodaline and Of Monsters, too – important to you?

For sure.

Others (also) like Elbow, Bon Iver; Kate Rusby and Peter Gabriel inspire us consistently too.

Young & Brave, your upcoming album, is out next year. What can you tell us about the L.P. and the kind of songs we will see?

It's our debut-album for which we've worked a long, long time on. It's stretched us creatively, musically and how we work as a band together - and for that, I'm really proud.

The album will feature a wide range of styles and dynamics: from Gospel/Soul vibes to Rock energy to stripped-back Folk storytelling.

It explores themes like the innocence and wild tendencies of childhood that are beaten out of us - along with stories of love; value, brotherhood and togetherness.

Are you excited knowing the album will be out in a few months? Has it been quite tough recording or was it quite a learning-curve?

We can't wait!

It's been a MASSIVE learning-curve. It all felt like a process of letting go of what felt comfortable; to just exploring new things and jumping in with two-feet-first. At times, it was so hard leaving the safe and familiar of where we were before.

From the off, we knew we didn't want it to sound like any other Indie-Folk band: we wanted it to be us. Gavin Monaghan, who produced it along with his partner-in-crime Joe Murray, helped us leave…or rather, pushed us off the edge! 

Are there going to be more singles from the album – before the official release?

Yep.

We have another single in November and another in February - just before its release in April.

Stations like BBC Radio 2 are fans of your work. Is that kind of backing encouraging to the band? Does that give you the drive to keep recording and pushing high?

We're so honoured for our music to have reached national airplay.

It’s the purpose of any song to be heard, so we're thrilled. Although, regardless of who plays our songs, it'd be our hope to never stop writing music.

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

We have a tour coming up in November for which tickets are now available:

03/11 - Big Comfy Bookshop, Coventry

04/11 - The Globe, Hay-on-Wye

05/11 - Costa Coffee, Barrow-in-Furness

08/11 - Hare and Hounds, Birmingham

09/11 - The Cavendish Arms, London

Can you explain what touring is like for you guys? How much of a kick do you get seeing the fans react to your music? How important is it taking music to the people?

We all seek to connect, right? It's in our D.N.A.

When we achieve a real connection at gigs with people, it really sticks with us for a while. It's so fun and you learn a little more about the world and the people within it.

How do all of you spend time away from music? Do you all have hobbies or spend your downtime taking it easy?

We all have jobs still so most spare time goes to music! Other than that, it's reading, walking; seeing family and friends. 

IN THIS PHOTO: Wildwood Kin

Who are new acts you recommend we check out?

We'd certainly recommend our friends Wildwood Kin.

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

I don't think there is a single album, but....

Awkward Annie - Kate Rusby

Enema of the State – Blink-182

Bon Iver - Bon Iver

Joy of Nothing - Foy Vance

To Pimp a Butterfly - Kendrick Lamar

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

Try your best to not compare yourself to another - it really doesn't help. 

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).

Ah brilliant! Any song? How about:

Matt: Strangest Thing - The War on Drugs

James: Lost Worker Bee – Elbow

Dan: Kids - OneRepublic

Sam: Burden - Foy Vance

Nath: Lionhearted - Billie Marten

__________

Follow Speak, Brother

 Official:

http://speakbrother.co.uk/home

Twitter:

https://twitter.com/SpeakBrotheruk/

Facebook:

https://www.facebook.com/speakbrotheruk/

Instagram:

https://www.instagram.com/speakbrotheruk/

SoundCloud:

https://soundcloud.com/speakbrotheruk

YouTube:

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

Spotify:

https://open.spotify.com/artist/02QfPhgyWLcACC2DoAyjZh

FEATURE: London Ruling: The North-South Divide in Music

FEATURE:

London Ruling:

 The North-South Divide in Music

________

I am buzzing Sampha walked away with the Mercury Music Prize…

IN THIS PHOTO: Sampha

on Thursday – as it showed the faith and love people have for his debut album, Process. It is encouraging seeing the panel recognise a work that stems from painful memories and exudes such emotion – the effort and work that goes into Process deserves an award, for sure. I listened to Sampha’s acceptance speech and, whilst I was thrilled he as honoured, it got me thinking about the Shortlist. Five of the twelve acts nominated were from South London. It is a fertile bed of innovation right now. Kate Tempest, who I thought would win the Mercury Music Prize, is from there and proves there is diversity in the area. Sampha’s soulful and hugely evocative songs contrast Tempest’s direct and to-the-brain missiles – a songwriter articulating the reality of modern life and the struggles we are going through. It is important London gets recognition but I wonder whether there is a send of ‘trend’ and ‘cool’ nominating artists from this part of the world. Of the dozen assorted Mercury names, something startling revealed itself: so few are from the North. Ed Sheeran was born in Halifax, Yorkshire (but lives in London) alt-J are from Leeds (another Yorkshire act) whilst Blossoms come from Greater Manchester.

IN THIS IMAGE: The album cover for Ed Sheeran's %

One would imagine, when representing the spread and best of British music, one would expect greater northern representation. Maybe one can look at the critics’ favourites from 2017 (and later in 2016) and claim most of the British best are from the South. That might be true but one can also claim little attention is paid to the North. Music still has a London-centric attitude and mindset. This is not a shock but I worry too much of the focus is put on London and what is happening here. I cannot remember the last time there was an equal distribution when it came to our musicians. Most of the new artists I see proffered seem to hail from these parts.

IN THIS PHOTO: King Street, Townhouse (Manchester)

I know for a fact there are so many greater bands/artists from north of London. Scotland and Wales (the former especially) is a wonderful area for music – Glasgow among the finest cities for new music. I have a lot of love for Yorkshire and was pleased to see some of the county’s artists included in the Shortlist on Thursday. Manchester, and the explosion of talent stemming from there, was distilled to Blossoms. The Stockport-based band was the only act from the North West - and that is something that worries me a lot. There are few parts of the U.K. as hip and happening as the capital. This is where most of the record labels are: the majority of the big newspapers are here and some of the most-established studios. Although a lot of the big businesses and organisations are rooted in London; this does not mean anything north of London is worth ignoring. It is easy to say the reason why events like the Mercury Music Prize featured so many Londoners on the Shortlist was the faith and backing their music was given.

Jane Weaver, born in Liverpool, was expected to get a nomination at the Mercury Music Prize. Her album, Modern Kosmology, deserved a nod. The same could be said of Bristol’s IDLES. Brutalism is one of the most intense and addictive records from any new bands. I know Bristol is hardly northern but it is outside London and another part of the U.K. that warrants acclaim. The only way we are going to gain a full appreciation and knowledge of Britain’s best is when the media gets out of its London mindset. The last time there was a real wave and exposure of northern band was during the 1990s. When Britpop was in full-swing; bands like The Stone Roses, Oasis and Pulp were at the forefront. The rivalry with southern groups like Blur and Suede not only showed the contrasts but it provided a platform for both halves of the U.K. to shine. That was true in the 1980s when northern bands like The Smiths - famed for their observations of everyday life and unique lyrical bent - were favourites with critics.

IN THIS PHOTO: Manchester legends, The Smiths

There was not the same division as we have today. Back then, there were the great working-class bands that voiced the forgotten and overlooked – penning songs about the country and what was happening. Although we have some wonderful artists now; there are so few talking about anything real and relevant. Many would argue the fact, back in the 1990s when Britpop saw North and South tussle, that highlighted rivalry and divisions. I disagree because it was never a case of showing the differences and splits between the two regions: it was about promoting the distinct sounds of North and South; the quality one could find throughout the U.K. Now, there is so much profiling and love given to London – other parts of Britain do not get a good look-in. I will carry on but, before then, an article from a few years back showed, back then, the issue was as evident and troublesome.

“The last high-profile north-south musical tussle took place in the mid-90s when Oasis and Blur went head-to-head in the singles charts during the highly orchestrated, "Battle of Britpop". But nearly 20 years later, relations between regions remain strained.

IN THIS PHOTO: Bristol's finest, IDLES

"Hull is great for live music, there is a really good local band scene here, lots of activity, and any band who plays this city always enjoys it," says Paul Jackson, owner of the New Adelphi Club. "The thing about Hull, though, is it gets a lot of very bad publicity."

Jackson cites the case of the Paddingtons, a Hull act who were under pressure from the industry to airbrush the city from their background when they started creating what the music business is fond of calling 'a buzz'”.

I have heard a lot of bands saying they are from London – because people are looking for artists from here. It is as though, if one says they are from any other part of the nation, they would get blank stares. Maybe this is true when it comes to international. How many people in other nations are aware of the breadth of the U.K.?! Do they know the smaller towns and other cites?!

IN THIS PHOTO: A stunning view of Hull (it was named the 2017 City of Culture and has an active music scene)

I feel the only way for people to gain awareness of these areas is for the media to stop obsessing about London. The fact musicians have to class themselves as Londoners – even when they are from other parts – is a desperate attempt to gain acknowledgement and popularity. I long for the day when we can have that competitive tussle between North and South. The nation needs a ‘new Britpop’ and chance for the working-class bands best to go toe-to-toe with the more conservative and middle-class options. Right now, there is a dominance of London and the middle-class. I know Hip-Hop/Rap stars like Kate Tempest and Loyle Carner are, despite being London-based, working-class but there are downsides celebrating certain ‘scenes’. Good news South London is hot right now: what about Manchester, Leeds or Bristol?! A few years ago, when Bastille (from the South) and Sheffield’s Arctic Monkeys were the most-popular artists in the U.K. – streaming figures showed where each act was at their peak. Rather unsurprisingly; Bastille stormed things. They dominated the South and claimed much of the Midlands. Arctic Monkey’s success came in the North – very few victories further down the country. It showed a real division and, with Bastille winning an overall majority, how preferred and celebrated southern acts are.

