INTERVIEW: Fai Baba

INTERVIEW:

 Fai Baba

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THE Swiss Garage-Blues guru Fai Baba…

announces the release of his new single, Can’t Stop Loving You. It is a fantastic song and shows an inventiveness and quality reserved to a selected few. The song explores new emotional and sonic dimensions: aspects that the musician seems to assimilate naturally into his solid core. I ask him about the song and the band he tours with; what lies ahead and whether he is coming to the U.K. in the coming weeks/months.

I learn more about music in Switzerland and how Fai Baba’s music comes together; why he spent time a shaman in a tepee – and whether his new music provides a sense of rebirth and perspective.

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Hi, Fai Baba. How are you? How has your week been?

Hey. I just came back from L.A. and I've got bad jet leg - but I'm full of energy!

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

I'm a Psychedelic musician from Switzerland.

You are from Zürich, Switzerland. What is the music scene like there and are there quite a lot of great local artists?

Zürich is famous for Techno but there's an Indie music scene from time-to-time - it's a small city, so there's a small scene.

Can’t Stop Loving You is your latest single. What is the story behind it and who came up with the idea?

It's a song for the one you love in your life.

If you lose your way, just listen to the one you love. I wrote the song but it’s arranged by the whole band.

How do songs come together for you? Do you write in stages or sit down and ensure you pen an entire song? What is the process for you?

It's always different.

Mostly, I just sing a song and there it is.

Can’t Stop Loving You has a wonderful, trippy video. It sounds like it was quite a gruelling and challenging shoot. Can you guide me through it and what it was like?

It was shot at some beautiful waterfalls in the valley of Maggia - in the Italian part of Switzerland. We were swimming and diving in the cold and crystal -clear water - and were absorbing the magic of Mother Nature.

Tatum Rush directed. What was it like working with him?

Tatum is a good friend of mine and working with him is always so much fun and a real adventure. 

In preparation for your latest song; you gave yourself up to a ceremony conducted by a shaman in a tepee. It involved an ancient brew named Ayahuasca. Why did you do that and did you need to shed off bad spirit and becoming reborn?

I was going through a lot of changes in my life lately and the Ayahuasca ceremony just came as a natural part in my life - and the medicine, indeed, gives you an experience of a rebirth.

What was it about that period of your life you felt the need to shed an old skin – castigate burden and demons?

The main thing was that I quit alcohol and hard-drugs: life is just too beautiful to be drunk and high all the time.

I hear so many different blends and genres in your music. I can imagine your upbringing was eclectic. Can you remember the artists you grew up listening to? Do you find yourself listening to a wide array of artists?

It was mainly The Beatles and The Rolling Stones we were listening to at home. I listen to all kinds of music.

There's something nice and interesting in all genres...

You are on tour – going on tour – with a great live band. Can you tell me about your band and how you met them? 

YEA! I have the most awesome band! We all love each other and always have a great time when we are on tour together.

We all met in Zürich because we all live there. 

The fifty-or-so dates you have will take you across Europe. Any countries/dates you are looking forward to? Is each show going to offer something new?

For sure...

The big cities like Berlin, Paris; Amsterdam, Reykjavik; London, Barcelona etc. - but every gig is different for us cause we don't just play a show: we play real, live music.

You head to the U.K. in October. Have you been here before and are you looking forward to getting over here?

I've played in the U.K. before but never with this band, and sure - we're pretty damn excited. 

Who are new acts you recommend we check out?

Check out Björn Magnusson and Tatum Rush.

IN THIS PHOTO: Björn Magnusson/PHOTO CREDIT: Lisa Lurati

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

Mind Games by John Lennon

It's a record with many true love songs. 

A by Cass McCombs

It reminds me of a good time in my life.

Focus Level by Endless Boogie

When I hear that record, I go crazy.

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

Do what feels right - and drink lots of water 

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

Fai: The Mamas & the Papas - California Dreamin’

Oli: The Velvet Underground – All Tomorrow’s Parties

Rodi: Beelzebub - Bruford

Domi: Motörhead - Ace of Spades

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Follow Fai Baba

Facebook:

https://www.facebook.com/faibabamusic/

Spotify:

https://open.spotify.com/artist/6dMgT3hzvSC8eVkHrSGfOt

BandCamp:

https://faibaba.bandcamp.com/

INTERVIEW: Mark Sullivan

INTERVIEW:

 Mark Sullivan

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IN a little over a week…

Hertfordshire-based singer-songwriter Mark Sullivan hits the road with Emma Stevens, Megan O’Neill and James Fredholm. He is looking forward to the gigs, and no surprise – it is part of his In the Round Tour and is the start of a wonderful string of gigs. In fact; the young songwriter plays at a few great London venues and has a lot to be pleased about. His new single, Slip into Your Head, is out shortly - and is among his strongest work yet. I ask about the song’s creation and spending time in the hometown of Bruce Springsteen; what the legendary American means to him and other artists who compel his sounds.

I ask Sullivan about his music and the artists that inspired him; whether there are going to be other gigs – and whether there are any new artists we should all be aware of.

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

I’m doing well, thank you. My week has been great.

Finalising everything for the new single and upcoming U.K. tour has been hectic - but really exciting.

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

My name is Mark Sullivan and I’m a guitarist/singer-songwriter from Stevenage. I have been playing the guitar since I was fourteen - and singing since I was about twenty-two.

I like junk food and a lot of things that are bad for you - but I’m also a big fan of good food.

Slip into Your Head is the new track. What inspired the song?

Slip into Your Head is about when you love someone and you are prepared to do anything you can for them - physically and emotionally. It’s quite a deep song: it’s very different to my normal style of writing and that’s why I like it.

I feel it captures my message very well in the track.

You spent time in the U.S. and created the song in the hometown of Bruce Springsteen. Why was that part of the world somewhere you wanted to go to?

I was lucky enough to be able to work with Grammy-nominated producer Steve Greenwell on my E.P., Still Good for Nothing (available on Spotify) – and, also, this brand-new track (Slip into Your Head). I’m a massive Springsteen fan. It just so happened that Steve is from the same place as Mr. Springsteen himself. The town of Asbury Park is steeped in musical history and just being there was special - but also; to be able to write and record there was amazing and inspirational. Most nights there is live music - and some of the acts I got to see was a massive part of the experience.

It was a very special place. I’d recommend going there to anyone!

Is Springsteen someone you idolise and look up to as a songwriter and artist?

Yes, definitely! The man is a genius!

The whole town loves the guy as well. Everywhere you go in the town there will be a photo of him on a wall, in a restaurant, (somewhere) eating there - or they’ll be a personal note written by him, framed on the wall. In the studio, I was in recording and there was one of his flight cases that he had given to someone. I couldn’t believe my eyes!

What a legend of an artist that guy really is.

Is there going to be an E.P. or album approaching? Any more music coming later this year/next?

Yes, definitely!

I am currently recording at the moment - having come back from America with lots of new hotel-room-written songs. I also have another song in the wings waiting - that we recorded in the U.S. - to be released in January (after Slip into Your Head comes out on 27th October). There will be another U.K. tour and a brand-new E.P. in April 2018.

So…a lot is happening and I’m really excited about what’s ahead.

Who are the artists you grew up listening to and influenced your music?

The first that comes to mind is The Beatles and Motown.

My mum and dad used to listen to it when I was a kid. As I started to play an instrument, I started to discover a whole world of music that I’m still discovering today. Some of my massive influences been Jimi Hendrix, Donny Hathaway; John Mayer, The Rolling Stones; Red Hot Chili Peppers, Reef; Bob Marley, Jeff Buckley; Led Zeppelin, Eric Clapton… 

I couldn’t list them all because there are too many - but there’s a few for you.

Can you easily explain what music means to you and the advantages of being a songwriter? Is it something you feel born to do?

Music is everything to me.

It has helped me through bad times: it’s also created great memories for me. I feel it pulsing through my veins and it’s what I believe I am here to do. I am doing it and I will continue doing until I can’t do it anymore. It’s something I have to do.

You can’t really explain why: I just feel compelled to do it; to perform, to write; to create music and make my music connect with people in the same way that music has connected with me throughout my life.

IN THIS PHOTO: St. Paul and The Broken Bones

Who are new acts you recommend we check out?

St. Paul and The Broken Bones. I would go and listen to these guys, immediately! I watched them live at Cornbury Music Festival earlier this year and they blew me away!

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

Blood Sugar Sex Magik by the Red Hot Chili Peppers has definitely got to be one!

This album was a massive part of my musical maturity. Musically, this album pushed the boundaries and still sounds massive today!

Continuum by John Mayer

This album, for me, is a great journey from start to finish. John’s guitar-work is a triumph - and the album reminds me a good time in my life.

Grace by Jeff Buckley

If you haven’t heard this I would recommend listening to it. This guy’s voice and songwriting is from another planet. He has soul that Soul singers haven’t got!

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

All I can really say is just believe in what you do and keep working hard.

Social media has to be active with good content and you have to have some good songs. However, music is subjective: what I like may not be what someone else likes.

Just be true to yourself.

On 27th of October, you perform as part of the In The Round Tour with Emma Stevens and Megan O’Neill. Is that the first time you would have played with them? Is that date one you are looking forward to?

The single is out on the 27th October - two days after the last tour date. Yes, I am very excited to perform with both of these great artists. I’m really looking forward to 13th October when we will be stopping in London on the tour to perform at The Slaughtered Lamb in Clerkenwell (tickets can be purchased here).

What other dates do you have approaching and any you are especially looking forward to?

There a couple!

The first is on the U.K. tour to and it’s at The StabIes in Milton Keynes. This venue is incredible. The second is supporting a great artist called Joe Dolman at St. Pancreas Old Church on 6th November. I’ve wanted to play this venue for a while now - so I am really excited for this one too.

You have played so many gigs in your career so far. Is touring something you really enjoy and what is it about the road that speaks to you?

Yes, I love touring. You get to play to different audiences with people who don’t know your music; plus, you get to see different parts of the world.

It’s very tiring but, at the same time, very rewarding.

How is the rest of the year looking? Will you have time to relax outside of music?

The rest of this year is looking very busy - but, also, incredibly exciting.

I’m ready now to hit the road again (this year) and get out there! No time for time off yet, I’m afraid. The way I see it is I get to play music and do what I’ve always dreamt of doing - so I don’t need a holiday...yet?!

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).

Ok. Thanks for having me! Please can you play Freedom by Jimi Hendrix

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Follow Mark Sullivan

 Official:

https://www.marksullivanmusic.com/

Twitter:

https://twitter.com/MarkSullivanMus

Facebook:

https://www.facebook.com/marksullivanmusic/

Instagram:

https://www.instagram.com/marksulmusic/

Spotify:

https://open.spotify.com/artist/5l4BEZY1e17aAJjqfolCLW

SoundCloud:

https://soundcloud.com/marksullivanmusic

YouTube:

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

INTERVIEW: Blue Nation

INTERVIEW:

 Blue Nation

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I am aware there are great bands coming out of Birmingham…

but we hear about so few of them. Maybe that is to do with media ignorance – and the reliance and exposure of London’s artists. I talk to one of Birmingham’s best. Blue Nation discuss the awesome album, Steady Your Soul, and how it came together – and what the songs are all about. Good Times is their new single and one that gets the body cranked, winding and moving. They talk about the mainstream and whether there is anything out there, like their music, that gets into the head.

I ask the fellas about future gigs and whether there are any outrageous demands on their riders; the albums they all love – and what the next few months holds in store.

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

Hi. We are all good and working very hard on all things Blue Nation.

Last week, we played Rec Rock Festival in Derbyshire for the first time. It was a wicked boutique festival with a great vibe. 

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

We are Blue Nation; a three-piece euphonic-riff-based rock band from Birmingham. We often wear Kaftans on stage and are trying to get the genre, ‘Kaftan Rock’, off the ground. This line-up has been together for about a year and came together very quickly - after the previous rhythm-section moved on.

Individually we are Neil Murdoch (Guitarist and Lead vocals), Chris Bloor (Drums) and Luke Weston (Bass Guitar and Backing Vocals).

By day - only because we need to...

Neil: I work in recruitment, mainly in London.

Chris: I have my own business doing custom artwork and refinishes on guitars. Neil’s ‘Clapton Fool’ S.G. in the Good Times video is one of my custom finishes.

Luke: I am a teacher working with children with autism - in a mainstream Birmingham school.