IN THIS PHOTO: The Sheffield band, Arctic Monkeys

In terms of quality; Arctic Monkeys are superior but, because they are from outside London, they are not seen as fashionable, glamorous and worthy. Every phase of the musical moon reveals the splits there are between the North and South of the U.K. I was listening to Idris Elba talking about the artists nominated when he made a bit of a gaffe: he was quick to acknowledge how many great ‘English’ artists are on the list. Maybe he was right to point out the lack of Scottish, Welsh and Northern Irish names on the list – I am not sure that was his attention. In addition to their being this regional divide – it seems there is a lack of recognition when it comes to non-English musicians.

PHOTO CREDIT: Unsplash

How do political and current developments exacerbate the issues right now? London was one of the few parts of Britain that voted to remain in the E.U. Maybe the fact they are more international/European conscious makes them a more attractive proposition to put out to the world. Most parts of the U.K. voted to leave the E.U. but it is more pronounced in the North. Perhaps they see northern areas as unwilling to assimilate and embrace their European counterparts. It is hard seeing a political divide in the country but, alongside it, musicians are being compartmentalised and torn apart from one another. London is still seen as the wealthy elite and the heart of everything musical. We have this expectation and ideal anything from the North is poverty-prone, grubby and unspectacular. How many people will investigate a band from Sheffield or Middlesbrough?! Those areas are not as glamorous and there’s this perception there is nothing going on there.

The poverty of expectation is scaring new artists away. Many relocate to London to make sure they are visible and conscious. So many venues further up the country and closing and, with it, their musicians are fleeing. Many are remaining but have to work harder to get their names heard. I love areas like Manchester and feel the city is no weaker than it was a couple of decades ago. The sounds and ideals might have changed but there is immense quality there right now. Perhaps this is the feeling, because most of the bigger venues are in London, artists are not willing to travel down here. Locality problems and proximity concerns mean fewer artists have the budget to traipse to London for a single gig. The media is much keener promoting the capital’s musicians because they are able to perform locally a lot more frequently. I fear class plays into this sense of separation. There are far fewer working-class bands/artists making their way into the mainstream. I have mentioned Britpop and how many great working-class acts were on the scene.

Now, maybe tied to a lack of working-class journalists, there are far fewer artists who talk about the country in a real and relatable way. Not that every southern artist is middle-class but one normally looks to the North for those proletariat prophets. I am concerned it is becoming acceptable for any artist north of London to be seen as ‘Londoners’. Just because an area is not commercial or has not produced AS MANY great artists as London: does this mean we should overlook them and assume nothing good is going on there?! There is a desperate need for Rock heroes/heroines and something real in music. Wolf Alice, whilst based down this way is a great act who will go far, there are people looking up to the North for those who can push Rock and Indie forward – that is where the best and sharpest have resided, traditionally. Even if it were the case the best Rock artists are based in the South (which it isn’t); it is giving undue and disproportionate attention to one part of the country. There are fantastic clans and sounds coming from Manchester, Leeds and Sheffield.

IN THIS PHOTO: Kate Tempest

The Mercury Music Prize showed the panel were aware of the need to include multiple genres and sounds – they forgot to include many artists north of the capital. Blossoms, alt-J and Ed Sheeran were, I think, the only northern-born acts – I know Sheeran is based in London these days. There is a definite division and it isn’t a binary conflict, either. The Midlands, Wales and Scotland are worthy and fully-stocked. In fact; take away London and you’d still have an absolute army of incredible music – this is not being covered in the media as much as it should be. There is a definite need – in the same way we want racial and gender equality – to show parity regarding geography. As much as I love the sounds coming from London: there is no denying artists based outside the capital are…

IN THIS PHOTO: Mercury Music Prize-nominated band, Blossoms

WAITING to have their voices heard!

TRACK REVIEW: Bruce Mississippi Johnson - No Good

TRACK REVIEW:

 

Bruce Mississippi Johnson

 No Good

9.3/10

No Good is available via:

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

GENRES:

Blues; Soul

ORIGIN:

Mississippi, U.S.A.

RELEASE DATE:

March, 2017

The album, The Deal Baby, is available at:

https://open.spotify.com/album/0vg34Cx0f8NOmLLjhC8R7m

____________

THERE is so much variation in music that….

one day, I can look at a legendary, Mississippi-based Blues artist – the next, a London-based Pop/Electro duo. I will look at the energised and vivacious girls of MissDefiant tomorrow but, right now, an artist I have not come across before. I shall look at his music but, before I do, I wanted to address a few things. For one, I shall look at Blues and the genre in general; artists in Mississippi and the range of music one finds between states; relocation and how a life can evolve and change – a nod to those artists that seem to be the ‘complete package’. Whether one puts the Mississippi part if Bruce Johnson’s name or not (there are sites and sources that do), I am going to keep him as purely Bruce Mississippi Johnson. In my blog; there are few occasions when I get to look at Blues artists and what is happening in the scene. Johnson mixes other sounds but one hears an artist who sources from legends of the past. He has some soul in the sounds and, if one imagines a blend of Jackie Wilson and Al Green – with some of the Blues legends thrown in – you’d be somewhere near hitting the mark. I shall come to address influence soon but, right now, it seems important to look at Soul and Blues in modern music. There has been a lot of talk about various genres and their dominance in music. I hear a lot of Pop music out there and certain other genres are starting to make their names heard – Hip-Hop and Rap among them. I am a little late to the joys of Bruce Mississippi Johnson’s latest track but, in a way, it provides a chance to give it a proper listen and investigate it months down the line. The track arrived a few months ago but, owing to a heavy schedule, it is only now I have been able to tackle it. I feel genres like Soul and Blues rely on a sense of tease and build-up.

They do not need you to absorb it all at once and sit back and enjoy – come back and experience various parts of a song when you wish. That is the case with Johnson’s latest song. It is a piece that has romance and contrasts but has a depth and beauty that requires proper appreciation and involvement. Right now, there are not many known Soul and Blues artists playing in the U.K. One might bring in names like Sam Smith but he is an exception. Even he mixes in Pop and does not play it pure and unfettered. If you want to encounter an artist who keeps Blues and Soul pure then you have to dive deep into the depths of music. I feel certain genres get pushed down and not provided adequate oxygen. There is such a dependence on what we are fed and what is seen as ‘popular’. Jazz is another genre that struggles and, whilst there are few modern Jazz artists penning their own music, there are enough to intrigue and celebrate. The same can be said for Blues and Soul artists. Many feel they need to splice other sounds in so they are popularised and seen. It is a sad state when musicians feel they are excluded and overlooked. Music as we know it stems from Blues: Soul is the most passionate form of experience and has produced legends like Sam Cooke and Otis Redding. These artists, alongside Aretha Franklin and Marvin Gaye, could blend the ethics and stories of 1930s/1940s Blues with the raw and exhilarating rush of Soul. Bruce Mississippi Johnson would have heard these kind of musicians and been struck by their vivacity, electricity and passion. It is hard describing his sound but it does seem to sprinkle the Soul and Blues genres – bringing them into the modern age but not abandoning their roots. That authenticity and appreciation for older music is a gamble in a culture where we want modern and of-the-moment sounds. An otherworldly, older-days beauty can be heard in his music. I am concerned we neglect various genres because they are not seen as cool and happening.

There are some wonderful Blues artists who are modern and captivating and current. They bring the style to the current day but retain the beating heart of the genre. The same is true of Soul: a lot of wonderful artists that deserve attention. Check out artists like (American) Leon Bridges to get an idea of what is happening in Soul right now. It is interesting looking at how our current examples do not abandon the past and unite that with a contemporary and personal aspect. Many other genres seem to lose sight of where they came from and the musicians that brought it to their ears. Bruce Mississippi Johnson hails, unsurprisingly, from Mississippi and would have learned a lot from the state. Mississippi, one might assume, would be restricted to older sounds and Blues, perhaps. We often project that image but, in reality, it is a fulsome and eclectic part of the world. From Punk and Pop to Rock – artists like Dead Gaze and The Jag have connections to the state. Maybe areas such as New York and L.A. gain more press but American music cannot be refined to and defined by the big cities/states. If you want a better impression of the country and what makes it such a strong and fascinating musical nation then you need to travel further afield. Mississippi has always played a relevant role in American music and, from past decades to the present time, produced some stunning musicians. Robert Johnson, the legendary Blues pioneer, hailed from Mississippi. Cities like Jackson are revealing some hot young bands and it seems a shame the U.S. media seems to limit its imagination to more obvious parts of the nation. Perhaps it is not a shock Bruce Mississippi Johnson has come to London – where there are more chances – but I have been doing some research into Mississippi music and there is a great mix. There are a lot of cover bands but, of the original artists, there are some terrific modern/mainstream hopes and those who retain the spirit of the state.

Holy Springs’ Cedric Burnside is the grandson of the Delta juke-joint Blues legends R.L. Burnside. His music incorporates Rap and Pop but there is something pure and dedicated about Burnside. He retains the purity of his grandfather and keeps his spirit alive through sensationally immersive tracks. Dead Gaze (with ties to Oxford) have released a series of Psychedelic/lo-fi songs through the years and have that D.I.Y. ethic. They contrast artists like R.L. Burnside and are among the most exciting and promising acts from Mississippi. The Jag, like Burnside, is keen to preserve the old styles and ways of Mississippi. They formed in 2002 and, since then, the Jackson group have gone through various line-ups and stages. Restarting in 2011; their music has a retro Southern sound that brings in Psychedelia and experimentation together with good ol’ shades of the state. One looks at the biggest current artists of Mississippi and, looks-wise, there are few that contradict the stereotypes we have. Perhaps that is a good thing but Rosco Bandana are a septet that started their life in a tobacco store – when Jason Sanford went in to buy cigarettes (defying his Christian upbringing). The clerk there mentioned names like Iron and Wire and, when Sanford started jamming with Barry Pribyl – things got kicking and the project started its life. It is a very old-school, Southern vibe of America but one that has created a fantastic band. From that Gulfport collective to a stripped duo from Jackson. Spacewolf, as we might perceive certain folk from Mississippi, are not decked in finery and sartorial elegance. The boys prefer a T-shirt and recorded their 2010 eponymous debut to modest acclaim. The guys have, in the past, recorded through a homemade microphone – built from an N.Y.C. payphone receiver and beer can – and have that rustic, rural charm. Jackson’s The Weeks came together in 2006 are an Indie-Rock band that unite Southern Rock and Grunge. They signed to Kings of Leon’s Serpent and Snake Records and have been making an impression in the state since then. It appears there is a culture and scene worth digging – Bruce Mississippi Johnson would have learned a lot whilst there.