Good Times is your new single. What can you reveal about its story?

Neil: It’s about being in a place that you are struggling to get out of but knowing that the good times will return - and that you just have to push on through. Let the “good times come” captures the essence of the song.

Ask me after a couple of beers and I will elaborate.

It is a stomping and energised track. It has a proper sense of purpose. Do you think modern music lacks urgency?

Yeah, for sure.

For too long, we have not had a band that really cut through and showed people that guitars and bands are the life blood of music. The world is so instant now: you become a sensation of this or that.

Time for a change, in my opinion.

Luke: I don’t listen to chart stuff really but the things I’ve heard lately…it doesn’t go anywhere, does it? The music I listen to gives me identity - and its healing. Everyone is entitled to their opinion but if you think Miley Cyrus is going to give you more satisfaction or hold more substance and meaning than Pink Floyd…you’re probably not my kind of person, anyway.

Chris: If you listen to what’s coming from X Factor and Radio 1 then you’re listening to a product: something that is processed and canned for consumption by the masses. There are some amazing bands and artists around: you just have far more rubbish to sift through to find the gems now. There was an American band, I found a few years ago, called Rug and their album, 02, was incredible!

Like so many others, though, they faded away mostly undiscovered - choked out by the massive amount of rubbish that’s out there and gets played (instead of the good stuff).

The song is taken from your new album. What can you tell us about the songs that will appear on it? How does it differ from Steady Your Soul?

Neil: I so excited for the new album. We made a conscious effort to write melodic songs around riff-based Rock style. Each song will pin you to the back of the wall and make you listen. The new album is much more riff-based - I think the band needed that. Steady Your Soul has hints of riffs and was the next step for us - but this new album is a giant leap!

Chris: Steady Your Soul has great tunes on it - written by Neil and produced by Andy Macpherson. The new singles and album is just crammed with ball shaking riffs…it’s a real group effort. We quickly gelled and writing music is really easy between the three of us.

Luke: It’s the first album as this line-up - so it’s going to sound different. But, as Chris says, we seem to write songs so easily together. Expect well-written songs with nice harmonies - and riffs that are so dirty you’ll need to have a shower after hearing them (and a bit of me playing sitar, possibly).

Soon, you’ll be hitting the road with Dirty Thrills. You guys pumped about that?

Neil: So much so.

The lads in D.T. are sound and really welcoming: it makes touring with a band so much easier if they are nice lads. The D.T. lads have been sharing our stuff on social media and talking to our fans - which is cool in my book.

It gives us a great opportunity to support a very good band in top venues.

Chris: Yeah, I’m really looking forward to it. I love playing live: I absolutely live for it.

Luke: Playing live is pretty much what I live for, regardless of the gig. Dirty Thrills are great and I can’t wait to be sharing a stage with them! 

Already; you have toured the U.S. twice. What were those experiences like and is gigging like for Blue Nation? Do you enjoy it?

Neil: (This was pre-Chris and Luke, so I will take this one…)

N.Y.C. is a mad place. We played, mostly, in Manhattan and Greenwich Village at C.B.G.B.’s, Kenny’s Castaways; Rockwood Music Hall etc. - which is steeped in history - so you try not to get overawed when standing on the same stage where Bruce Springsteen did his first N.Y. gig. Unfortunately, some of these great venues have had to close due to financial or lease issues. The audiences in some venues were tough but they always dug what we did.

By the end of the week, we had people coming to our next gig to see the English band with the kid, with the voice - so that was cool.

Touring with B.N. is a military operation (although we have nothing to do with organising it). Our manager does all the hard yards and gets us in the right place and time. For us, it's seamless and painless.

Maybe you need to ask him what it’s like touring with us? He may have a different answer.  

It seems like, being a hot Rock band, you’d have a wild rider. Is it a pretty eye-watering set of demands from Blue Nation?!

Some things we can tell you…some we can’t.

Nah, we are not like that, to be honest. We like to treat people how we are treated. So as long as we have some water, food and snacks then we are pretty cool. If Dirty Thrills have the brown M&Ms, though, we are kicking off! (only joking)

Chris: Not really. I think we're a pretty easy bunch to please. Waitrose’s Salt and Vinegar Squares, though, are a must-have. If we don't have those, I’m not playing...

Luke: I don’t ask for too much really: I like a nice gin. I am vegan and the other two lads are vegetarian - so none of the Spinal Tap wafer thin-ham stuff. Gimme some tofu or falafel.

Birmingham is your base. Is the city quite full of great bands? What is the scene like there?

Neil: Birmingham has, and always will be, a breeding-ground for great bands. You can go into most music venues on the weekend and unearth some gems! The scene is really varied compared to other cities, in my view. You can listen to Ska one night and then a Post-Punk band the next - and an Indie band on a Sunday.

That’s what I love about Birmingham - the diversity.

Chris: Yeah. It’s energetic around the Midlands.

You can go to most venues on a Thursday, Friday or Saturday and pretty much guarantee that you'll find at least one good band playing.

Luke: There’s a lot of history and a lot of talent still here. One band to look out for is Verschiden. They are absolute quality.

It seems like you love a mix of 1970s Classic-Rock and 1990s Britpop. Which artists do you all grow up listening to and aspire to be?

Neil: Led Zeppelin, Cream; Jimi Hendrix, Blind Faith - all of them - but also Ocean Colour Scene, the ‘Phonics (Stereophonics) and Oasis.

For me, it was Ocean Colour Scene. Steve Cradock is an exceptional guitarist and Fowler’s voice and songwriting is mind-blowing. I always wanted to be in O.C.S. and smash out Hundred Mile High City.

Chris: I started to get into music when Britpop was at its peak.

it was magical; great bands were everywhere and all people cared about was music. They say you never get over your first love - and mine was Oasis. Their first two albums are up there with the greatest ever written. I love Ocean Colour Scene too and through that got into The Beatles - and then Hendrix - and then Led Zeppelin. I remember listening to Voodoo Child (Hendrix) for the first time and just being absolutely hypnotised by it - same with No Quarter (Led Zeppelin) and Champagne Supernova (Oasis).

Jimi Hendrix is God to me. Aside from the music, he was culturally so important. This wild-haired black guy tearing around the world with two geeky Brits - at a time when racial tensions in America were at an all-time-crazy-high level. He showed the world nationality and race doesn't mean anything at all.

It’s about what's inside the tin of beans...

Luke: I was raised listening to the most amazing music.

When I was around four; my mum and dad once dressed me up as a gnome and entered me into talent competition on holiday. I had to dance to The Gnome by Pink Floyd - so you can imagine the other music I was raised on! I prefer my 1960s and 1970s to the Britpop stuff.

What other tour dates do you have coming up later this year?

Neil: Asking a band where they are playing is a big ask…

But, we have just started working with Ben from IAA Touring and there are some things happening - but not confirmed just yet - apart from the Dirty Thrills tour. We will be doing individual gigs and touring again to support the release of our three singles and new album next year.

Festivals offers are coming in for next year already, so it’s all go.

Will the band get time to relax before the end of the year? What do you all do in your free time?

We are going to squeeze a little break in before the madness starts - but nothing too long. Mainly, just chilling out with friends and catching up with friends in bands. Music is never far away from us, to be honest.

Away from music, I train to keep fit; play football and watch Villa with my dad.

Chris: We’re always sending song ideas to each other - it never stops and to be honest – and I love it like that. Away from music, though, I do a lot of cycling and I am organising a music-related exhibition which should, hopefully, be amazing.

Luke: It’s a busy schedule for the next year or so! But I would much rather be busy in music than doing nothing. I do squeeze in Birmingham City football matches with my girlfriend.

IN THIS PHOTO: MeMe Detroit/PHOTO CREDIT: JenniferStone.photography.

Who are new acts you recommend we check out?

Neil: MeMe Detroit, for sure; Charlie White and Verschieden. All great bands and artists who are going to be huge!

Chris: There’s a really good band called The Mojo Filters. I’ve seen them a few times and think they’re great.

Luke: King Gizzard & the Lizard Wizard, CHON and Car Bomb. The new At The Drive-In album, in•ter a•li•a, is incredible as well.

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

Neil: Elbow – The Seldom Seen Kid

Specifically, the song Mirrorball. Why?! Because it perfectly describes the moment I met my other half.

Chris: Oasis – (What’s the Story) Morning Glory?

It’s the first album I totally fell in love with. Even listening to it today; it sounds great. Incredible songwriting - and it sounds so classy and elegant. Cast No Shadow is a five-chord masterpiece.

Luke: This one is so hard! But, I would have to say Quadrophenia by The Who

I fell in love with it at a very early age. It made me become a Mod. Every song is beautiful in its own way - and it’s my go-to album. If I’m having a sh*t day, I’ll stick it on and everything seems so much better!

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

Neil: Don’t sign anything unless a lawyer has seen it.

Chris: Don’t do it for the money or the fame: do it because you love it. If you’re in it to get rich, you’ll be disappointed. If you’re in it to have a great time, then the party is this way…

Luke: Practice, practice, practice and gig, gig, gig; be yourself; use your influences - but don’t try and emulate.

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

Neil: MeMe Detroit – How She Runs

Chris: Oasis - Cast No Shadow

 

Luke: Perfect Pillow by CHON

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Follow Blue Nation

 Official:

http://bluenation.co.uk/

Twitter:

https://twitter.com/bluenationmusic

Facebook:

https://www.facebook.com/BlueNationMusic/

Instagram:

https://www.instagram.com/bluenationmusic/

Spotify:

https://open.spotify.com/artist/3Oh6RIsf5O0X0yjVkDy81a

SoundCloud:

https://soundcloud.com/blue-nation

YouTube:

https://www.youtube.com/channel/UCcU6TmbUcPWWgM6FBcfx8yg

INTERVIEW: James Fredholm

INTERVIEW:

 James Fredholm

________

I have been speaking with James Fredholm about his…

latest track, Oars. The respected, Zurich-based musician discusses the inspiration behind the song and what Oars (released on 27th October) symbolises. It is from the forthcoming L.P., Love Is the Answer. He chats about the album and future tour dates – including a date at In the Round with Emma Stevens, Megan O’Neill and Mark Sullivan (who I feature tomorrow).

Fredholm tells me about his musical education and growing up in Austin (Texas) in the 1970s. He chats about his connection to poetry and artists like Neil Young; fond memories of his time in music – and the records that have impacted him the hardest.

________

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

In one word: great!

I have been busy with marketing activities and getting ready for the upcoming U.K. tour. I will play at a club in Zurich on Thursday – I will see many of friends from this area. I have a weekend house in the Black Forest and enjoy long, autumn walks in the countryside.

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

I grew up in Austin, Texas and came to Europe in the 1980s after university. I was in London for ten years, and then, Switzerland since 1998. I have always been true to my artistic heart but was quite busy with career and family for some years. Now I am on my 'road not taken’ as a full-time poet and singer-songwriter. 

This was always my dream.

Oars is your upcoming single. Can you tell me a bit about its background and origins?

It started as a poem and is in my poetry collection. 

The imagery was a metaphor about the search for meaning in life - and love was the intended destination. When I evolved it into a song; I was at that point of making the job change and just expanded it to reflect on how work, in my case, was kind of meaningless - an exercise in rowing.

I know a bit of the song concerns materialism and commercial lure. Do you think music is an industry obsessed with a quick dollar – or does your anger derive from industry and big businesses?

Well, in my case; it derives from doing something for the wrong reasons: specifically, a business career rather than something I felt passionate about, like art. Deep down; I always knew I was selling out: I felt kind of trapped by success; a victim of my self-doubt and social pressure.

It is taken from the album, Love is the Answer. What does that title mean to you and how much of the record concerns battling hostilities and divisions with love?

Nice...I like that question. 

At a certain point in my life, I realized that love and people are way more important than the truth, success; being right. I had to rethink my approach to life and, over time, I get closer to my heart - which feels right. I get more distance now from what you call hostilities and divisions - I am an artist, not a soldier.

I believe you are accompanying the single (on 27th October) with a collection of poetry. Why did you decide to do that and what form will the collection take – in terms of themes and subject?

I was always writing poetry and when I started to ‘uncage’ myself it intensified. I wrote about three-hundred poems over the last five years dealing with my personal struggles, relationships and the meaning of life. The songs and the poems are interrelated and publishing them together adds to the context of what I am trying to say. 

Poems are more literate: songs are more intuitive.

I guess you are a poet first; a musician second. Do the two disciplines overlap and interlock would you say?

Yes; they overlap beautifully.  

I also paint and find lots of connected inspiration from that as well. The source is the same: my inner-feelings and experiences; trying to express it in a meaningful way that feels right.

What was it like growing up in Texas during the 1970s? What kind of music were you raised on? Who are the artists that struck your heart?

It was amazing to be in Austin where there was this deep, authentic music scene.

Texas, itself, is a little backwards, but Austin was always different: a liberal university town with a cool, proud culture. I was raised on waves of music. First, The Beatles; then Psychedelic Rock like (Jimi) Hendrix and Led Zeppelin; eventually the more acoustic sounds of C.S.N.Y. (Crosby, Stills, Nash & Young), Neil Young (and many others).

I loved following local artists in the Austin scene - people like Stevie Ray Vaughn, Eric Johnson and Christopher Cross.

Do you feel modern music has the same grandeur, conviction and quality as the 1970s? What are your feelings on the current scene?

Tricky question. 

I had the feeling that musicians in the ’70s were pioneers and not so much in it for business; it was more of a cause. Meanwhile, the times have changed. But, talent is talent - that has not changed. I never get tired of hearing new music. I am partial to analogue sound.

I have worked a lot with digital - but it doesn’t feel the same to me.

How is the rest of this year playing out? Where will you be spending Christmas this year?

I will be in the U.K. for the tour in October - and will probably get a place in London for the month of November. I will come back to Switzerland for Christmas, and then, to Austin for a while in the New Year.

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

Well. The In the Round tour in October will be in seven cities around the U.K. I am planning another U.K. tour in the New Year, probably March (to be confirmed later this year).

I know you are touring the U.K. soon. Is this your first time here and are you looking forward to the visit?

As I said earlier, I lived in London for ten years. I was in Brighton and Wiltshire for three months this past summer. 

I love the U.K. and plan to spend a lot more time there in the future.

Emma Stevens is an artist you’ll be sharing the stage with. I am a fan of her music but I wonder what you connection is to her and why she is someone you are gigging with?

The tour was organized by our booking agency, IAA Touring. I have never met Emma but I like her heartfelt Indie music - and share many of the same influences she has. For me as a new artist, it is a real honour to share a stage and her fan-base.

I know we will have a great time - also with Megan and Mark.

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

I would start with Neil Young’s Harvest

Second would have to be something from The Beatles - probably, Revolver

Third would be Nirvana - Nevermind

But I am glad I don’t have to narrow myself down because there is so much great music - I would be lost without it.

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

Having now thought about this for all of about five minutes...

I would tell them to stay true to their hearts and to believe in themselves - no matter what comes.

It is so easy to lose yourself in today’s world.

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

Well that sounds like a mood-question - and I’m in the mood to hear Flume by Bon Iver

_________

Follow James Fredholm

 Official:

https://jamesfredholm.com/

Facebook:

https://www.facebook.com/jamesfredholmpoetryandmusic/

Spotify:

https://open.spotify.com/artist/7HIQiso5mSrueFqVTHLZ7w

YouTube:

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

INTERVIEW: Us and Us Only

INTERVIEW:

Us and Us Only

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THIS interview has been cooking for a while - so some of the…

answers might be a bit obvious – or some a little outdated. The boys of Us and Us Only have been busy promoting their new album, Full Flower – it is their debut and a stunning record! Released on Topshelf Records; I ask them about the songs and themes explored; what the process has been like – and how supportive their label has been. Bored of Black is out there already: the title-track is a masterful work; there are so many other gems to be discovered.

Us and Us Only are from Baltimore, Maryland. I ask about the scene there and, with the grotesque Donald Trump causing endless issues – what it is like living in ‘his America’; some artists we should be aware of – and what they have planned as we creep into 2018.

PHOTOS CREDIT: Noorann Matties  

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

Hello! We’re, swell. It is hot-as-Hell in Baltimore.

I went to the farmer’s market and bought some coffee. My new roommate and I started preparing a garden in our backyard; saw my grandmother and talked to my dad about what I should be doing with my life.

All in all: everything is ok.

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

We are Us and Us Only. We are not named after that one Charlatans’ album. I still haven’t listened to it - but I’m sure it’s very good. We got our name from a phrase in the liner notes of Some Girls’ The DNA Will Have Its Say.

We have five releases: two of which include our collaborators Lindsey Mills singing and Michael Tunk - who made the art for the Lifting Lake Eerie 7” and Full Flower. I’m very thankful to have the opportunity to work them.

Full Flower is our first (full-length) album and our L.P. with Topshelf Records - who are all angels, sent from Heaven above. They also recently reissued our three-song E.P., Bored Crusader, on vinyl.

Bored of Black is your new single. Give us a window into the inspiration or that song if you will? 

The title references this thing I do where I really only wear black clothing; because it’s ‘dark’ and ‘Goth’ - which is an attempt to oversimplify the actual meaning of the song.

Bored of Black is a song I wrote after making some big changes in my life. I drove to see a friend, who lived in the middle of the woods; got really lost; went into work late the next day. I had really romanticized sadness in my life and then realized that I had to be real - make more of an effort to take care of myself and the people around me.

It is taken from the new album, Full Flower. It is your debut. Are you excited about its release and what kind of subjects and people inspired its creation?

We are very excited Full Flower is coming out. We’ve worked on this album for about two years. We had started the album with our guitarist, Dan Windsor, who played a huge role in helping to define the voice and vibe of this album. We were also fortunate enough to have Lindsey Mills come back to sing on this one.

I think one of the subjects that run pretty deep throughout the album is how necessary it is to move forward. We started writing this album when I was processing a lot of changes in my life - stuff that was positive and way overdue…but still jarring in essence. So, a lot of it is dealing with learning to care for yourself and learning to treasure the love given to you by people around you.

There are, also, some songs that are much simpler. I just always err on the side of doom-and-gloom.

Did you guys all know each other from a long back - or did Us and Us Only come together over time? 

We started because I had played a show in Baltimore a long time ago and, in a moment of weakness, left to go to sleep and forgot my guitar. I got a call saying that this person, Sean Mercer, had my guitar. I went to pick it up and we talked about playing music together. I was nervous so I asked Suica to come with me.

In the time after that, I met Dan Windsor through Sean. We played D&D (Dungeons and Dragons) sometimes and I ended up playing in his band, Dungeon Kids. I asked him to join. He worked with us on our last 7” and some of Full Flower - but went to film school to do dope sh*t in Canada. John joined after that and has been running with us…

I’ve known Lindsey Mills, who sings on Full Flower and our last release, for ten years. Her music is absolutely incredible.

Forever grateful for her presence on this album.

How important and supportive have your label, Topshelf Records, been towards your music? 

They’ve been wonderful, all along the way - Kevin, Seth, and Danielle are so obviously motivated to work with bands and artists that they love.

I’ve heard horror stories about labels, indie and major - and Topshelf is everything those labels aren’t.

I am interested in Baltimore as a city for music. What is the scene like there? Are you seeing a lot of promising bands and artists come from Maryland?

Baltimore seems unique and magical in a lot of ways.

I think that if you aren’t from here and you tend to gravitate towards things from New York or D.C., it can be easy to miss how much is really going on here. There are venues like The Crown and the Metro Gallery - who are contributing so much to this city in regards to art.

There are larger artists like Dan Deacon and Beach House, who are both absolutely incredible, but we also have JPEGMAFIA, Chiffon and Surf Harp.

I know you have produced four E.P.s so far. How has your sound changed since your early days in 2009 and do you think the debut L.P. is a more focused and fully-realised work than your E.P.s?

There have been a lot of changes for us since 2009...

We’ve gone through members, life changes; switching instruments and (just) general progression as people. Our music has always reflected that. I don't think that we are necessarily ‘changing with the times’, so much as changing within the boundaries of our collective interests and ideas. This L.P. was a huge step for us - having only had shorter releases in the past - it gave us the first opportunity to really craft a narrative and tone rather than just a collection of where we were at musically.

This album has been the work of two long years. We’ve gone through different names, a slew of songs recorded and subsequently shelved - and more than a few different arrangements of particular songs. Bored Crusader and Full Flower both feel like we achieved what we were aiming for.

It’s difficult, but at some point, you have to trust in the song and the story that you’re telling.

Looking down the L.P. tracklist; I am struck by one song: After Halloween Slump. That sounds like a bit of an intriguing one! It seems like song titles are important - and making them distinct. Would that be a fair assumption?

I would absolutely agree with that.

After Halloween Slump was taken from a poem by Richard Brautigan. The poem is about losing your magic; like actual magic. I wrote it at a time in my life where I was kind of started as square one again: I was basically re-learning how to be a person. So it seemed fitting...

There’s also Bored of Black, whose title is literally about my entire wardrobe consisting black clothing - in some weird effort to be Goth. It’s meant to oversimplify the content of the song - which is me deciding that I’d spent too long romanticizing sadness - and needed to get sh*t together and start moving forward.

Full Flower will be released on vinyl including gold, clear; white and blue-spatter. How important are formats like vinyl and is it important to keep these forms of music alive and visible to the younger generations?

I think that streaming services are wonderful - and there’s so many things out there that I would’ve never known about otherwise.

But, I think that people will always want a physical thing to expand upon (and associate with an album). You can look at artwork in iTunes or whatever - in this case, the art of Michael Tunk - and see that it’s beautiful and explores this vast scene...but it’s something wonderful to be able to see and identify it up close.

Shades of Death Cab for Cutie and The Weakerthans can be detected in your work. Who are the artists that have influenced your direction? 

I do have a special love for The Weakerthans...

When my grandmother had passed years ago, around when we released Dark Cloud Past, I had been listening to a lot of them and David Bazan - or his work with Pedro the Lion.

I’d say that, in the last few years, becoming more familiar with Sade has changed how I approach writing lyrics. We’ve also been influenced pretty consistently over the years by Wye Oak - who are from Baltimore.

I have to ask whether Trump and his politics have any bearing on your lyrics and direction. How do you guys feel about him being in power and has the local music community been reacting to him in any way?

It would be difficult for our entire political situation not to influence what we make creatively.

On one hand; I write a bunch of songs acting like the world is always about to end – but, now it feels like, well…maybe this is the actual fuc*ng end of the world. 

Baltimore has responded to this, artistically (see: TT the Artist’s, Fuck Donald Trump), but this city is always making art that is a direct product of the society in which we live. I’ve been coming to shows here since I was fifteen - and seeing bands like Double Dagger.

Now, there are artists like Abdu Ali - who are making truly incredible and immensely important art. There is so much awful sh*t happening - but there are beautiful people with things to say about it here.

Can you each reveal the one album that means the most to you and why?

I’m deciding. Our collective most-important album is Prince’s Purple Rain.

IN THIS PHOTO: Vagabon/PHOTO CREDIT: Daniel Dorsa

Who are the new/upcoming artists you advise we keep an eye out for this year at all?

Okay….so, some of these folks aren’t new or upcoming - they’ve been around…but I still want to tell you about them….

JPEGMAFIA, Nina Gala; Vagabon, Bedbug; Chiffon, Horse Jumper of Love; Surf Harp, Katie Dey; Crumb, Amazon Prime; Yohuna, Square Peg Round Hole; Johanna Warren, Museum Mouth; Puppy Problems and Go Cozy.

IN THIS PHOTO: Johanna Warren/PHOTO CREDIT: Allyce Andrew

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

Sign with Topshelf - They’re dope.

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).

That’s very kind of you, thank you. D.J. Us and Us Only - I like this...

Helado Negro - Runaround

Priests - Pink White House

Andy Shauf - Early to the Party

Thundercat - Them Changes

Charly Bliss - Percolator

_________

Follow Us and Us Only

 Top Shelf Records:

http://www.topshelfrecords.com/

Twitter:

https://twitter.com/usandusonlyyy

Facebook:

https://www.facebook.com/usandusonly/

Instagram:

https://www.instagram.com/usandusonlyyy/

Spotify:

https://open.spotify.com/artist/1T8ysBFv1XO61EuHhJmuwi

SoundCloud:

https://soundcloud.com/usandusonly

BandCamp:

https://usonly.bandcamp.com/

INTERVIEW: Stephanie Sounds

INTERVIEW:

 Stephanie Sounds

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IT is fair to say music was born into Stephanie Sounds.