He is in London now and, far from assimilating too wholly and abandoning where he came from, he is adding his unique voice to a city that lacks proficient knowledge of Soul and Blues. London seems to current and limited. That seems strange for a massive city but it is still the case that minor genres are pushed to the outside. The record labels and big radio stations spend very little time uncovering the finest artists in Blues and Soul. I am disappointed this is the case but I suppose areas like New York would be the same - I imagine they are more concerned with the cool and current. Johnson has featured in magazines such as Soul Bag and has a loyal following here, He has appeared on BBC radio and received a lot of love from the people here. I worry we are too beholden to what is heard in the charts and not making inroads to other styles of music. It is a shame we consider Blues and Soul to be part of the past – with very little contemporary importance. Music has only come this far because of those genres so we should not be ignorant of their place and history. London is a great place for Johnson to play because he has more opportunity to shine. Great venues, various radio stations and big crowds can be found in the capital. If one wants to experience music that has more depth and meaning than most of the mainstream’s ‘best’ – they could do far worse than spend some time with Bruce Mississippi Johnson. He has brought a lot from Mississippi and learned a great deal when there. It would not have been practical to remain there. Fewer opportunities for him to get his music to the masses. I guess the same is true of the U.K. and U.S. to an extent: media and the influential will allows gravitate to the city. Perhaps areas like New York were not a good fit and did not give the same excitement and comfort as London. I know for a fact there are many wonderful musicians in London who have a real connection with Blues and Soul.

IN THIS PHOTO: Johnson alongside Gaby Roslin

Although quite a few integrate them into other genres – Johnson is someone who is capable of adapting and camouflaging other genres into his sound. I love how Johnson keeps his music pure and uncompromising. He would have been raised on a diet of those Blues legends and the Soul kings and queens. He has his ear to the ground and aware of the modern best and biggest – a concoction of the classic and current. Bruce Mississippi Johnson has been speaking to London stations and ensuring songs like No Good – and his album, The Deal Baby – have struck new ears. One need only look at him to know there are few contemporaries. He cuts an imposing figure but is lovable and down-to-earth. He is easy to chat to but, at the same time, I would not pick a fight with him. As I will talk about; he has a marine background and is someone who has had a vivid time of things. That is not to say he is a brawler and fighter: the man was in the forces and had ia past that differs to where he is now. I am not explaining that well but the fact is Johnson is a fascinating figure that stands out from the boring and blend alternatives. There is a lot about him that fits into the ethos and history of Blues. A lot of the genre’s key figures has unconventional and interesting pasts. A sense of history, legacy and richness stems from the blood and bones of Johnson. He has a natural home here and a lot more room to manoeuvre and campaign. I know he will go from strength-to-strength because there is a rarity and need for his music. London still focuses too much on mainstream tastes: acts like Bruce Mississippi Johnson are needed n order to add colour and contrast to the masses. We do not have many like him and there is a distinct need for his music. I am a fan of Blues and Soul and feel there is a need to assimilate it into the London scene. What is fascinating about Johnson’s role in London is his humanity and Southern manners.

That might seem like a strange suggestion but there is something compassionate and dignified about Johnson. Few London artists have such a courage, heart and sense of humanity. That could be perceived as cruel and stereotyping but Johnson has been involved raising awareness and compassion for the victims of Grenfell. When the fire hit – and lives were lost – he was among many who spoke up and took action. With fellow artist, Omar, he raised money for the victims and was eager to have his say. That is admiral because, in my view, more musicians needed to get involved. The fact he is American – and has not been in London THAT many years – means he could have sat back and has a rather casual attitude to things. That is not how he is raised and one can trace his upbringing and sense of community to the fact he was deeply involved and passionate – raising funds and speaking out against the atrocities. I know there are many compassionate artists in London but few that have the same qualities as Johnson. A rare specimen that brings together his experiences and various travels into a fascinating and enigmatic personality. London is doing him a lot of good and he is injecting U.S. Blues and Soul into a scene that desperately needs it. From his early years in the Deep South; Johnson began life singing at his grandfather’s church. He gained a love and knowledge of Soul and Gospel music and found a sense of purity and love in the songs he experienced there. The rouse, spirit and togetherness in the church resonated and enforced his following years. Complimented with exposure to Al Green, Jackie Wilson and Gil Scott-Heron – Johnson was introduced to a world of wonderful and classic Soul/Blues greats. The stocky and tall U.S. Marine cuts a dashing figure but, with that tenderness and soulfulness, mixed it into the blend and became a rounded and tantalising personality. Not many have the same contrast and attributes. After Johnson left the Marines; he travelled to Paris and involved himself in the Parisian Jazz scene. There, he would have learnt new crafts and disciplines.

It opened his eyes to the history and range of Jazz. I am not sure whether America has a strong Jazz tradition but I know France has a thriving and textured scene. One can look at Johnson and hear such a rich and varied voice and know Paris played a big part. Hearing the great Jazz artists there – fusing that with his church education and Soul upbringing – and there are so many dynamics to his music. We have U.S. Blues and Soul with Paris Jazz; London contemporaries artists and all the styles the capital boasts. Whilst in Paris; Johnson collaborated with the likes of Big Joe Turner’s Blues Caravan and helped solidify is music; cut his teeth with new acts and imbue more shades into his melting pot. All of these experiences and hook-ups can be detected in his album, The Deal Baby. It has been quite a background and upbringing for Bruce Mississippi Johnson. He carries his past with him but is involved in London and getting his music to the people here. The thing that amazes me about him – among many – is the way he has blending into London life and connected with musicians/D.J.s here. He has spoken with Rabin Goslin and performed on some of our local stations. Johnson seems to have a connection with the city and one imagines a raft of dates will come – the chance to bring his music to the people. I shall move on but feel there is a lot to recommend and love about Johnson. He brings that fame and exposure he found in Paris and is ensuring our modern scene is no stranger to the joys and pleasures of Blues – Soul power and the ecumenical elements of the church. I was excited featuring Johnson because he is someone that can genuinely change mainstream music and ensure genres like Soul and Blues are not seen as niche and minor. The sheer wonder and gravitas one discovers in his voice has already made an impact here. That is likely to strengthen and augment as he makes his name know in London. Britain needs talent like him so, because of that, a song such as No Good is essential.

No Good’s introduction brings in romantic and swirling organs to give the song a real kick and sense of imagination. In terms of sounds; I am reminded of Al Green’s Love and Happiness. It has that sense of drama and captivation about it. Johnson’s coda is a little calmer but it seems to carry a weight of sadness and contemplation. The song, when I see the first few seconds of its video, seems to look at romantic break-up and reckoning after the wreckage. Johnson has a ring in his hand – whether an engagement ring or wedding – and mournfully looks into the distance. Perhaps the song’s title refers to a love that has gone sour of the fact he is no good – maybe a bit dishonest or not the right person for the girl. The sweetheart took what he had and took advantage of his schoolboy crush. There was a sense of instant infatuation and trust. The hero wanted the romance to work and gave his heart to it. There was no expectation and rules: a man who was keen to give his soul and not play any games. It sees the girl has taken him for a fool and now, rather vividly, the hero is hanging out to dry. His teeth dangle from a tree – as Johnson sings with regret – and love has run cold. Adding a new dynamic and lyrical perspective to shattered love – many would forgive him for painting such bold and stark pictures. He was in a relationship and did not think anything would go wrong. There is “Too many damn confusion” and our hero has thrown everything away. He took reason out of the rhyme and was rather struck by an unexpected torrent. Our man is assessing everything and wondering what happened. Maybe there was too much trust from him and these of being caught up in the rush of passion. I am not sure who broke off the relationship but it seems like, from the start, things might have been on an uneven footing. Now, he looks at the emptiness of the bed and where things started to take a bad turn.

The band, backing Johnson, offering rushing keys and sympathetic support. There is a teasing, hissing beat and a sense of funkiness that provides relief against lyrics of solemnness and blame. The hero lets his voice soothe and rise: he has a wonderful chocolate-like vocal that gets into the heart and makes it skip a beat. Johnson has a great authority of the Blues and Soul so it is no surprise his vocal has a connection to past masters. I am not sure whether he directly sources from any particular singer but I hear Al Green and Gil Scott-Hero in the blend. It is whiskey-sharp but has that caramel warmth running through its marrow. Few artists are able to project such a curious combination. It gives, of course, the words that extra dynamic and authority. Our boy feels he is no good for anyone but himself. That might seem rash considering, maybe, the girl is partly to blame. He cannot be judged for giving his all to the relationship and trusting her implicitly. Maybe he rushed ahead and, the fact he has a wedding ring in his palm, he was eager to tie the knot and set up a home. She might have said ‘yes’ but was caught up in the moment. This might be a part for a Johnson: perhaps a particular love that was hot and special. It is worrying hearing Jonson look at the broken shards and put the blame on himself. Few artists cast the accusation inwards – this is something many could learn from. There is contrition and maturity but he might be putting too much weight on his own shoulders. The song’s video sees our hero caress and kiss a blonde woman whilst, in other scenes, reduce a dark-haired woman to tears. The lyrics say how Johnson’s past life was tough – maybe this is an excuse for the catting about and cheating. Revelations come in and maybe there is that inability to find joy and completion with one woman.