I ask her about her upbringing and years in the church; how her father, Rev. Bazil Meade, impacted her love of music and what she has learned from him. She discusses her debut album, Much Better, and what the recording has been like; which tracks stick in her mind – and what plans she has for the next few months.

Keen to learn about her childhood and early music tastes; Stephanie Sounds reveals the artists that made an impression and what it has been like providing backing vocals to some of the music world’s biggest artists.

________

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

Hello! I am well thank you. 

I started this week with a good workout - so I’m ready to get to work.

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

My name is Stephanie Sounds. I am a professional singer and, after a few years of living and working on my sound, I am ready to release my music into the world.

Your debut album, Much Better, is completed. What can you reveal about it and the stories that go into it?

My album, Much Better, is a very honest account of the ups and downs I have encountered in life so far.

The songs came about very naturally and are very personal to me.

Are there any particular tracks that mean more to you? Any that really stick in the heart?

I honestly love all my songs - as they are written from different places or from different experiences.

It seems Do You Love Me might be a particularly personal track. Tell me more about that song.

Do You Love Me is about my need of my parents love but not quite feeling like that understand me - or want to know me for who I am.

The album explores darker issues like depression and anxiety. Did you feel it was important to address this in the album and make it more visible to those in a similar position?

Absolutely.

There’s so much focus on being strong and cracking on with life and not showing your true emotions - that people end up with depression or anxiety and not know how to process these feelings or seek help.

Music, for me, has played a major part in helping me express my feelings. It’s surprising how much a melody or lyrics can give you comfort or some clarity.

It’s important for people to know they are not alone.

How young did music arrive into your life? Can you remember the artists you grew up on?

Before I was even born - with both my parents heavily involved in music, plus a lot of my extended family, it was really in my blood. My mum has a picture of me, aged three, in my little pink dress singing on the stage - so I caught the bug very early.

I grew up listening to a whole range of artists - from Walter Hawkins to Michael Jackson and Anita Baker, and then, later on, I was hooked on all the 1990s' R&B groups and singers such as Faith Evans, Mary J. Blige; H-Town and Jodeci.

Like most teenagers, I went through my ‘Goth stage’ - and got into some ‘light’ Metal and Soft-Rock. Haha!

You dad is the Rev. Bazil Meade from the London Community Gospel Choir. Did you go to church a lot and sing? What was your upbringing like?

We attended church every week - unless the choir had a concert elsewhere. I would only really sing in church if I was performing a special number. Other than that, I would sing at the top of my voice in the congregation.

As I got older, I would be out touring with L.C.G.C. across Europe and the U.K. - often taking a few weeks off school during term time - but my teachers were great about it!

Is it quite hard telling people you are not exactly like your dad – and you are not purely Gospel?!

Not at all.

I have always been my own person and made sure that I do what makes me happy. Some people make assumptions about what my music will be like - but I enjoy telling them otherwise...

In the past; you have provided backing vocals to some of the music world’s biggest mainstream artists. Are there particular memories that stand out? Who was the best artist you ever sang with?

I really enjoyed touring with Faithless.

I feel like I learn the most from them as I was really opened up to singing - on top of a different style of music. I also enjoyed when I toured with Westlife as a backing singer and dancer.

I love dancing and I’ve always wanted a job that could combine the two.

Your time with Faithless must have been a great experience. What was life like with the dance outfit?

I think they just toured in a different way to what I had done previously...

I was used to staying in my hotel room and maybe popping to the shops in a new city. With them, we went on long walks; sat by a lake and had lunch - or did something touristy. It taught me to really appreciate travelling and experience the culture whilst I was there - even if for a day.

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

I am a part of an amazing tour in Switzerland from the 21st October, for two weeks, called SEAT Music Session Show.

When I am back; I will get ready for my debut London show at the Hoxton Bar and Grill, on 19th November, with my band!

Very excited!

Who are new acts you recommend we check out?

I’ve recently discovered Bruno Major. He’s a beautiful songwriter and I love his sound.

IN THIS PHOTO: Bruno Major

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

Lovers Rock by Sade

I fell in love with her when she released this album - and I’ve been hooked ever since.

Frank by Amy Winehouse

This album is timeless and I love the honesty in what she writes.

Fallen - Evanescence

This album showed me how to use a piano and orchestra in a different way in popular music - and, of course, I love the big guitars!

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

Develop thick skin: there’s a lot of rejection in this industry but you have to believe in yourself and be tenacious.

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).

My favourite song at the moment is Stonemilker by Björk

_________

Follow Stephanie Sounds

 Official:

https://stephaniesounds.com/

Twitter:

https://twitter.com/stephaniesounds

Facebook:

https://www.facebook.com/STEPHANIESOUNDS/

Instagram:

https://www.instagram.com/stephaniesoundsofficial/

Spotify:

https://open.spotify.com/artist/00IbnS7dEIO5snSUQcRbNG

SoundCloud:

https://soundcloud.com/stephaniesoundsofficial

YouTube:

https://www.youtube.com/user/tpie02

INTERVIEW: Jeremy Tuplin

INTERVIEW:

PHOTO CREDIT: Holly Whittaker 

Jeremy Tuplin

________

BEGINNING life in Somerset – now based in London…

PHOTO CREDIT: Holly Whittaker 

Jeremy Tuplin’s debut L.P., I Dreamt I Was an Astronaut, is out on Friday. I talk to the young songwriter about the new record and how it differs from his previous E.P.s of 2014 and 2016 (Carry the Fire and Open Letters). Tuplin has been lauded by critics and praised for his unique style. Recorded with long-time producer/collaborator, Mark Estall; I Wish I Was an Astronaut was recorded in South Bermondsey.

I ask Tuplin about the musicians that came into his life young and the type of music he was raised on; whether he feels new artists are too safe and limited – and what tour dates he has before the end of the year.

________

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

Hey, there – I’m good, thanks.

A bit tired. It’s Monday morning and I’ve played three gigs in the last four days - with a friend’s thirtieth birthday squeezed in-between.

So…it’s been a busy week.

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

Ok – my name’s Jeremy Tuplin. I’m a singer-songwriter from Somerset, U.K. - now living in London.

My music is within the Indie/Alternative/Folk brackets and, due to the themes and instrumentation used in the album I’m about to release, it has also been described as ‘Space-Folk’.

I Dreamt I Was an Astronaut is your new album. What is the inspiration behind that title? Does it nod back to childhood dreams?

The title combines both my love and fascination for space and the cosmos with similar feelings that I have for the realm of dreams. They’re both recurring themes in the album and are actually interests that I have developed later in life - as opposed to a nod to childhood dreams.

With the title; it’s intended to represent a very pure form of escape from reality.

Can you tell me the themes and ideas that compelled the songs on the record?

As I mentioned, space is a big theme - more in a philosophical sense than scientific.

The idea is that what you learn from looking up can be helpful when dealing with everyday matters. Tied into all of this, earthly matters such as love and relationships are also just as prevalent across the album.

It was recorded with long-term collaborator, Mark Estall. What was it like recording with him in South Bermondsey?

It was a very enjoyable process - although a lot of hard work.

I’ve recorded two E.P.s in the past with Mark so we know each other’s methods of working very well by now. It took a decent amount of time but it wasn’t rushed - and we wanted to make sure we had everything covered. 

You might say that we’ve developed some sort of musical chemistry (or something).

Your new work employs more acoustic sounds – mixing that with synthetic ideas and electronics. What was the reason behind this move? What are the main differences you have noticed?

I think there are a lot of differences between this record and the previous E.P.s that I’ve released.

I didn’t want to not take any risks or feel constrained by genres or instrumentation in any way; so we just went with whatever felt was right. A lot of this happened to be electronic and synth sounds - as it suited the songs and the space-focused content.

So much of today’s music is conventional and safe. Do you feel annoyed few artists are pushing themselves when they have the opportunity?

There’s lots of really interesting and unique music out there that sometimes harder to find. I think it’s a shame when they’re overlooked for music that’s more conventional or safe.

A lot of big D.J.s and names have poured praise on your music. How does it make you feel receiving that high-profile positivity?

It’s great of course (and also) because it helps get the music to a wider audience - which is the most important thing for me.

Give me a window into your upbringing. When did music come into your life?

It was always there in the background – my dad sang and played the guitar and my mum was a piano teacher. The music that they played in the car tape-deck sticks in the memory – people like Jim Croce, Rod Stewart; Sheryl Crow I seem to remember. (Billy Ray Cyrus too, actually).

I was always encouraged to be into music, I think.

Who were the musicians you idolised as a youngster?

As a teenager, I went through a Libertines phase…before that, Blur. Blur vs. Oasis in the Britpop years was when I really started getting into music.

I was always on the side of Blur.

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

I’ve got the album launch gig on 26th October at Paper Dress Vintage – that will be a full, six-piece band gig. Then, in November, I’m going to Spain – playing in Madrid, Zaragoza and Barcelona - and then coming back to the U.K. to play in places like Cambridge, Oxford and Brighton.

I’ll be announcing these dates soon.

It is, sorry to say, a few months until Christmas. Any plans for that time of year? Where will you be spending it?

I’ll be going home to Somerset. I always spend Christmas with the family in Somerset and it never grows old.

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

I’m going to go with Leonard Cohen – New Skin for the Old Ceremony

As a musician and a person, he’s been the most significant for me - and that album is my favourite of his.

I can’t not include a Bob Dylan album, either - so I’ll go with Blonde on Blonde

As a lyricist, you can’t look past him - and he’s been the most influential, for me, on that level.

I’ll go with a recent one: I Love You, Honeybear by Father John Misty

I listened to it pretty much non-stop for most of 2015.

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

I’ve never really felt comfortable in giving people advice…and I wouldn’t take my own advice either: I don’t really know anything. Other than ‘if it feels right then it probably is, and if it doesn’t then change it until it does’ - but that doesn’t count as advice.

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).

Ok. This came out recently and it’s dark, but that’s why I like it – True Lies by Alex Cameron

Thank you very much!

_________

Follow Jeremy Tuplin

PHOTO CREDIT: Holly Whittaker 

 Official:

http://www.jeremytuplin.com/

Twitter:

https://twitter.com/jeremytuplin

Facebook:

https://www.facebook.com/jeremytuplin/

Spotify:

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

SoundCloud:

https://soundcloud.com/jeremytuplin

YouTube:

https://www.youtube.com/channel/UCriGbrACRtKmNt6_GO4a3Fw

TRACK REVIEW: J & The Rest - Kisses on the Mirror

TRACK REVIEW:

 

J & The Rest 

 Kisses on the Mirror

9.2/10

 Kisses on the Mirror is available via:

https://open.spotify.com/track/0yoLeWzC4nKB0N5PBvRnBT

GENRE:

R&B

ORIGIN:

London, U.K.

The E.P., 4Am Again, is available here:

https://open.spotify.com/album/33NS5x6bOmKwhEtGaQ1D0v

___________

BEFORE I get round to the business of reviewing….

Kisses on the Mirror; I wanted to look at J & The Rest and what makes them so special. I wanted to start off by talking about artists that get into music by accident. It might seem like a rather haphazard way of getting into the business but it can result in a magnificent blending of people. I know a lot of people who plan every move and structure their careers from the moment they are old enough. It is impressive if you have that vision but how many of us, who have that passion for music, know what course to take? In the case of Jamal, as I shall show, it literally was a course that set him on his way. What I mean is few of us have any real early revelation and clarity. For me, when it comes to music journalism, I only got into it about six years ago. Before then I was hugely involved with listening to music but had never really seen writing as an option. The way I got into journalism was a former friend of mine had her own blog – and would write about her daily encounters and personal life. I had never seen a blog like that and was hooked by the fact it offered a portal to share your thoughts with the world. Of course, with very little happening in my personal life, I was not going to do the same as her. Instead, when we started chatting, it seemed like music would be the natural choice. Up until that point, in 2011, I had never written anything (review-wise) and started tentatively. With a few local artists on my page; before I knew it, I collated a series of reviews and interviews. Over the years, I have become more ambitious but it all started with that one moment. Jamal’s realisation is a different one but his progression in music follows similar lines to me. He was raised in a musical family but never considered music a full-time career.