IN THIS PHOTO: Bruce, in Paris, around 1984/1985

He may have got into one relationship and found he was not fulfilled. A sexual desire and eagerness to sow his wild oats mean a mess has landed at his feet. Confusion reigned and, as he confused about his wife and children, he ruined a relationship. I am not sure whether he was unhappy in a relationship and should have got out – the marriage I assume – and been honest from the start. If he has; he may have been able to find time and transition into a new love. Instead, he rushed in and overlapped. It caught up with him and that need to confess and unburden – going back to his church upbringing – means he has damaged what he has. He looks around and wonders where all that confusion stemmed from. Perhaps he was bored in a marriage but was not brave enough to admit that. I feel Johnson is better on his own and cannot balance the realities and demands of a relationship. That need to find time away and assess what he wants means there is an opportunity for introspection and evaluation. I know it can be challenging staying in a committed relationship but Johnson has made a mistake and is up-front about it. It seems things are not as they appeared. The beats continue and the keys drive and create an infectious spirit. When Johnson changes to a speaking section – transition from sung to narrating – things become clearer. When he was having dinner with his girl across town; she started to mumble words and, eventually, admitted she was seeing someone else. Johnson’s low and deep voice means the words hit harder. To be fair; the break-up was his own making. As he was eating his dinner, he could see his wife enter the restaurant. The girl left and he was left with the bill – along with a lot of heartache and regret. He cannot blame anyone else for the results as he has been selfish and tried to have his cake and eat it. The rarity of finding an artist that is honest and admits they have made a mistake – that is quite humbling. I am not sure why the infidelity occurred but one feels Johnson was in a tough place and looking for as much affection and company as possible. He went about it the wrong way but would have learned a tough and valuable lesson. It is one he will move on from and grow wiser from it. I am not sure whether he is in a happy love not but is clear No Good documents a time when things were hard for him. Let’s not judge the man and the story but commend and celebrate a song that is a fine and wondrous mix of old-style Soul and Blues. An intoxicating brew that demands the listener offers their full and frank attention to it.

I would usually kick an artist arse who does not provide that many good and recent photos – I feel Johnson could kick my arse fairly readily! – but I have let it slide when it comes to the Mississippi-born artist. He is someone whose music is required in 2017 and, because of that, he gained a spot on the blog. That is not saying I have a strict code of conduct but I am so visually-minded I am turning people away at the door. Bruce Mississippi Johnson is a person who has such a sense of compassion and awareness. He has already lent his voice to the fundraising for Grenfell victims. Seeing as London as experienced another terrorist attack; one wonders whether Johnson felt that hard and how he reacted to that. The man puts his heart to the people and, wherever he is based, connects with the people. Maybe that is to his church raising and the way a Mississippi child would have been brought up. The sounds of Soul greats would have given the songwriter a sense of pride, compassion and community. Based in London; not only does Johnson have a great city where he can assimilate different sounds and genres – there is a rare opportunity to bring his brand of humanity and love to the people here. I know there are some kind-hearted London artists – it sounds like they are all cold and heartless – but it is rare finding someone like Bruce Mississippi Johnson. I am keen to see where he goes from here and what dates he has coming up. He has recently played the 606 Club in London and will be looking for new gigs. I am not sure whether he has played spots like Ronnie Scott’s and that esteemed space. London has quite a few great Jazz bars and venues for Johnson to get his music heard – wonderful small spaces where he can connect with his kind of crowd. To be fair; it is not only Jazz clubs where Johnson is celebrated.

I know 2018 will be a big year for him because, not only does he have a great group of fans behind him, but is starting to get his name more out there. He has played on and chatted to London D.J.s and seeing his fanbase build. I know Soul and Blues are genres are not popularised and prolific in the mainstream but that, I hope, will change. He has played at The Blues Kitchen (Shoreditch) and making his name known across the capital. When his album was released a few months back; Johnson performed at a range of different venues and excited the crowds. That has died down a bit but he is still performing across London. I wonder if there are dates coming that take in venues wider afield. I know Manchester is a city Johnson could seduce and find many opportunities in. There are so many great spots and spaces he could bring his music to. One cannot listen to Bruce Mississippi Johnson’s The Deal Baby and assume it is going to be a replica of Robert Johnson, Al Green – and the artists he was raised on. There is modernity and contemporary relevance to his music. One gets a great blast of modern production that unifies with the embers of Soul/Blues greats. Johnson’s rich and commanding voice means every song gets into the head and strikes the heart. Let us end things shortly but I am fascinated when American artists base themselves here and come from unfamiliar background. The fact Johnson has spent time in Paris and gained a name there – will he keep moving and go to other parts of the world?! I think Europe is the best place for him as there is a lot of affection and knowledge. In terms of historiy; artists have always been able to find themselves celebrated and acknowledged when playing genres like Jazz, Soul and Blues. American does have a connection with that type of music but is more concerned with other areas of music.

London is a vibrant and ever-changing city that is open to suggestions and progression. The capital is too hooked on the mainstream and media-pushed artists. The eyes and ears are never that wide when it comes to other parts of the music landscape. Let’s leave things here but I wanted to end by suggesting everyone familiarises themselves with Bruce Mississippi Johnson and his music. He has had a wonderfully interesting past and changed since his early recordings. He carries his idols and upbringing but he integrates sounds and artists he heard on the road into his fantastic songs. No Good is his recent single and one I was eager to get down to. It has an addictiveness that means you keep coming back to it and discovering new joys every time. I know Johnson will go a long way and there is plenty more to come from here. Whether there are more tour dates in 2017 – or is planning a new assault next year – I am not sure. It is a great time for the U.S. songwriter and The Deal Baby. Get your ears around a unique artist that brings something fresh to the London scene. He has the potential to hook and enthral large areas of the U.K. and get people turned onto classic Soul, Blues and Jazz. A terrific artist with many more years ahead; ensure you make Bruce Mississippi Johnson part of…

YOUR regular rotation.

_______

Follow Bruce Mississippi Johnson

Official:

https://www.brucemississippijohnson.com/

Twitter:

https://twitter.com/bmissippij

Facebook:

https://www.facebook.com/brucemississippijohnsonmusic

Instagram:

https://www.instagram.com/bmissippij/

YouTube:

https://www.youtube.com/channel/UCHk3AU9hLWBvsgfsSNQJCqw

BandCamp:

https://brucemississippijohnson.bandcamp.com/

SoundCloud:

https://soundcloud.com/brucemississippijohnson

INTERVIEW: Jamie Mathias

INTERVIEW:

 Jamie Mathias

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WHILST reading Jamie Mathias’ answers…

it occurred to me he must be among the hungriest artists around. He has announced the release of his album, The Great Escape LP, and has been working hard since his E.P. back in 2015. Songs are compelled by the good and bad aspects of love: the capricious nature of life and the experience common to us all. Started a Fire is the album's lead-off single and one I was keen to know more about. Mathias talks about that and his creative inner-workings; which of the album’s thirteen tracks stick hardest in the mind – and what we can expect from the L.P. in general.

He chats about the rest of 2017 and what he is up to; the artists/albums that impacted him hardest – and the reason music arrived in his life.

________

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

Hey! I’m great, thank you…how are you?

This week has been busy as ever: meetings in London, studio-work and promo for the album!

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

Of course!

So…I am a mid-twenties (teenager at heart) singer-songwriter. If you had to put me into a genre I’d say 'Pop' - but it’s a lot more diverse than that. I like to touch upon a few different styles and I rap a bit, too. 

The Great Escape LP is your forthcoming release. What can you tell me about the themes that compelled the songs?

So...the album was initially intended to be an E.P. - that comprised songs that I had written about my girlfriend at the time which covered various stages in the relationship (not just the good ones). It transformed as time went on and includes tracks about my struggles as an artist and other relationships.

Apart from If Only, they are all written from personal experience. Each track tells a story about exactly where I was or how I was feeling at the particular moment it was written. I feel that’s quite important for myself personally because, once I've got something off my chest through writing, I feel much better about it - and I like to be able to look back and be reminded of where I used to be and how things have changed.

Was it quite a hard process recording or a lot of fun? How long did it take to record the album?

I wouldn’t necessarily say recording was a "hard process" - It was a long process though, for sure.

I recorded the bulk of the album with a producer/friend who has other commitments - so it wasn’t just something I could spend three or four-weeks-solid in the studio with him. We had the odd day here and there and then I’d sit on a track for ages and go back with ideas and things that needed changing. I would say my producers did most of the hard work. Once the songs were written; it was down to them to make them come alive.

We did have a load of fun, for sure, and I’d say it probably took around a year to make in total - but that was on-and-off.

There are thirteen tracks on the album. Which ones, would you say, are most personal and stand out in your mind?

The majority of them are personal...however; I'd say Great Escape and Started a Fire are probably the most personal - as they were written when I was not in a good place, mentally, and I poured a lot of my heart out (in those two tracks).

If Only is a very emotional song but I had actually written that for someone – who, very sadly, lost their significant other to brain-cancer at a young age. The plan for that is to release it separately as a single - and split the proceeds between Cancer Research (UK) and the hospice that treated him.

Started a Fire, the lead single, is out in the ether. What was it about the song that made you release it first? What inspired you to write that track?

I think Started a Fire needed to be released first as it’s the song that detaches me from the relationship I was in - and what I needed to get out before I could move on from there. The next single (putting aside the charity one) will be much happier.

The song is about feeling like I had bitten off more than I could chew with the lady I was with; feeling powerless and defeated.

It boasts a memorable and impressive video. Do you like filming videos and how important is the visual aspect of music to you?

Thank you! I’m sure the director will be thrilled to hear that.

I absolutely love being part of the video process: the visual aspect is vital to me. We like to create something that’s thought-provoking and something with an actual story to follow. The videos don’t necessarily follow the exact meaning of the song - but it’s usually an extension of this and a visual representation of my director Jessie’s interpretation.

Who are the artists you grew up listening to? Was music a big part of your childhood?

I was born in the 1990s and Oasis were always on in my house. They’re still an absolutely huge part of my life and there’s never a party where they’re not played at. Michael Jackson, in terms of artistry, is an absolute idol of mine - and gutted I never got to see him live. I’ve always loved listening to music but I can’t say it was a big part of my childhood from a playing perspective. I was a late bloomer into music - as I didn’t start singing, or even know I could, until I was sixteen.

There is richness and seduction in your vocals.  Do you work hard on your voice or is it a result of the musicians that have influenced you along the way?

Thank you very much. I don’t think anyone has ever said that to me before.

I work hard in terms of singing A LOT…but I've never been technically trained or even studied techniques - I’ve just found my own way and developed it.