His explosion/revelation was when he studied Music Tech at Leeds Met – that course, actually, was not as he imagined. I will talk about music education but the sour and disappointing time there left him a bit deflated. Rather than wallow and retreat from music forever, a friend of his advised him to come into the studio and jam. He went down there, not expecting anything big to occur but, rather than come away empty-handed, he met university mates John and Louis. The three of them clicked and were joined on the live circuit by Ricky (on drums). All of the players bonded and a natural brotherhood was formed. I am not sure how quickly that love was but one can imagine an instant vibe and understanding. Hearing them now and one knows the fact their music is so strong is because they are of the same mind. I hate bands that are manufactured and come together through committee. A lot of the best groups stick together because they have a natural friendship and find one another through unconventional routes. Whether you are mates from way back – or discover each other through a studio jam – it is an uncontrived and interesting way of setting up a band. Of course, there are manufactured bands that stay together but J & The Rest would not sound as strong were they assembled by a record label – one might look at the promotional photos and assume they were hand-picked because of their looks and style. That might sound harsh but I mean the boys have a distinct look and swagger; their voices and musical abilities perfectly mesh. That has all come through discussion and practice but it is stunning hearing them together and blending so effortlessly – like they have been together for decades, almost. I will move on but I like the way Jamal got the band together and how everything fell into place. That friendship clicking and popping when in the studio – how many other bands have that rush and urgency right from the off?

I alluded to the fact Jamal started his music curiosity via a course at university. It seems his disappointment and revaluation was a sage and fortunate event. He might not be in the band, and where he is, were it not for the studio jam. That Music Tech course would have taught him some discipline and abilities but I wonder what else he learned from it. Jamal’s voice is so natural and smooth it seems like he follows his instincts and heart. Music courses can, often, structure and define someone quite rigidly. There is room for manoeuvre and adaptation but many educational facilities want to turn their singers/musicians into the next-big-thing. This means, more often than not, looking at the charts. I live near a music university and often see a horde of students carrying a guitar case and looking the same. There is little personality and the depressing uniformity is something that worries me. I might be wrong in my judgement: one might whip out the guitar and have the chops of Eric Clapton or the calmer finger-picking genius of Nick Drake or Joni Mitchell. It seems many modern schools/music universities are teaching their students to be like the bets of the mainstream. I think more would go on course – and stick with the course – were the curriculum broader. Instead of honing them into a particular artist/sound; there should be more emphasis on freedom and musical exploration. I admire the courses concerning production and engineering but feel courses concerning vocals and guitar/drum often guide the students too strongly in a set direction – the alumni coming out sounding like everyone else and not having any viable career. There are some exceptions that forge a successful route but they are in the minority. In Jamal’s case; I think it was the course he was taking that might have put him off. It sounds very technical and stuffy. The lessons would have been quite dry, I can envisage, and that is not what he is about. His education has come from the studio and gigging with his boys in the band.

I will explore the band’s style more very soon but, before moving on, wanted to look at the conflict between education and instinct. I, as a writer, as in the latter’s camp. I realise the chances of me being snapped up by a broadsheet newspaper are the same as Donald Trump finding God, donating his money to charity and apologising for all the wrongs he has done – changing the world and concentrating his remaining years to assisting the poor in the developing world. In case my sarcasm is not strong enough, it all boils down to one thing; I am working-class. My education is university-level but I did not study an ‘appropriate’ degree – Journalism or some other subject – that would see me fit to work at these papers. I have no previous experience in the press and so, by virtue/misfortune of my social standing, will never be allowed through the exclusive rope of the broadsheets. That is disappointing but it seems if one wants to get anywhere in journalism – and they are working-class – then they need to pay thousands and spend years getting an education. That seems ridiculous as, to me, talent cannot be compartmentalised and evaluated in modules and accreditations; numbers on a page and a piece of paper. That may seem ironic as that is what music journalism is – with some florid wording and acute modern observations – but I mean a journalist is no less qualified if they spend years writing their own blog. It annoys me the only way people like me can ever get on in their career is if they are formally educated and bankrupt themselves. Jamal must have felt like this when he started studying music and realised he would not get anywhere fast doing what he was doing. I wonder whether he would sound as good and natural were he to go down the education route – I wonder whether I would lose my unique format if I did a degree. I feel, not bitter or anything, the way I am doing things is the right way to do it. I have learnt a lot more following my own thoughts and featuring the artists I have already.

Rather than turn this into a personal rant – what’s the point having a blog if one can’t allow some venting?! – but I wanted to talk about J & The Rest’s music. They have quite an Etonian approach to R&B (old school…oldskool? Anyone?! Suit yourselves!) and manage to mix the smoothest and most affecting of past days with the modern production and rush of the charts. That is no bad things because the guys are never commercial in their attack – their music is much deeper and complex than any of the mainstream R&B bands we have. It is unusually seeing a band like J &The Rest in our midst. They are not an all-vocal band like Boyz II Men or have that same sounds as, say, Londonbeat – one can, though, imagine they’d pen their own Thinking About You (the biggest hit from Londonbeat) sometime down the line. A lot of the modern R&B music is very cutting-edge and it relies on pushing the genre forward. I feel there are few that manage to evoke fond memories of the past whilst keeping the heart and soul of-the-moment. I hear little whispers of classic R&B acts and bands from the older days. I always prefer music that mixes old and new so, when listening to J & The Rest, I am satisfied and nourished. Jay & The Rest’s E.P. 4 A.M. again (their version is grammatically incorrect so have written it ‘A.M.’ rather than ‘Am’ or ‘AM’) is a stunning four-track collection that starts with the track Kisses on the Mirror. All Clear and Weary Love, in title alone, sound like they are going to be oldskool love ballads; Kisses on the Mirror quite tender and seductive – 4Am Again (whether that is pronounced ‘am’ or ‘A.M.’) a late-night introspection. It is a record that conforms to expectation but offers so much more. Seeing as the band formed with a sense of chance on their side – I am amazed they managed to produce something that sounds easy and accessible. I am unsure how much rehearsal there is but the guys mesh and there is not a missed beat. What I love about the E.P., and will explore in the conclusion, is the fact it’s tight and does not needlessly wander.

A lot of new bands, in an effort to impress and make a mark, stuff an E.P. with too many details and songs; they overwhelm the thing and come across as too eager. It is hard knowing whether to produce an E.P. or album for the first offering. Many have too much material for an E.P. and not enough for an album. It can be hard whether to go for an album – and have to think of some songs on-the-fly – or scrap a couple and produce a more refined E.P. The temptation is to toss it all into the blender but that can cause its own issues. I imagine J & The Rest had a couple more songs in their mind but have limited themselves to four. In this quartet of jams, they have fused the evocative spirit of classic R&B with the rawer and more hard-hitting beat of modern-day R&B. I mooted how few R&B bands there are but, as it is Jamal who takes care of most of the vocals, it is a more traditional band line-up – one singer and backing. That said; there are few R&B bands out there. Normally, you’d have a solo singer and any bands would cover other genres. I would like to hear, in time, all the boys mixing their voices and giving us that big-release harmony. You know the ones: where the spirit is lifted and the blood rushes all over the place. That is a rarity in today’s music and something we need to promote. As it is, the guys are a solid and fine unit that produce some of the best music around. I have been caught by the accessibility of their E.P. One does not need to be an aficionado of R&B to understand what they are about and where they come from. They do not put too many other sounds into the mix – whereby you can hear influences and particular artists when listening to them.

I am eager to get down to reviewing their E.P. lead-off song but, until then, wanted to discuss the special merits of J & The Rest. Before I get there; I wonder whether that band-name is meant to be a bit dismissive. We all know the ‘J’ is for Jamal – the other three members relegated to ‘The Rest’. It has only just struck me but, on paper, it does seem like the frontman and the minions. I know that is not what Jamal means – and the guys all have equal importance – but it is interesting to note. Anyway…I digress. Looking at the biography and timeline of the band and I notice they have performed on the same stage as Tine Tempah and Robin Thicke. That is impressive and, although I consider Robin Thicke to be worthy of inclusion in The Big Book of Monumental Bell-Ends, he has a certain star quality and pull – even if he is a derivative and forgettable artist. Tine Tempah is much more credible and impressive. Although he has passed his best days; there is still a lot of petrol left in the tank. He is an artist who produces passionate and crowd-unifying music. I have got more involved with R&B and Urban music because of him. His sounds are a sort of gateway into Grime and Hip-Hop. This experience and plaudit – sharing the stage with some big names – would have given the new band quite a kick. Their music has been picked up and appreciated by a number of different stations and publications. It is hard to say how effective it is gigging with stars but, for the boys, it has provided them a confidence boost and sense of motivation. The fact they are deemed worthy of sharing a stage with Tine Tempah means there is popularity and demand there. The boys’ E.P. is a testament to their hard work and effort. Each song is crafted so every listener can appreciate it. It is never a case of songs being over-produced and saturated of naturalness: music flows and has an easy charm; the lyrics and performances are backed by excellent production values.

Journalists have noted comparisons between Jamal and artists like D’Angelo and Maxwell. This is no small feat and, if there are people talking like that, it means Jay & The Rest are stepping in the right direction. I find it rare to have a British R&B band being linked with U.S. greats but that is another reason our guys are so special. It might take them years to reach the same heights as D’Angelo but, if they are looking for guidance, look at what he is doing and take that approach. I do not mean replicating his music but listen to an album like Black Messiah (the 2014-released record credited to D’Angelo and the Vanguard) and it went down a storm! It is considered one of the finest records of the decade and was met with enormous critical acclaim. We in the U.K. have not produced anything as good as that and this worries me. I am sure we have the talent but few artists are harnessing the same dynamics and colours as D’Angelo. Our R&B artists are too commercial and not pushing the envelope as much as they should. Maybe that is a divide between U.S. and U.K. but I feel there is a lot of promise concerning J & The Rest. I feel they can produce something that has the same ambition and scope as D’Angelo’s Black Messiah. That would be a terrific achievement and something that could kick-start British R&B. The London boys have that balance of vintage and new that is so essential if you want to create a classic album. If it is too old-style then it runs the risk of alienating younger generations. If it is too modern then it is only likely to have limited lure. It is a hard balance but one Jay & The Rest have struck.  

J & The Rest put their E.P. out at the end of July so it has been in the ether for a little while. I wanted to review its opening track, Kisses on the Mirror, because it best represents the E.P. and is the strongest cut. The opening movements see a distorted, rushing vocal that is all machine-like and squelchy. That instantly fuses with something vintage and caramel. The electronic vocal – must-favoured by a lot of R&B and Future-Beats artists – projects urgency, confusion and street lights. It sees my mind wander to the street and wandering among the late-night revellers. When I hear the stylish and evocative mixes of the past, when combined with the modernity, it is an evocative and stunning sensation. Without a word being sung, you are somewhere else and imagining where the song will go. My imagination ran riot and, from the street and the neon lights, into the house and in front of the mirror. I am not sure how influenced by relationship and sex the song is (excuse the poor grammar) but there is a definite sensuality and allure to the introduction. Jamal feels and smells the perfume on his skin, My doubts are allayed when I hear his rich and entrancing voice talk about a conquest and memory. Maybe they have not actually got together but there has been some tease and flirtation. The girl is on his mind and there is something bittersweet about the lyrics. Although the girl has hit him like a typhoon: one gets a sense they are separate or their paths are not as interlinked as they should be. Perhaps they have spent the night – or flirted all night – but they lead separate lives. She might have a boyfriend and he is unable to extricate her from that relationship. I feel a real sense of desire and candour in Jamal’s voice. The gang back him with incredible beats and emotive colours. One senses conflicting shades and layers running right through the composition. I am drawn to the electronics and wobbly voices; the tense beats and flowing strands. It all goes into a soundscape that projects so many visions and has a raw sense of sexuality.

Kisses on the Mirror, in regards its title, suggests intrigue and interpretation. Does it mean the girl left her lipstick print there as a tease to the hero? Is it about reflection and not being able to embrace a kiss – just a mark on a mirror that reminds him what he could have had? It is a compelling song and one that left me guessing to the very end. As the track progresses; more revelations come to light. The hero has Stockholm Syndrome which, to me, suggests there is a hostage-type situation in the relationship. The girl might be playing him for a fool and sharing her affection with other guys. He has come to identify with his ‘captor’ and does not want to be punked and put down – are other guys she’s seeing feeling the same way?! It is an interesting dynamic about love and one that gets me thinking. Our man wants a touch and something pure but it seems he cannot release himself from her spell. There is definite charisma and beauty he cannot shake off. Many of us have been in the situation when logic takes a back seat to the desires of the heart and soul. Jamal might have played his hand too early and been a bit too hot and insistent. Perhaps he knew the girl was bad and fell into her layer. It all sounds very dark and tragic but that is how love can play out at times. I wonder whether it is real love - or our hero wants sex and something physical? The feeling there are other guys out there who get to share the girl does not sit well. He is “not used to” being left notes on the floor and kisses on the mirror – the girl teasing our man with goodbye notes and driving him wild. Jamal’s high-pitched, chocolate-rich voice reaches to the heavens and is backed by his erstwhile, tight-knit band. Each component perfectly clicks so the song pops with energy, desire and emotion.