Other musicians, I’m sure, have subconsciously influenced the way that I sing.

How does music come together for you? Do you set time aside to write or do songs strike when you least expect?

Writing songs, for me, is usually something that comes very naturall - especially lyrics. That being said; it’s always best when I’m in the mood for it and there’s something I need to get off my chest. (Not always negative lyrics). Sometimes, when something or someone makes me feel a particular emotion so strongly, I can’t make sense of it properly until I have it written down in a song.

I prefer that kind of songwriting to going in the studio with a blank canvas - and trying to think of something whilst uninspired.

After the album is released, what plans do you have? Will you get a chance to rest before the end of the year?!

I plan to promote it as much as possible and then gear things up towards a tour in January. I have a lot of meetings and a lot of demands from other people to take care of - so rest isn’t really going to be an option.

I’m doing something I love, though, so I can’t complain!

What tour dates do you have coming up?

The only confirmed show is my album-launch on the 29th September at Patterns (in Brighton). I just wanted to throw something to say thank you and to give people the opportunity to hear the new songs live for the first time. There will be a tour planned for January - but I can’t announce anything until it’s confirmed…

IN THIS PHOTO: Ren

Who are new acts you recommend we check out?

My favourite artists at the moment are two friends of mine…

The first is called Ren. He’s had a career plagued by illness - but he looks to be on the mend now and he is incredible. He’s a multi-instrumentalist, singer; songwriter, producer and rapper. His wordplay is ridiculous and his first album he did completely on his own - so make sure you check out Freckled Angels.

The other is Dom Kent. He is an exceptional songwriter and guitarist and I've watched him develop from a thirteen-year-old up until now. He’s not the best with social media but his music is amazing - and I’m really looking forward to seeing him bring out a proper release.

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

Definitely, Maybe, The Marshall Mathers LP and Whatever People Say I Am, That’s What I’m Not

They’re three absolutely massive records I know front-to-back and they make you feel something - which is exactly what music should do.

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

I’m not sure I'm the most qualified person to be answering this question, to be honest, but the main thing I would say is to keep writing and constantly promote yourself. Once you put yourself in everyone’s eye-line; you don’t want to drop out of it.

In an ideal world; great music would speak for itself - but it’s what you do after the records have been made that is equally, or perhaps even more, important.

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). 

Oasis – Rock ‘N’ Roll Star

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Follow Jamie Mathias

Twitter:

https://twitter.com/JamieMathias?lang=en

Facebook:

https://www.facebook.com/jamiemathiasmusicc/

Instagram:

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

SoundCloud:

https://soundcloud.com/jamiemathiasmusic

YouTube:

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

Spotify:

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

INTERVIEW: Hill

INTERVIEW:

 Hill

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MY detox and time away from Canadian music…

has lasted all but a few days. I have fallen off the wagon and diving right into the colourful and warm waters of Hill. I speak with the fantastic Edmonton songwriter about the local scene and how music came into her life. She talks about her new song, On Camera – and what it was like working with Caitlin Cronenberg on it. I get a real insight into her songwriting and creative process; what the future has in store and the music that inspires (Hill).

Hill has an album approaching so she discusses that and whether a U.K. stop-off is a possibility; how the rest of the year is looking – and those great local artists we need to affiliate our ears with!

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

Hi! It's been good: it's been full of music.

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

I'm a Canadian writer, producer and multi-instrumentalist who loves Mexican beers and making dark, moody; intense Electronic music with thick vocals.

Talk to me about the song, On Camera. What is the song about and can you remember how it came together?

The song is about B.D.S.M., essentially.

I was in Toronto working with my buddy Mike Schlosser (my co-producer) and I was like: "Ok, I wanna go here. I wanna go this far. Are you uncomfortable?" (and he's not that type). He just makes sh*t work and gives the writer, space and helpful ideas.

I like that it ended up poetic and yet still conversational enough that, to me, it feels personal.

Its video was directed by Caitlin Cronenberg. How did you come to meet her and what was it like working on the video?

I met her through my manager at GLASSLOVES.

Caitlin is the kind of cool where she has no idea how much of a badass she is. She was so relaxed to work with and her little dude (her son) was there hanging with us. Some friends came by and brought their dog...it was easily the most relaxed, and yet, simultaneously productive set I've been on.

She's very open-minded and insanely talented.

PHOTO CREDIT: XoVideo

Was it as fun to shoot the video and who came up with the concept?

Arthouse and Caitlin came up with the details of the treatment. It was very fun and pretty quick. The treatment is meant to be a subtle nod to the lyric.

I believe you have an album due next year. Can you tell me anything about its songs and themes you explore?

Yes. It's an assortment of songs I've made over the last couple of years - because so much has changed in my life and taste and career that I've needed to re-evaluate my sound a lot. It's ended up being a lot more intimate and intense than it was originally bound to be, and I like that. Most of the content is very personal, actually: a lot of it came out of a bad breakup I experienced in the summer of 2016. I was a bit of a mess.

It turned out to be a real metamorphosis for me - dealing with it while being surrounded by very select co-creatives and songwriting my way to the other side.

Give It a Rest is the title-track and was picked up for rotation on KCRW (in Los Angeles). Was that quite humbling and does the fact your music is played on big stations give you a lot of drive and encouragement?

Yes! Chris at KCRW has been amazing. He is very responsive and supportive. That was very inspiring to me as an artist - who's in for the long-haul of building a career.

I believe you have experience as a top-line writer. How did you get into that side of music and is it something you enjoy?

My work as a top-line writer came about randomly, through a few people I didn't even know, passing my music around.

I do enjoy it and it has made me a much stronger writer in a very short time.

Edmonton, Canada is your base. What is the music scene like there and are there a lot of great new artists coming through?

So many.

I can't begin to express my love for the Edmonton music scene. It is so positive and inclusive. There is unbelievable talent in my hometown. I’m excited to be working with some of them.

PHOTO CREDIT: XoVideo

Can you tell me how music came into your life and was it a big part of your young life?

I began singing when I was eight and spent a lot of time in the small world of vocalists coming up in Edmonton. I later discovered the band-scene and then moved to Toronto for college where I really dug up what it meant for me to participate in a music scene - and what kind of role I wanted.

All my growth from the time I started has been through my peers.

Who were the artists that made the biggest impression when you were growing up?

That's hard to say because I mostly listened to top-40 radio. I just grew up singing along to the greats – Whitney (Houston) and Christina (Aguilera); Mariah (Carey) and Céline (Dion). I feel like I didn’t discover my personal musical taste until my last year in college.

I just absorbed everything.

What tour dates do you guys have coming up? Any plans on coming to the U.K.?

I would love to come to the U.K. as it's where most of my current favourite artists are out of (James Blake and FKA Twigs, for example).

How does the rest of 2017 look? How will you be spending the next few months?

I'm spending a lot of time Stateside and releasing one or two more singles in preparation for the album drop. I've got a show in my hometown (on Oct 6th) with Tei Shi, ggoolldd - and U.S. girls that I'm stoked for.

 IN THIS PHOTO: Lyra Brown/PHOTO CREDIT: @meaghan.baxter

Who are new acts you recommend we check out?

(See above…)

…as well as Daniel Caesar and Kendal Thompson (both from Toronto); Darren Frank, Lyra Brown and Scenic Route to Alaska (from Edmonton).

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

This is a big question….ok.

1. James Blake - Overgrown

2. Frank Ocean - Channel Orange

3. BANKS' London E.P.

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

Pay attention to two things: being great at your craft and being a good human. Do the work from a place of joy or passion - and be committed to making dope sh*t.

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).

So Am I - Ty Dolla $ign (ft. Damian Marley & Skrillex)

This is my jam right now.

__________

Follow Hill

 Official:

http://www.iamhill.com/

Twitter:

https://twitter.com/i_am_hill

Facebook:

https://www.facebook.com/iam.hill.official/

Instagram:

https://www.instagram.com/i_am_hill/

SoundCloud:

https://soundcloud.com/i_am_hill

YouTube:

https://www.youtube.com/channel/UCCT3uQWSJ4Ct5ETdx-bYT6g

Spotify:

https://open.spotify.com/artist/0viCAOrL8Oxc1CCdphJFrI

INTERVIEW: The Dharma Jerks

INTERVIEW:

 The Dharma Jerks

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I cannot remember the last time I interviewed…

a French artist but, thinking back, it must have been Jazz songwriter, Ellene Masri. She resides in Las Vegas, now, so there are no French-based artists on my site. The Dharma Jerks have arrived and proves what a sense of the exciting, eccentric and wonderful music is coming out of Paris – the boys are based in the capital and revelling in its opportunities.

I speak with the chaps about the video for their song, Mary Anna; whether there is any more material coming up and how The Dharma Jerks came to be. They look ahead and state whether they are coming to the U.K. – and how their week has been.

________

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

Physically? Well! Psychologically…?

As an Englishman...you may not know there’s a season before fall: here, it’s never a good time to change season.

But, our E.P. release is coming and we are pretty excited!

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

We are four guys living in Paris – we have played together for more than a year. We play Garage and Psychedelic Rock: music to jump around and being fuc*ed up (to).

Nothing particular…

Talk to me about your new single, Mary Anna. Is it inspired by a particular girl? What is the story behind the song?

We prefer not to smear a lady in public (B.T.W…was she a lady?)

Mary Anna, I know, is taken from a forthcoming E.P. What can you reveal about that and the type of songs that will be included?

It’s our first E.P.; recorded in excellent conditions - which is rare for a first shot.

We recorded it live - which means we actually play together in the record. It’s tough but it’s the best way we found to communicate the energy we wanted to share. There are six tracks.

They represent most parts of us: naive Pop, obsessive psychedelism (sic) and violence.

I want to know about the band-name, The Dharma Jerks. Does it have a Jack Kerouac link (and The Dharma Bums)?

Well done for the reference - people don’t always catch it! It’s exactly about The Dharma Bums: we just replaced ‘Jerks’ for ‘Bums’.  

The band is based in Paris. What is the city like for new music? What is the scene like there?

There’s huge energy in Paris in term of gigs and music. Every night, a lot of great people and venues organise events.