One might hear the vocals and assume the boy is fine with the scenario. I hear the emotion in the voice and the fact there is hurt. He is not someone who brags and is used to getting what he wants. Some might assume he is a player that does not have to struggle when it comes to love. That might be true to an extent but, here; a desire for something deeper comes out. The heroine has the ability to get who she wants so, when it comes to one-night conquests; she is happy to leave notes and guys drooling. She has all the power and is playing the aces. “Who’s the sucker now?” asks the hero. Maybe they went into it assuming he would get his way and the girl would fall into his arms. That is not the case and, as we hear, she has left him wanting more. It is a breath of fresh air hearing an R&B song that takes this course. So many of them are quite sexist and talk about shallow conquest – no real emotion or decency underneath. Here, we find the hero struggling for words and making sense of what has happened. The girl plays the guys like a guitar and that irks the hero. Thankfully, away from the scorn and reflection of the verses comes the big and singalong chorus. It is a blast of classic R&B that gets the words into the head. The chorus does not undermine the seriousness of the song but it does offer some relief. It is hard seeing the hero struggle but one wonders whether he had this coming. So many guys think their swagger and confidence can get any girl to do what they want. In this case; we see a heroine who will not be played and knows what she wants. She can get any man and, rather than dedicate herself to a relationship, she teases and toys with the boys. This leads to a sense of Stockholm Syndrome and being entrapped.

Into the final moments and this sense of stress and confusion does not abate. If anything; our man is piecing the night before together and wondering what to do. That lipstick mark on the mirror is causing him to pace to the floor and question his mind. In the chorus, we get horn blasts and nice beats; some great electronic swirls that all lead to something head-spinning and smile-worthy. I mentioned how the band have a fondness for classic R&B and one gets that in the chorus. The verses are more modern but, when you follow the song, you get hits of the old and new – this means the song is easy to love and can be appreciated by many. Before the song was through, I wondered whether things would be the same and a relationship would form. Women who can get their way without consequence are reluctant to stop the game. It appears things will not be rosy for the duo but she has a potency hard to shake. Few women can cause such a stir after a night together – if, in fact, things actually got to sex. One presumes so, looking at the clues – the note on the bedroom floor and kisses on the mirror – but our boy is not someone who wants the cheap and easy thrill of sex. He wants to see her again but she is pushing him away. Most R&B men have too much confidence and braggadocio that cloys and repels. They are all about flex and strut. Here, Jamal is not going to be one of those men that use women and then moves onto the next one, His heart, whilst not broken, is stretched and he wonders why he is being taken for a mug. Maybe that is the way things can go: not all women are looking for relationships; they might just want to have a good time without being tied down. Kisses on the Mirror is a song that reveals a broken man who is trying to face rejection – whilst unable to tear himself away from an intoxicating and beautiful woman. It is a beautiful and memorable song that, once heard, will not be forgotten – quite appropriate considering the dynamic and sense of addiction in the song. J & The Rest prove they are a band to be reckoned with and have plenty more good years left in them. A stunning cut from one of the hottest young groups on the scene.

Let’s take this review down but, before then, I wanted to tip my hat in the direction of Jay & The Rest’s future. The guys have not been together that long so it is understandable they want to take time and craft something meaningful and studied. That is not the case with the boys as they gelled pretty quickly and their E.P. is solid and assured. It sounds like the band have been together for years and that is down to their bond and shared talents. Jamal leads from the front but it is not solely about him. I wonder whether the band is performing a lot before the end of the year. The E.P. has been picking up reviews so there will be demand out there. I know they have gigged in London but there are venues that would love to see them play. The U.K. has so many spots they would be perfectly suited to so it will be interesting seeing what happens next. There has been promotion of 4 a.m Again (not sure exactly how it should be typed so I shall go with that) but the songs have resounded and resonated. Even though the E.P. is a couple of months old, now – there is no reason they cannot strike and take the songs as far as possible. I feel there is a lot of radio appeal and they could enjoy a widespread sense of recognition. I feel they would get love from Capital, KISS and Radio 2. That might sound like a broad demographic but that is the potency of the music. It has a young and modern vibe – which means it is perfect for stations like KISS – but that might be selling it short. Even for a young band; it is important getting under the radar of brands like BBC Radio 2. They are not to be sniffed at and, if you can blend that with the more hip stations, you have the best of both would. I know the guys could enjoy radio-play on BBC Radio 6 Music and Radio 1, too. There is hardly a station they could not get on so, because of that, another wave of promotion and canvassing is required.

I know they have a great P.R. team behind them but there is a definite need to keep the foot on the accelerator. If an E.P. is promoted when it is released – and then falls away after a month – people move to the next thing. Such is the attention span of most people; they can forget about songs if they are not constantly in the mindset. A song like Kisses on the Mirror is evergreen and demands love throughout the year. J & The Rest have launched the E.P. and done as much as they can, Maybe a mini-tour of London might be possible before Christmas? That would give the music another airing and bring them to new crowds. From there, into 2018, they could expand their horizons and take their music up and down the country. There are so many cities and towns that they’d own and seduce many fans. In terms of fanbase; they have big numbers, but that could rise pretty quickly. I know many people in London are reacting to their music but this appeal stretches much further. Getting out there and taking the music to the people is the best way of expanding the numbers. I am not sure whether they have a tour planned for next year but their music warrants further investigation. International dates seem likely but that might be a few months down the line. The guys must be thinking about foreign soil and I wonder where their minds take them. The reason why they are so passionately regarded is they are a hot new band but not a typical ‘boyband’. In fact; they are a proper, grown-up band who rely on their own guidance and do not conform to the mainstream. I shall take things down now by suggesting you all wrap your ears around the golden tones and body-moving compositions of J & The Rest. Jamal and the fellas are a potent and future-ready force that has the ammunition and ability to go as far as they want. If they manage to blend that suggestion of D’Angelo with the oldskool R&B then they could well…

BE the next big band in British music.

_______

Follow J & The Rest

Official:

https://www.jandtherest.com/

Twitter:

https://twitter.com/JandTheRest

Facebook:

https://www.facebook.com/jandtherest/

Instagram:

https://www.instagram.com/jandtherest/

Spotify:

https://open.spotify.com/artist/5wfdkT8MQeqKZjLfDjBiDI

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https://www.youtube.com/channel/UCPhNKzEM0j14EN_FoPguZeg/videos

FEATURE: Wild Beasts: Esprit De Corps and Tristesse

FEATURE:

 

Wild Beasts:  

 Esprit De Corps and Tristesse 

________

I will keep this nice and short but I could not let…

PHOTO CREDIT: Maxyme G. Delisle

this day past without marking the sad news of Wild Beasts’ split. I will write about them in greater depth as details prevail but, seeing Hayden Thorpe’s eloquently and heartfelt letter (posted on Instagram) announcing the band’s break-up – it makes me realise what a hole will be left. The band has been credited with bringing sensuality and poetic spirit into the mainstream – helping a degree of sophistication and old-school lust into music. The intellect of Hayden Thorpe (the frontman and co-writer) is matched by his flexible and extraordinary voice. With Ben Little and Chris Talbot providing musical support and perfect notes – a tight and compelling band who have amassed a huge amount of respect since their debut. It is the interplay and connection between Thorpe and co-vocalist/writer Tom Fleming that fascinates me. The wild, boy-like flight and extravagance of Hayden Thorpe’s voice perfectly blends with Fleming’s deep and commanding tones – the two able to weave exceptional magic by uniting their voices. My first exposure to the band, like many, was their debut album, Limbo, Panto – they released three E.P.s before 2008 but their debut L.P. is the record that put them on the map. That record, listening now, sounds so far ahead of its time.

The galloping rhythms and weirdness of Brave Bulging Buoyant Clairvoyants; the growling and gurning of She Purred, While I Grrred; the brilliant of the Fleming-led His Grinning Skull – so much variation, beguiling oddity and originality on that record. Some critics were off-put because of Thorpe’s vocals – a divisive tool that can either take you by the soul or grab you by the bollocks. Anyone who takes umbrage at his free, flowing and dancing voice do not realise the nuance and potency it holds. It is not only the (co)lead that makes the band so special – I will talk about them in the present-tense as they are, technically, still together. Through their career, they managed to alter and evolve their sound without sacrificing their ethos. Two Dancers (2009) and Smother (2011) smooth the rougher, wilder edges of their debut and offer great control, elegance and depth. The former is a stunning record that contains some of their debut-era leap – Hooting & Howling and All the King’s Men – but a, in When I’m Sleepy and Empty Nest, different aspects and strands. They managed to maintain their incredible lyrics and originality but brought a greater sense of romance and tenderness to the physicality. If the debut concerned a youthfulness and sexuality then Two Dancers was the sound of young men more considerate and level-headed.

Smother followed that and, if anything, is the peak of their career. Smother made the top-ten of many critics’ end-of-year lists and no surprise. Hayden Thorpe, keen to head away from London – the Yorkshire-raised band moved to London early in their career – and to the Lake District. The soundscape and majesty of the place inspired their most widescreen, beautiful and rich album so far. Wild Beasts could never abandon the sweat and scintillating of sex – Plaything and Reach a Bit Further address romance and relations with typical intelligence and poetic flair – but, here, they bring yet MORE details and colour into their work. Present Tense was the sound of a band detaching from touring and the burn-out of 2012. That year found them hitting the road hardcore. Having released three albums in four years; many could forgive them for wanting to have a rest – that was not going to happen. They said goodbye to long-term producer Richard Formby and drafted Leo Abrahams in (alongside Lexx). They helped sharpen the band’s material and help assimilate more electronic and synthesised sounds into the blend. Present Tense, as a result, remains a more direct and stringent work (than Smother). Boy King, their final album, saw another shift and retool. The boys returned to the sexual abandon and masculinity of Limbo, Panto – albeit, a less florid and more aggressive reinterpretation. The album addresses modern-day masculinity and features heavy synths and compressed drumming – more guitar solos and a thud that sounds foreign when compared to their previous records.

That departure from Art-Pop stunned some critics – who felt they had lost their edge and compromised – but, in truth, is was the band remaining fresh and mobile. Recorded in Dallas with producer John Congleton; it won plenty of plaudits but, perhaps, showed the band had lived through their finest days. The circumstances of the band’s split are not known but one hopes the split is amicable – the brother-like bond one hears in interview and on the stage suggests they were as close away from the microphone as on. It is hard to say but perhaps it is the end of the creative road – let’s hope the members all find successful careers away from Wild Beasts. The tears have only recently dried from the realisation another great British band, The Maccabees, are no longer with us. I play Pelican (from their third (and penultimate) album, Given to the Wild) like I’d read a text from an old lover – remembering the good times and wondering where the hell it all went wrong. As I rock in the shower in a pool of my own tears whilst adopting the foetal position – I thought the sense of loss would not heighten. The Wild Beasts lads might not have the same fanbase and critical appreciation as The Maccabees but, in the way we mourned and reacted to the band’s unwanted split, there are a lot of disgruntled and affected fans of Wild Beasts. They have made an incredible impact on music and their absence will be felt.

There are no other bands that have the same chemistry and songwriting combinations of them. It is pleasing knowing they leave a legacy and have inspired other bands to bring poetry, sophistication and layered compositions together. I am doing Wild Beasts a disservice because there are so many other components and positives that one can preserve. The guys had/have an incredible stage presence and speak so beautifully in interviews – articulate and deep; always fascinating to hear. I hope there are no tensions in the band and there was a consensus to the division – they all need to move on and try new things. I hope, too, there is a Maccabees-style farewell gig from the band. I am not sure when they are officially no more – and whether they release a final single – but that will all come to light. Whilst there is a sombreness and unexpected shock in music right now; the effect the band have had is clear. On Twitter, the likes of Everything Everything (influenced by Wild Beasts) and Zola Blood have shared their sadness. As we say goodbye to a fantastic and inspiring band; we look back at their incredible career and what they have brought to music. Thanks to Wild Beasts for the beautiful, sweaty and sensational music. I am confident we will never… 

SEE anyone quite like you again!

INTERVIEW: Logan Brill

INTERVIEW:

 Logan Brill

________

THERE are a few reasons why one should be interested…

in the Country music star, Logan Brill. Her music channels the greats of the genre but has a contemporary feel to it. That clash of romantic nostalgia and modernity means she has lodged her sounds into the hearts of many. She will soon be here for Country Music Week, so I ask her about that – and whether she will be in the U.K. after that.

She discusses her debut U.K. single, World Still Round, and her new album, Shuteye. I find out about the themes and backstories from the record and what she has planned for the future.

________

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

I’m great, thanks! The week has been good.

I’ve been on the road a lot recently and I’m back in Nashville, briefly - so I’m enjoying some time at home.

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

Sure. My name is Logan Brill and I’m a Country artist living in Nashville, Tennessee. I’m originally from East Tennessee and have been playing music and singing for as long as I can remember.

My sound is a little bit Country; a little bit Blues - and a little bit Rock.

World Still Round is your debut U.K. single. What is the origin of the song and can you remember the moment it came to mind?

The idea for World Still Round came about when I was writing with a friend of mine, Scooter Carusoe, in Nashville. I was dating and watching friends of mine fall in and out of relationships - and decided it was something I felt compelled to write about.

We wrote about half the song sitting at a pancake house in Nashville called the Pancake Pantry.

Shuteye is your new album. What kind of stories and themes inspired the songs on the record?

I like to think the songs on Shuteye make up a picture of my life at the time I was writing for the record.

A lot of the songs were inspired by things I was going through in my life at the time - or things friends of mine were going through - relationships coming and going and life changes that come from being in your twenties. Between the songs Tupelo and The Bees, especially, I definitely felt a theme about the concept of ‘home’ and what that meant to me.

I travel so much; I think I’m really interested in the idea of finding a place that’s yours - and missing people back home when I’m away.

The album has already received acclaim. How important are those reviews and does it give you a lot of confidence knowing your music is beloved?

Making a record takes so much time and energy; so once it’s finally out in the world, it’s really exciting to see that it resonates with people.

It means a lot to me to know that people appreciate and relate to the music.

You are in the U.K. for Country Music Week. Is this your first time here and what is it about the event/week that pulls you here?

I’ve been lucky to make it over to the U.K. a few times over the past year-and-a-half to tour - first for the Nashville Meets London festival in 2016 and then for C2C festival in March of this year. I am so excited to be back for Country Music Week! The audiences in the U.K. have been so welcoming. With crowds in the U.K., there’s such an appreciation for original music - especially Country music.

It’s really inspiring to see.

Nashville is your base. What is it about the Tennessee city that gets into your heart? How does it differ to Knoxville (where you were born)?

Nashville is such an amazing city.

I’ve been living here for eight years now and it’s changed so much during that time, but one thing has stayed the same: the people. Nashville is such a friendly and welcoming city it really does feel like a small town. The music scene in Nashville is competitive but it’s also really inclusive. We all support each other in a way by writing together and playing on each other’s records.

It’s really fun.

Knoxville, where I grew up, is a smaller city close to the Smoky Mountains in East Tennessee. It’s a little quieter than Nashville and has a lot of small-town charm.

Can you remember those artists that drove you to come into music?

The music from my parents’ generation is what really inspired me to want to pursue music. Growing up, while the rest of my friends were buying Britney Spears and NSYNC records, I was geeking-out on Gram Parsons, Bob Dylan; Bonnie Raitt and the Eagles.

Was your childhood musical? Did your parents’ taste enforce your passion for music in any way?

My parents’ taste in music is definitely what inspired my passion in music.

My dad, especially, made my musical education a big priority. I remember him sitting us down to watch The Last Waltz and Pink Floyd live concerts on V.H.S. Then, when my parents split and my mom remarried, my step-dad became a big influence on my passion for music. He played in a local Knoxville band and would have me get up to sing when I was ten or eleven.

In your career; you have shared the stage with the likes of Willie Nelson. What have been your fondest memories to date? Is it daunting being on stage with such titans?

I’ve been so lucky to share the stage with some of my idols over the years.

I’ve learned so much by watching some of the musical legends I’ve been able to tour with. One of my favorite on-stage moments was when Vince Gill agreed to join me on the Grand Ole Opry stage to sing with me on my song, I Wish You Loved Me.

That was a pretty big thrill...

PHOTO CREDIT:  Preston Leatherman

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

Coming up next, I’ll be over in London for Country Music Week. Otherwise, hoping to be back in the U.K. sometime very soon!

When are you coming back to the U.K., do you think?

No official dates yet but I’m sure I’ll be back again before too long!

Hopefully, the first part of next year?

IN THIS PHOTO: Jillian Jacqueline

Who are new acts you recommend we check out?

I’m a huge fan of a girl named Jillian Jacqueline who will also be at Country Music Week. She’s living in Nashville and is putting out a new project that is really incredible.

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

Late for the Sky - Jackson Browne

This is a record I listened to with my dad growing up - so I have a lot of great memories linked to it. I also think it’s lyrically one of the most brilliant albums out there.

Trio - Dolly Parton, Linda Ronstadt and Emmylou Harris

Three of the most amazing female singers out there, all together on one record. Need I say more?

Wide Open Spaces - Dixie Chicks

This is the first contemporary Country record that I was totally hooked on when it came out. Every single song is solid gold and I looked up to three such strong women as a young singer.

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

Stick with it and always be true to yourself!

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

This is a tough one…

Since hearing about Don Williams’ passing last week; I’ve been going back to all his old records.

In his honor; how about his song, Tulsa Time?

_________

Follow Brill Logan

 Official:

http://loganbrill.com/

Twitter:

https://twitter.com/LoganBrillMusic

Facebook:

https://www.facebook.com/loganbrillmusic/

Instagram:

https://www.instagram.com/loganbrillofficial/

Spotify:

https://open.spotify.com/artist/1mpmeebMaQm9G6i4M6RYHo

SoundCloud:

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YouTube:

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INTERVIEW: The New Faith

INTERVIEW:

 The New Faith

________

WILL, from Brighton's The New Faith, talks about...

the band’s formation and what their new track, Fritter Away, is all about. I ask him about Brighton – where they are based – and how influential the city is. He talks about their new album, Me on You, and the stories/inspiration that went into it. I was curious to know what the remainder of the year holds for the band and, given that ecumenical-sounding name, there is any religious aspect to their moniker.

The band talk about the albums that mean the most to them and the artists that inspire them. I learn about their creative process and why they favour a more stripped-back and lo-fi approach to their music – mixing that with modern technologies to create something rich and different.

________

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

Hello! Thank you for asking!

It’s been a mad week…Acoustic Sessions in London last week - a Birmingham show the day after. Football with Starsailor at the weekend and band practice two days running.

We’re active…we’re an active band!

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

My name is Will and I front (in) The New Faith. The rest of the band are:

Sam – Co-Writer/Guitar

Jenna – Keys

Stephen – Drums

Ali – Bass

Various – Strings/Choirs/Saxophonists/Percussionists

‘The New Faith’ is the band-name. What is the derivation of that name? How much is it based on divination and belief?

Ironically, there’s no forecast there as no-one gives a sh*t about us - and I can’t imagine anybody putting any personal investment into it...then again, I’m sure most cults aren’t rated by everyone.

Can you talk about the new single, Fritter Away? What is the story behind the song?

Fritter Away is all about looking back and warning about the future...

There are many repetitions: life can put you in the same place time and again. Don’t make the same mistakes, basically.

I was sending a message to my former self to re-assess...

It is taken from your album, Me on You. It sounds like a 'saucy' title but what were the events and ideas that went into the L.P.?

I’m glad you say ‘saucy’!

The main running themes of the album are love/youth/loss/time and repetition. There was a time of trying to talk about ending up in the same place over and over. I realised it was happening in all aspects of life - still getting pissed up; still breaking up with people and still getting crap jobs! Where a lot of the album is talking to a younger-you: I wanted a title to cover all bases - dirty, kind and poetic all-in-one.

The original title was I’m Forever the Man That I’m Going to Be, Forever - but I thought it made me sound like a pretentious cu*t…and I don’t need a title for that.

I believe there is a narrative and sense of chronology about the album – charting movement and relocation. Was the album inspired by upheaval and a sense of uncertainty?

I lived in Berlin and left with no money and no girlfriend.

Again...sort of expecting to go back into the cycle on my return but ended up being worse - definitely uncertain.

The album is filled with older technology and a stripped-back production approach. Do you favour a simpler approach to recording and did the lack of luxury afford the music greater naturalness and a better sound?

There were aspects of older technology: there was experimenting with tape; an old Moog and classic instruments.

I would say that there was a lot of luxury in the end as Dave Izumi, the producer, took us into his lair (really a studio) and gave the tools to make this album huge. There is definitely a balance, though; a few stripped back piano tunes as well as big, super-massive instrumentations.

Some have compared you to The National and The Divine Comedy. It sounds like you have a balance of seriousness and humour in the music. Would you say this is fair and are these artists influences?

It’s fair to say there is a balance of seriousness and humour. However...

They only really have come about because they have deep voices. I don’t know anything about The Divine Comedy - other than National Express - and The National are hugely overrated - and I wouldn’t cite them as an influence.

(Everything went downhill after Sad Songs for Dirty Lovers)

There is flamboyance and various instrumentation in your music. How do songs come together and is it complicated getting all those strands together?

I wouldn’t say complicated, necessarily.

A lot of hard work has gone in from Sam and I. Getting everything in working order and getting the music written for people to play was a long process. The sort of work we put into this album is one of the defining characteristics of this album…

Also, flamboyance.

The band hail from Brighton and Will, you front The New Faith. What is Brighton like for a young band and can you tell me how you all came together?

Sam and I met on the Internet (we’re very modern, don’t you know) and we had to get a band together.

Everyone else was a combination of friends of friends; friends of musician friends and Internet strangers.

Do you all have similar tastes in music? Who are the artists you all grew up on?

There’s gonna be a huge mix in there!

Sam definitely the oldies: loves Bob Dylan and a bit of Prince. I was into the Dischord bands; Punk bands. - we both meet in the middle with The Fall, I think.

I used to love all that angst-driven music: everyone being dissatisfied and sticking it to THE MAN, man.

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

13th October - The Brighthelm (Brighton)

21st October - The Victoria (Dalston)

Who are new acts you recommend we check out?

Sunan, who is yet to reveal themselves to the world, is a name to remember - outrageous stuff.

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

Will: Anthony and the Johnsons – I Am a Bird Now

It’s an unrivalled expressive personal journey. It’s open, it’s honest; there are some wonderful featured artists and the songs are extraordinary. I’m envious of somebody who could put something together that would have such a big impact on the listener.

Sam: Zombie Crash - No Mercy

It's the greatest (possibly only) lo-fi Metal album you'll ever hear. The energy on it is insane - and it's a complete hook-fest.

Stephen: ABBA - Gold

Fifteen years ago, my mum passed away and she used to love that album. I remember she'd always drop it at parties and though I hated it at the time. It’s a compilation album: it's full of stone-cold hits.

Jenna: Bonobo - Black Sands

This album inspired me to invest in my first MIDI keyboard and music production software because it was the first album I listened to which really experimented with a variety of synchs and layers – as, before this, I primarily just played the piano. This is one of the many reasons I love playing The New Faith tracks - because we experiment with many synth sounds on the tracks!

Ali: Music for Airports - Brian Eno

Do you get the chance to relax/have downtime away from music? What do you all get up to when you have time to detach?

Ok; maybe we’re not that active…

Sam and I have a label to run - so can’t get away from it!

We’re all (minus Jenna) in Brighton – so either get boozy or eat vegan food in hip cafes.

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

If you do bother; don’t be original and copy the same old sh*t and be a fad band - you’ll at least get eighteen months of touring and free booze!

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

Will: Rites of Spring - For Want Of

Ali: Mac DeMarco – On the Level

Ste: ABBA - Does Your Mother Know?