The city, and France, has faced a lot of threats and terrorism this year. How has that affected The Dharma Jerks and do you react to politics and how the country is struck?

We don’t really put a politic meaning in what we do...

You may answer that question and say playing music is, of course, somehow politic - but we are just four Jerks playing music very loud.

Can you remember how you all got together? What was it about you guys that meant you set up a band together?

Imagine going on a Tinder date and she becomes your girlfriend…

The drummer answered an ad from Bastien and Aurelien - who were already playing together at home in an early version of The Dharma Jerks. He then came with a friend playing guitar.

There no doubt it has worked - because we were drunk the first time we played a gig together.

You say, on your website, you play music loud so you don’t need to talk to one another. Do you guys hang a lot outside of music? What is the bond like in the band?

Relationships are simple between us.

When we need to discuss any subject; everyone brings his own knife. So, we mostly play together and hang out when we tour.

Your music can be described as Garage-Rock. Who are the artists that inspired all of you? Did you all grow up around heavy and intense music – or was it quite a diverse education?

The band almost split discussing this question...

Next, please!

What tour dates do you guys have coming up?

We’ll be touring in December, January (2018) and February in France: Paris, Bordeaux; Poitiers (and more T.B.C. soon).

Follow our Facebook page!

Is there any chance the band will come to the U.K.?!

We are definitely looking for it!

Glad you are ok for us to use your flat when we arrive - that’s so great of you, Sam!

Who are new acts you recommend we check out?

Nope.

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

Louis (Drums): The Who - Who’s Next

I’ve learned to play drums in order to play these drums parts.

Matthieu (Guitar/Clavier): Rival Sons - EP

Because I can’t get tired of this.

Bastien (Vocals/Guitar): Foxygen - We Are the 21st Century Ambassadors of Peace & Magic

Maybe not the one that means the most (there are too many); not the biggest sound, either, but definitely one of the most recent slaps in my face. A summary of the ’70s, carefully applied.

Aurélien (Bass): The Velvet Underground - Loaded

Raw, simple - but so brilliant.

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

Never listen to the advice of a band who hasn’t yet released their first E.P.

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).

Take on Me - a-ha

Drugs Drugs Drugs – Tonetta

You Shouldn’t Stick Around - Foggy Tapes

Oh! Sweet Nuthin’ - The Velvet Underground 

__________

Follow The Dharma Jerks

 Facebook:

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Pictaram:

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INTERVIEW: Josephine Oniyama

INTERVIEW:

 Josephine Oniyama

________

A soulful chanteuse from Manchester…

Josephine Oniyama has released the lead-off single, 'Til You – it will appear on her as-yet-untitled new album. I speak with her about the song and how it all came together; what the music scene is like in Manchester – and how Oniyama got into music in the first place. She talks about appearing on Jools Holland’s Later… and how her music has developed since her album, Portrait.

I find out more about the twelve-year-old songwriter who first connected with the art and kindled that passion; picking up the guitar her mum bought her and immersing herself in music. Oniyama talks about some of the musicians who have helped bring her songs to life and plans for the future.

________

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

Hi, I’m fine thanks. Been a nice week

The new song, 'Til You, has had some wonderful feedback - and the weather’s not too shabby.

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

I’m from Manchester. I did lots of touring with my album, Portrait, throughout 2013/'14. The album was the culmination of many years of writing and performing (have a listen).

It’s great, now, to be releasing some new music though - and gearing up towards a new album.

I believe an album will follow. Do you have a title yet and ideas for songs – or is it coming together gradually?

I’ve been writing steadily - pretty much since finishing touring Portrait - so the songs are just waiting to be produced, finished off etc. Not sure what songs will be on there yet though but, as soon as that’s narrowed-down, I’m sure a title will suggest itself...

I like to let it depend on how the collection of songs works as a series.

'Til You follows your critically-lauded album, Portrait. There were some big collaborators on that record. How did you come to meet them all and what was it like having so many unique artists on your record?

Well. Most came about through suggestions from management etc. as I didn’t really know anyone in the industry before making Portrait - I was just a gigging musician, so I needed introductions. I met some great people, producers; songwriters etc. like Ed Harcourt, Leo Abrahams and Crispin Hunt.

They all helped to make the album what it was.

Following the album’s release; you played at some great festivals and performed on Jools Holland’s Later… What was your most-cherished memory from that time?

It was all a bit of a blur really - but it had taken many years to get Portrait out and I was just really proud of the release and the way it turned out. So, I suppose the highlight was just having the album in my hands - and seeing it on the shelves and online as a finished thing.

Nothing can really top that...

What is inspiring your songwriting right now and how would you say your work has changed since your debut-album stage?

I’ve learned a lot since the last album and, with songs, I’m just trying to keep it simple and deliver a straightforward sentiment. I understand the importance of melody much more than I used to (also) - so I’m always listening out for great melodies and thinking ‘I wish I wrote that’.

But, hopefully, those things inspire something new in me.

I understand your music passion began at the age of twelve. Was there a single moment that began that love for music?

Hmm…not really.

I think that music was always something that was there, from Day One. I got my first guitar around that age - so I had some means of channelling what was probably already there.

Manchester is your home. How important is the city and do the people give you strength and confidence to play and dream?

I think home is important no matter what you do: it’s a place that’s always familiar no matter how much things change when you’re away. The more I travel, the more I realise how unique Manchester is for nurturing dreams – and not judging people who dream. You’re very much allowed to have ideas above your station in Manchester - it’s not always the case in other places.

What else do you do outside of music? Do you have time to explore other avenues and passions?

Luckily, the collaborations and projects I’ve been involved in over the past three years have been really incredible - so they have allowed me to explore some of my other passions. I wrote two live film-scores; collaborated with Travis on their last album - and wrote and toured with Matthew Halsall and his Gondwana Orchestra.

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

Nothing to announce right now but I’m in the process of working out the schedule for the next few months…so keep an eye on my website for announcements.

PHOTO CREDIT: Natalie McCool

Who are new acts you recommend we check out?

Check out Shunya and Natalie McCool.

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

Van Morrison - Astral Weeks

Real Synch-Folk full of weird moments. I love it because it’s full of performances never to be repeated.

Fela Kuti - No Agreement

It (just) reminds me of my family; about being young and not really knowing what music was about - but knowing that it was powerful.

Arcade Fire - The Suburbs

When I heard this album, I just couldn’t believe it. The production, performances and songs are exceptional. It’s an album that really stays with you and you can’t forget.

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

Hmm…advice? Same as I’d give anybody really, musical or not: have a plan. 

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).

If you have 17:31 mins (I found a 'shorter' version) to spare; play Fela Kuti - Go Slow (from Music is the Weapon of the Future)…

…If not; maybe you can play Travis – Paralysed

__________

Follow Josephine Oniyama

 Official:

http://www.josephineoniyama.com/

Twitter:

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Facebook:

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Instagram:

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SoundCloud:

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Spotify:

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FEATURE: A Desire to Challenge the YouTube Hierarchy: The Music Vlog Vacuum in 2017

FEATURE:

 

A Desire to Challenge the YouTube Hierarchy:

PHOTO CREDIT: Unsplash 

The Music Vlog Vacuum in 2017

________

ONE way to make my prolific writing less tiresome on the fingers would be…

to visualise and video my ‘musings’. I feel the music industry is in an odd place where there is unparalleled growth in terms of artists and sounds: the nature and dominance of the media are going through troubled times. The printed music media is struggling a lot right now. There are established music magazines like MOJO but publications such as NME have been through a problematic last few years – declining sales and the need to be free to the reading public. It still puts out great articles and interviews but found it was unable to generate sales figures as lofty as once was. I look around newsagents and find far fewer music magazines than once was. As I said; there are established survivors who still have a loyal clientele. One of the issues seems to be the digitisation of the music press. I have raised concerns around the lack of working-class journalists at broadsheets and at music magazines – things seem to run deeper! The sheer viability and profitability of the music press are compromised. One sees a lot of blogs and music sites but these are run as inexpensively as possible. I worked for one, The Metropolist, a while ago and that had to close because it could not afford to run – offering tickets to reviewers but unable to make money back; struggling against the competition with those who worked there unable to balance it with their paid jobs. It seems music journalism, as with music itself, is being streamlined to blogs to writers who have to subsidise their passion with a full-time job – spending their free hours producing as much as possible. I feel the music media is having to adapt to the modern world and the lack of monetisation chances and profitability. We are buying fewer magazines and newspapers; we can get our content online but, those who run sites, can hardly justify charging people to read content.

IN THIS PHOTO: The popular YouTube vlogger/musician, Emma Blackery

I struggle to write enthusiastically because I know, deep down, I want to go to gigs and go more into live reviews. Travel, trains and gigs cost money – it is very hard attending gigs regularly and being able to afford that sort of pursuit. I, and many others, run blogs and sites with no overheads and as modestly as we can – relying on the written word for the most part. It seems there is a natural gap in the market for music media/journalism to move sideways. I look on YouTube, and their most-popular channels, and there is a dominance of very narrow markets. By that, I mean a few specific industries and sectors are dominating the channel. Usually, when seeing vlogs/YouTube channels they are split into three/four areas: beauty blogs; lifestyle writers and pranksters - video game vloggers are popular. Even popular YouTube talents like Emma Blackery – who is a successful musician in her own right - fills her channel with personal videos and content that is not exactly substantial. She talks about her music in the minority and posts performances here and there – that is outweighed by insignificant and common day-to-day videos; pieces that appeal to her pre-teen/teenage audience (mainly girls). Do a search of the best/most-popular vlogs and there is really nothing about music – in a practical and inspiring sense. We have a lot of music journalists working on radio stations – providing music news and content – but very few assimilate and integrate that talent/desire into YouTube/Vevo. I wonder why there are few/no music journalists and channels combining all elements of journalism into a channel. Look at the mass of beauty bloggers and few are offering anything distinct and different! One can get a similar flavour from most of them – one or two do stick out but they are in a heavily-saturated market. The same is true of pranksters/lifestyle vlogs which are filled with immature stunts, pointless commentary and insignificant crap – hooking viewers in and offering them very little in the way of meaningful material.

Elsewhere; there are more intelligent and inspiring vlogs/channels that talk about film and the arts – I am seeing more film vlogs and T.V. channels. This gives me a lot of encouragement but, again, where are the music commentators?! I hesitated entering that sphere because, I assumed, the field would be packed with aspiring D.J.s, journalists and musicians talking about everything in the music industry. Unless I am going blind…I cannot see that many out there. Buying filming equipment and shooting videos would not cost THAT much – it is a static cost and not prone to depreciation, taxation and inflation. I guess, for many, there is that initial fear of poverty. The reason so many beauty bloggers succeed is that they already have sponsors and marketable assets - enough money and supporters to ensure they can fund their ambitions and get an impressive revenues stream. Journalists, unless you work for a newspaper or magazine, are unpaid (or low-paid) so, when they try this sort of thing, they have to use their own monies – working full-time and finding whatever time they can to put together videos. I feel there is a gap and, if we want the music press to inspire and connect with the next generation, move laterally/unilaterally into places like YouTube. I am a traditionalist and prefer my music in print form but am not naive enough to ignore websites and blogs – they provide me with content, musicians and inspiration on a daily basis. So few journalists are innovating a drive of music-based vlogs. There is so much possibility and scope to start a new trend and add a kick and fresh impetus into music journalism. A channel – not sure what it would be called – could do weekly interviews with new artists (a one-on-one series that is a mix of Desert Island Discs and a traditional radio interview). It would put a face to the artist and be a chance for them to perform live and talk about music.

IN THIS PHOTO: The immensely popular fashion/lifestyle/beauty vlogger, Zoella/PHOTO CREDIT: Zoella

We could have a series dissecting classic albums and how they made an impact on music – playing videos/tracks from the album and interviewing people regarding their love of said record. There could be a weekly review segment and a daily news section – keeping people abreast on all the music happenings from the mainstream and underground. Uniting the unsigned and famous is something few blogs/sites do so that would be a niche – featuring new and under-the-radar musicians but blending that with the elite and best from the charts/mainstream. I worry journalists and music writers are overlooking the financial and creative possibilities of YouTube and Vevo. The only reason beauty blogs and lifestyle vlogs have taken over is that they saw a market desire and got themselves out there. Music is more popular and widespread than beauty and food, for instance – the huge number of food vlogs is troubling and utterly baffling! Music is this universal language, I feel, would benefit from more exposure. There are a few music vloggers but nothing that comprehensive and all-under-the-same-roof. I have suggested a few possible ideas and regular features but there is so much more that could come in. That lofty platform deserves depth and serious content. Talking about issues musicians face would attract people in - addressing anxiety and small venues closing; the struggle to make money from music and the issues of sexism and racism in the industry; the lack of working-class journalists and other imbalances. This, paired with lighter content, would broaden the demographic of subscribers and offer something real and inspiring. Before you know it; there is a stocked and varied channel/vlog that would draw punters in! The fact the channel would start on modest foundations might put people off – the risk that, unless they are trending and noticed right away, they cannot afford (in terms of money, effort and time) to maintain a channel.

IMAGE CREDIT: NME

It seems like such an obvious idea but makes me wonder why so few are doing this?! If they are then it is rather quiet and needs supporting channels – to challenge the prolificacy and dominance of beauty, lifestyle and food vlogs. Those channels offer useful advice and inspiration to many but, when you look closely, there are so many doing very similar things. It is hard knowing who to follow and what to believe. The biggest stars command absurd sponsorship backing and rake-in millions a year. The biggest YouTube stars – two more nauseating words have not been put together! – make bucket-loads and get huge brands following them. If they have a talent and are changing the world then you would not begrudge this success and richness. The truth is very few – who get big money and are stars – actually warrant that kind of pseudo-celebrity. Music journalists do not want to be famous themselves: they are more concerned with music and the artists they feature. Perhaps that is an issue: where do they get sponsorship and finance from?! Their channels, given an adequate promotion drive, would get people in but how do you monetise that?! Subscription fees might be unreasonable because people can get music content for free. It seems there is a chance for tech. giants and record labels to get involved – those with a lot of money to put funds into something worthwhile! The new iPhone has just been launched - it whipped up the usual circus of technology-obsessed zombies and appeals to those who want something shiny and new – but they used a few musicians (Blackery included) in their marketing and promotional video. The link between technology/Smartphones and music can be linked to platforms like Spotify and Apple Music – where many musicians are featured and are integral to iPhone/Smartphones. A music vlogger could pair with Apple or another giant and, in exchange for financial backing; the commentator/vlogger could promote the brand or find a way of incorporating iPhones/technology into their features.

IN THIS PHOTO: Chilean YouTuber Germán Garmendia (with Lenay Olsen) is one of YouTube's biggest stars - but is more noted because of his video game videos (even though he is a musician)/PHOTO CREDIT: Getty/Frazer Harrison

The same goes for the big record labels – they would pay the ‘star’ money for featuring their artists and running a bit of advertising on their behalf. That may sound unethical and a bit corporate but, for a site like this to expand and succeed, one must make moral compromises. It would not be too questionable: simply a bit of business so a music vlog could strengthen and rival the biggest vloggers out there. More importantly; music is there to inspire and compel the generations – journalists are, with musicians, the arbiters and spokespeople responsible for getting the messages to the people. I think a comprehensive and fun vlog could, in time, draw millions in and get international recognition. It could work with mainstream stars and huge acts; build popular features and provide every sensible music-lover everything they need under one roof! I will end this but have spotted a market and opportunity that has not been filled. Now, more than any time, music journalism (and music itself) has a big voice to play and has so much to say! There is so much going on and wonderful music in all corners: issues that need tackling and the desire to preserve legendary/classic music and ensure it is bequeathed carefully to new generations – a lot of it is in danger of being overlooked as streaming platforms put more emphasis on what is trendy and new. I have merely scratched the surface but there is a chance to build something new, inspiration and, yes, profitable! I would like to see not one but several music vlogs and journalists challenging the biggest fashion/beauty/food vloggers - that provide YouTube/Vevo’s ‘most-popular’ lists a rather homogenised and samey feel. Music is much more powerful, worthy and fascinating so, my hope is someone – I will do it if I can – fills a gaping void and makes a difference. The fact is the music press is struggling in printed form. A lot of blogs and websites are not getting people hooked and are there is a consensus to conserve the sacred form without compromising ethics. A YouTube channel would not need to make many modifications in order to provide a more financially-lucrative and multimedia channel for music fans. I predict it would start a mini-revolution but it requires that originator and pioneer. So, with that said…

PHOTO CREDIT: Unsplash

WHO is it going to be?!

FEATURE: Chills, Thrills and Goosebumps: How Music Evokes Different Reactions

FEATURE:

 

Chills, Thrills and Goosebumps:

ART CREDIT: Sam Chirnside

 How Music Evokes Different Reactions

________

I am fascinated the way music hits and how our mind and body…

PHOTO CREDIT: Unsplash

interacts with sounds. I often wonder whether memories, and music that evokes such powerful ones, unlock a bigger rush and hit than new music – those songs you need time to attach to. The reason for going into this area is a recent study that showed, if you get goosebumps when listening to music – your brain might be wired a bit different. I will quote from Tone Deaf -   who explain things a little better:

“It’s a feeling many of us know well: that shiver down the back of your spine as your favourite song hits its crescendo, the hair standing on end on your arms as your breath shortens. It seems a simple thing, but apparently this visceral reaction to music may tell us something about the way our brains work.

The reaction described above isn’t something that happens to everyone, but as Consequence of Sound reports, a new study published by the Oxford Academic finds that people who experience strong physical reactions to music may be wired differently to those who only react to music internally, and may be open to experiencing a wider range of emotions.

Conducted by USC PhD student and musician Matthew Sachs, the study finds that people who are impacted by music in this way “have a higher volume of fibers that connect their auditory cortex to the areas associated with emotional processing, which means the two areas communicate better.”

 The study was only quite small, working with two groups of 10 students, one of which reported feeling chills when listening to meaningful music, and the other which claimed it did not. By utilising brain scans of the two segments, researchers found that not only did the ‘shivers’ group experience more neural connections in the auditory cortex, responsible for processing our hearing, but they also experienced an increase in the emotional processing centers and the prefrontal cortex – the latter of which would be involved in thinking about the meaning behind the song, the former concerned with the emotional side.

For Sachs, the small study was only a first step in finding out more about if and how the phenomenon is linked to differences in emotional capacity, and “individual differences in sensory access”, with plans to continue the studies in the hopes of using the findings to treat depression”.

This is not a new study but it does show how powerful music is: the way it impacts different brain-types and personalities is fascinating. This is not the only study – I shall introduce a couple more later – but, when it comes to lifting the mood and tackling depression, should we be harnessing music more emphatically? I was intrigued when reading the new study as few of us think about the neurological connection with music – how our neurons and the temporal dynamic build-up develops over time.

That intravenous flow of music, once in the bloodstream, works its way to the brain and, once there, squirts into all the crevices, avenues and side-streets of the mind.  When one gets shivers and goosebumps listening to music, obviously, it causes us to calm and relax. Any anxiety and stress, at that moment, dissipate and demure. That might return but it seems, to me, music has a potent part to play when tackling psychological and neurological illnesses. Maybe the illnesses are too complex to be adequately targeted but music can allay and calm some of the worst symptoms. Music is such a vast and deep subject: deciding which pieces elicit certain triggers can be discovered through extensive experimentation and trials. Many have been run but, in a nation where mental illness is taking off at an uncontrollable level, it seems now, more than ever, more time and money needs to be directed towards such a scheme. I will share my experiences and thoughts but, before I do, an article for your delectation - that was published last year:

“We predicted that if a person were more cognitively immersed in a piece of music, then he or she might be more likely to experience frisson as a result of paying closer attention to the stimuli. And we suspected that whether or not someone would become cognitively immersed in a piece of music in the first place would be a result of his or her personality type.

PHOTO CREDIT: Unsplash 

To test this hypothesis, participants were brought into the lab and wired up to an instrument that measures galvanic skin response, a measure of how the electrical resistance of people’s skin changes when they become physiologically aroused. Participants were then invited to listen to several pieces of music as lab assistants monitored their responses to the music in real time.

Examples of pieces used in the study include:

·         The first two minutes and 11 seconds of J.S. Bach’s “St. John’s Passion: Part 1—Herr, unser Herrscher”

·         The first two minutes and 18 seconds of “Chopin’s Piano Concerto No. 1: II”

·         The first 53 seconds of Air Supply’s “Making Love Out of Nothing at All”

·         The first three minutes and 21 seconds of Vangelis’ “Mythodea: Movement 6”

·         The first two minutes of Hans Zimmer’s “Oogway Ascends”

Each of these pieces contains at least one thrilling moment known to cause frisson in listeners (several have been used in previous studies). For example, in the Bach piece, the tension built up by the orchestra during the first 80 seconds is finally released by the entrance of the choir—a particularly charged moment that’s likely to elicit frisson.

As participants listened to these pieces of music, lab assistants asked them to report their experiences of frisson by pressing a small button, which created a temporal log of each listening session.

 PHOTO CREDIT: Unsplash

By comparing this data to the physiological measures, and to a personality test the participants had completed, we were—for the first time—able to draw some unique conclusions about why frisson might be happening more often for some listeners than others.

Results from the personality test showed that the listeners who experienced frisson also scored high for a personality trait called “openness to experience.”

It seems, in all these studies, Classical music is used as reliable samples. I can understand why these pieces evoke an instant and tangible reaction: sweeping strings and delicate piano motifs; scores that provoke all manner of deep emotions and violent scenes. Without a word being sung; a fantastic Classical articulation can mobilise shivers, goosebumps and tease in an orgasm of biblical proportions. The same, actually, can be said of Jazz. A terrifically sensual and primal blast of horns can get right into the heart and make the head spin. Is it, then, the instrumental passages that are responsible for those vivid reactions? I am surprised as many as a-third of people do not possess the ability to be that moved by music. I guess there is no D.N.A. coding imprinted from birth – we all react differently to music. Some suggest a deeper immersing into music – people who intellectually bond with artists – means one gets greater nourishment and connection. That makes sense: if you properly listen and conspire with music; you are going to be more immune to its full beauty and potency.

There have been few songs, in the past few years, that has moved me to such a heart-stopping and hair-raising reaction. A few Folk numbers make me smile, sigh and shiver; a couple of great vocal performances create goosebumps and near-tears exposure. It is hard to predict what song will cause me to lose my senses and surrender to its majesty. It does not have to be something as obvious as Classical music. I can listen to a new track on a BBC station and, whether a sublime vocal or great guitar riff, I will have that candid response. I can definitely reveal I am among those who are moved to the point of shivers and goosebumps. It is a wonderful thing to experience but I feel, adding my opinion to the debate, there is a childhood dynamic. The same way we can be taught morals and a certain talent: we can learn to respond to music in such a way we have physiological side-effects. I am sure my passionate exposure to music, when a child, is why I can produce goosebumps with ease. I am sure that inherited neurology and a predetermined propensity to these responses means, in some way, certain people are hardwired and encoded from birth. It is not the case those who are now immune cannot, with a little change of diet and commitment, reach the same ‘heights’ as people like me. Many will say what is the big deal about experiencing goosebumps?!

I know they are temporary and cannot transform a human in radical ways. What is the biology and science behind these ‘frissons’ and shivers? NME, in an article in 2013, shed some light:

“The researchers (Valarie Salimpoor and her colleagues from McGill (Canada)
found activation in an ancient, centrally based brain system called the dopaminergic reward pathway; structures associated with pathway, such as the striatum and nucleus accumbens, were flushed with the brain-pleasing neurotransmitter ‘dopamine’ just before and during musical chills. This reward brain response is associated with motivation and addiction.

We typically experience this type of brain response to biologically rewarding stimuli; things that help us survive, like sex and high fat foods. Modern music does not really help us survive so it is effectively piggy-backing on this reward brain system. This system can also get hijacked by chemicals that modify mood. On the face of it therefore, this part of your brain reacts to sex, drugs and rock ‘n’ roll”.

It seems we have a primordial and caveman like lust to experience the rush and sexiness of music. Those who get shivers from Classical music, one feels, are having a different part of the brain stimulating than, say, a great riff or epic Rock song. There is that clash of beauty and passion that appeals to separate parts – each as powerful and important as one another. To me, the songs that get me shivering and goosebump-y are those that connect me with early memories. The first artists and albums I was exposed to were instrumental and formative.

From a sweeping and gorgeous Kate Bush song to the opening notes of The Beatles’ I Feel Fine – these notes and sounds connect me to my first encounter with the artists responsible. Hearing a song so many years down the line can instantly connect us with that first encounter. A song can cause shivers because of the memories it produces – that same song might not create the same reaction if it did not have that same importance. It is interesting taking that point and seeing whether memories are a more powerful tool than quality. What I mean is, when people hear certain songs/genres; do they get that stunned reaction because it unlocks something in their memory? I wonder whether I get shivers hearing I Feel Fine because I heard it as a child. Were I to hear it fresh today; I am not sure I would get the same response and effect as I do. That means it is the actual remembrance and connection with the past that causes shivers – not something inherently embeded in the song itself.

The introduction to Tears for Fears’ Everybody Wants to Rule the World makes me shiver because it is my first memory of life. I do not think I’d have that intense response if it was a new track. I think there is a lot of potential to be mined from music’s power and unique gift – when shivers and goosebumps form and calm the senses. Whether that materialises in cognitive therapy and some form of anxiety remedy or not – I feel we should not read studies and leave it at that. The fact we are getting new findings each year – the latest one dates back merely a few days – means people are interesting discovering why music can cause someone to shiver and stop dead. It is clear music, in various forms, genres and configuration, has an incredible ability and magic…

SO many people are fascinated by.

INTERVIEW: Maya Wolff

INTERVIEW:

 Maya Wolff

________

WE are lucky enough to have artists like Maya Wolff in this country…

creating some amazing music. She is German-born but has been in the U.K. since the age of nineteen. Moving away from Pop in 2006; she has taken her music in new directions and, in the process, amassed a giant fanbase on social media. I ask whether we can expect any new material soon and what the differences are between the British and German music scenes.

Maya Wolff is a hungry and multi-talented artist who is well worth watching as we head in 2018. I learn more about her background and the way her music has evolved; how songs come together for her – and whether music struck her at a very young age

________

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

I’m a singer/songwriter based in the U.K. I work with producer all across the Electronic genres and all across the world. The piano is another one of my huge passions - which is my go-to for songwriting and, sometimes, I even compose piano pieces-only.

Music has always been part of my life and quickly transformed from a hobby to a profession during my teen years.

Can we expect to see new music in the pipeline? What does the remainder of the year have in store in that sense?

There is an E.P. in-the-making and it’ll be an E.P. with just my name on it: not a collaboration this time - even though I’m still working on collabs., too. Hopefully, I’ll be able to reveal a release date soon - for some time in 2018!

You are based in the U.K. but hail from Germany. What provoked the move and do you see yourself returning to Germany at any point?

This is an interesting question and I feel a degree of discomfort answering this question in the light of the political madness over the last year-and-a-half...

Being German, but having lived in the U.K. since the age of nineteen, the U.K. has become my musical home - and the U.K., being such an important musical hub for music, it certainly is a massive factor why I haven’t moved back to Germany yet (apart from that special someone keeping me here too).

I’ve always been excited about British artists and the styles that have come out of the U.K. 

What is the music scene like in Germany at the moment? How do the music scenes differ between the two nations?

I have also noticed a massive shift in the music industry in Germany - so I don’t feel quite like such an odd artist anymore - on home-ground - and more and more people find their outlets for creativity there, too. Techno has made a huge come back recently and I associate Techno with a big scene in Germany.

Both my homes have had a big influence in my music in their own ways.

How do songs come together for you? Do you set time aside to write or do they come to you naturally?

There are a few different ways of working for me...

Sometimes, I just sit down on my piano and it all just comes to me like a magic wand has been waved. Other times, I write for someone else’s track and I imagine a story or a picture-  if I don’t feel any strong emotions going on in my life at that time, I make them up. 

What made you want to take up music? Was it a big part of your childhood?

I’ve always wanted to make the music I love listening to and, in my teen years, a huge part of my listening was Pop.

As I grew out of that, and started listening to D'n’B, House; Trance etc., I started aspiring moving into these styles. 

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I know you teach music too. What is that experience like and how rewarding is it?

Teaching, to me, is highly rewarding.

I love passing on my passions and seeing my students grow and get excited about their talents. It’s not something I planned on doing: life just kind of went that way. It’s great and also reminds me that life will always bring changes about. 

How important is the fans’ support to what you do and how far you have come?

Fans/people supporting my music are what makes it all worth it.

I can write and sing in my studio all-day-long by myself - but that gets empty after a while. If no one witnesses it…did it even happen?

What are your most treasured and fondest memories from your time in music?

Ironically, some of my most treasured memories are me by myself on the piano, especially when I was younger, because it was those moments that sparked my dreams – and put me on the journey I’m still on..

Do you have any tour dates coming in the next few months? Where can we see you play?

I’ve taken a break from performing this year. I’m especially excited about my E.P. - coming out next year.

I’m hoping to be back on stage (lots) again!

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

Due to the change in technology; I haven’t listened much to albums as a whole in the last few years - so my three albums go way back and might not be what you expect…

Eminem - The Eminem Show 

Linkin Park – Meteora

Backstreet Boys - Millennium 

What advice would you give to new songwriters coming through?

Never stop improving yourself - and you’ve just got to want your dream enough to realise it!

Finally, and for being a good sport, you can name any song you like and I’ll play it here.

In the light of recent events, maybe my choice should be Linkin Park’s Numb - since it was one of my album choices

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 Official:

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https://open.spotify.com/artist/2UsjG8xH0YKPLKxOJyORc3