Jenna: Talking Heads - Girlfriend Is Better

Sam: Zombie Crash – 2010 (from No Mercy)

_________

Follow The New Faith

 Official:

http://www.thenewfaith.co.uk/

Twitter:

https://twitter.com/thenewfaithband

Facebook:

https://www.facebook.com/thenewfaithband/

Instagram:

https://www.instagram.com/thenewfaithband/

Spotify:

https://open.spotify.com/artist/3tSkYjqXODNo8mSarHZruE

SoundCloud:

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YouTube:

https://www.youtube.com/channel/UCtrVv9SihWYEk4QQMC8wYuQ

FEATURE: Flip the Record Over: The Best B-Sides Ever

FEATURE:

 

Flip the Record Over:  

IN THIS PHOTO: The Beatles

The Best B-Sides Ever

________

IT may appear irrelevant in an age where we are…

IN THIS PHOTO: The Beach Boys

neglecting physical formats and getting our music from streaming sites – but there is a lot to be said about the humble single. There was a day when people used to buy singles and there would be a B-side – I am aware I sound quite patronising; as though this was hundreds of years back. It does feel like a product of an older time but, happily, there are modern artists putting out B-sides. This might be because there is a bit too much material around – not strong enough for an E.P./album but too good to waste – or the chance to retain some of music’s history and tradition.

To me, it allows the listener to hear those less-than-perfect tracks that were cut at the same time (as the album-worthy gems). Because of this, and looking back at some terrific music, it is a chance to show why B-sides should be brought to life. I collate those overlooked songs that definitely stick in the mind…

__________

Fleetwood Mac - Silver Springs

A-Side: Go Your Own Way

Year of Release: 1976

Noel Gallagher’s High Flying Birds – Revolution Song

A-Side: Ballad of the Mighty I

Year of Release: 2015

Bruce Springsteen - Shut Out the Light

A-Side: Born in the U.S.A.

Year of Release: 1984

The Beatles – You Know My Name (Look Up the Number)

A-Side: Let It Be

Year of Release: 1970

Primal Scream - Velocity Girl

A-Side: Crystal Crescent

Year of Release: 1986

The Beach Boys - God Only Knows

A-Side: Wouldn’t It Be Nice?

Year of Release: 1966

Radiohead - Talk Show Host

A-Side: Street Spirit (Fade Out)

Year of Release: 1996

Oasis - Half the World Away

A-Side: Whatever

Year of Release: 1994

Booker T & The M.G.'s - Behave Yourself

A-Side: Green Onions

Year of Release: 1962

Joy Division – These Days

A-Side: Love Will Tear Us Apart

Year of Release: 1980

The Smiths - How Soon Is Now?

A-Side: William, It Was Really Nothing

Year of Release: 1984

Franz Ferdinand – Shopping for Blood

A-Side: Darts of Pleasure

Year of Release: 2003

The Beatles – I Am the Walrus

A-Side: Hello Goodbye

Year of Release: 1967

FEATURE: The Void: What Is the Point of Music Talent Shows?

FEATURE:

 

 The Void:

IN THIS PHOTO: Cat Deeley is to host Sky 1's new talent show, Sing: Ultimate A Cappella

What Is the Point of Music Talent Shows?

________

I will bring in a selection of other journalists into…

IN THIS PHOTO: The judges (and presenter) from The X Factor

this piece because, when it comes to slating reality shows, you can never have enough criticism! This is not going to be a slagging-off-talent-shows-for-the-hell-of-it sort of article: I want to understand why they are popular and whether they hold relevance in 2017. Cat Deeley – someone I have a lot of time for and feel is extraordinary – is fronting a new talent show called Sing: Ultimate A Cappella. The idea behind it is simple: it is a singing contest without instruments; the performer is key and it brings in groups of all varieties. There are a few issues with this initial premise. Saying this is ‘all-new’ would be like saying singing contests are new: this has been done so many times it is formulaic. There will be judges, as you’d come to expect, and I can sense the demographic and demands you’d have of the judges – the ‘mean one’, that liberal and open-minded option; a couple of yes-men/women. Ever since Simon Cowell helped popularise Pop Idol all those years ago – I shall get to that/him in due time – we have been inundated with lazy rehashes. This new singing show is as old and worn as every other one out there. The premise itself is flawed as there is no demand for this type of performers in modern music. I admire – another aspect I shall get to – shows that concentrate on rare aspects of music and do not go for the mainstream. There are newly-devised concepts, more later, that puts a new spin on the format and has originality and purpose. The Cat Deeley-fronted singing/talent show will shine a light on something quite old-fashioned and anti-commercial.

A capella groups died with the dodo and have not been marketable for many decades. I admire a strong voice but there is not a viable and sustainable market for any a capella artists in this time – we have evolved and music does not proffer this type of sound. The likes of Boyz II Men were an exception but, yeah, it might be nice to see them back in the frame. If, conceivably, a group like that could be discovered – and they chose to refute an army of producers and songwriters – and made music on their own terms; that could spearhead something good. The only trouble is the judges and public will not go for that. What you’ll find, when the show comes to the final episode, the winner will be nothing like that. It will be a young white group that will be instantly – if a record deal is offered – controlled and manipulated by a record label. Even if the singers write their own music: the need to make something commercial and populist will mean they have little say. Also, music talent shows do not put the instruments at the forefront. All of the X Factor/The Voice-type shows focus on the voice – there are backing tracks but you do not have any real instrumentalists or musicians on these shows!

IN THIS PHOTO: Birmingham band Sons of Pitches team up with Deeley on her new venture

If, God forbid, any talent show should recognise a musician or anyone with an iota of personal talent and distinction – the bedrock of British television will crumble and we will find something genuinely worthy. I have endless affection for Cat Deeley but I feel her consummate professionalism, radiant personality and undeniable talents cannot cover the fact Sing: Ultimate A Cappella is nothing more than a re-derivation of every single singing show of the past decade-or-so – the format, composition and look is a carbon copy of all the talent shows you’ll ever see. I think the show is on Sky 1 but, to be honest, I can already predict its outcome and ending. The reviews will be mixed, at best (the tabloids, no doubt, will love it) and we will be subjected to the same faux-drama, tearful bullsh*t and cloying sentimentality we have had to stomach since the lamentable birth of Pop Idol. It is a sorry time when anything other than criticism and approbation meets the announcement of a singing talent show. I know the ‘winner’ of the show will get a record deal; release an album and never be heard from again – it will get a niche appeal and not see a second album demanded or required. If there is a second series – the blood does run cold – then the outcome will be repeated. I would like to say Sing: Ultimate A Cappella is the last straw that breaks the camel’s back – can we see this ridiculous pantomime and patheticness put to bed?! If Cat Deeley’s long-awaited return to our screens is a thing to celebrate: the substandard ship she is expected to sail will sink without trace.

An argument that states another failed singing enterprise would see the cure of a rife T.V. disease is as full of holes as a cheesegrater’s jockstrap. We have seen dozens of the sodding shows around the world and, despite critical attack and a distinct lack of place. Anyone who respects and loves music is driving away spirits that go for manufactured and cheap artists. We are struggling to breed those who have a real voice and anything significant to say. Pouring fuel on the fire of reality/singing T.V. shows is going to scar the music industry beyond recognition. Those who hate these shows rebel against it but it is almost the done thing for singers and artists to appear on these shows. I know artists who have performed/auditioned and always wonder why. It is never, as some claim, a good experience and harmless fun. At the back of the mind is that lure for fame and the sheen of T.V. – wanting their faces out there and getting a quick buck. I suspect the realities and poor living conditions of music are behind the desperation to get on these shows.

Musicians/singers have little chance for long-term success in an industry that is rival-hungry and shoulder-deep. Getting a record deal is near-impossible and forging an enduring career is even harder. Unsigned acts can make money through touring but, with venues closing around us, how much are they really making?! I do worry many realise how fraught and fractured music is and the only way to have any sort of career is through the cheap option. The thing is, when it comes to the contestants, their careers will never be long or inspiring. I have followed these shows since the beginning – the current trend (I know singing shows have been on T.V. for a lot longer) – and always wonder what happens to those who win the shows. Their albums come out and they rarely survive: those who do are never the best you’ll hear. How many of us, on a daily basis, would like to hear Olly Murs, Will Young; Leona Lewis or…hmmm…thought I could name a fourth! That’s the issue, you see: try and rattle-off a list of the winners and one will struggle (I am not actually sure if all of them WON, to be fair). That is another thing: if the runners-up and outsiders get more attention and success than the winners then what is the point of staging it as a competition?! The obituary of the singing contest format is there ready to be stamped. Talk about flogging a dead horse!  Before I conclude; I’ll look at others’ opinions and why I feel those underground/unique shows – that have the same intention as the mainstream shows – need greater oxygenation.

Nadia Khomami, writing for The Guardian, reviewed the recent opening episode of this year’s X Factor:

“Saturday night viewing has long been dominated by the battle between X Factor and Strictly Come Dancing, but with ratings for Simon Cowell’s music show at a record low, and an underwhelming line-up for the latest Strictly, the fight may be turning into one simply for survival.

Last Saturday’s launch of the X Factor had the lowest ratings for a debut episode since it first aired in 2004, with an average of 6 million viewers and a peak of 6.9 million for the ITV talent contest judged by Cowell, Nicole Scherzinger, Sharon Osbourne and Louis Walsh.

The numbers were slightly better on Sunday with 6.5 million tuning in. But while both episodes made the X Factor the most-watched programme of the night, it continued the downward trend given the 2011 launch show pulled in 10.8 million viewers. Last year’s final was also the least-watched since the one in 2004.

“Contest formats have had remarkable longevity, and it’s natural that they’re going to tail off,” said Tom Harrington, a TV research analyst at Enders. “I wouldn’t say it’s a tired format, but it is becoming less interesting. Audiences had become overexposed to such shows”.

Is it, as the article suggests, a case of over-exposure and familiarity? Have we become so attuned to the endless cavalcade of T.V. singing shows that the core audiences are the only remaining – and the casual viewer prefers to watch something with a bit more clout? There are those who say the issues is not resigned to singing/music alone. I am one of a few who cannot stomach the likes of Strictly Come Dancing. I will not argue why that format is as flawed as The Voice, let’s say, but, for me, there are too many dance-related shows shooting up – every successful format has imitators and those who want to take it in a new direction. The difference is we are not being forced to buy dancers and what they do. We have to endure these talent show contestants putting their music out and vying for our attention – this is never the case with dance troupes and the Strictly contestants. Many could say there is pointlessness to shows where the winner is not taking further and takes part for the fun of it. The fact Strictly Come Dancing does not have that commercial edge and need to launch a star into the ether makes it a more popular option with viewers – happy to tune in and not find the future exposure of a satanic chart-hogging drone.

IN THIS PHOTO: One of this year's X Factor contestants, Berget Lewis

Another piece, that also investigated the opening episode of 2017’s X Factor, took a different stance:

“Cowell’s secret weapon in giving heart to his shows has always been the emotions of ordinary people. Whether it’s the grateful tears of a stardom-bound teen, or the grief of the contestant given more screentime if they’ll talk about their lost loved one. As an audience we need the emotional meat to bite into or it’s just the thin gruel of differently-abled singers.

But it was Cowell’s own anguish that provided the emotional full stop to Sunday’s episode. While filming the auditions in July, it was reported that his mother had died. He said she would want him to continue with the show and was back at auditions shortly afterwards. Although it wasn’t verbalised, the curious end to Sunday’s episode showed Cowell, just after an expressive audition from a young man whose best friend had died, breaking away from his fellow judges, apparently crying. Fernandez-Versini looked concerned and audibly dithered about whether to go after him. She didn’t and he disappeared off, a secret anguish lurking behind his aviators as the camera lingered on him.

The decision to wordlessly include his personal loss in the show is an odd one. But it does explain why he has had no compunction about using the sadness of others in this way. It’s all showbiz”.

IN THIS PHOTO: The current judging panel of The Voice

There is, I am well aware, a good way of making all these shows go away: turn the T.V. off! That is all well and good but my objection is not to their mere presence. My issue surrounds what they are doing to music and what they are telling young artists. Shows like The X Factor and The Voice are using their platform to embarrass and exploit young artists. I guess they know what it is all about but (the shows) are pulpits for harsh scrutiny, ritual tension and false ideals. Even if a show takes a ‘nice’ approach and goes easy on a contestant, one has to wonder whether this is being truthful and honest. The flip of the coin is the likes of Simon Cowell; someone who revels in his role as T.V.’s pantomime dame. He gets off on coruscating and chiding singers and reeling off his tired and copy-and-paste barbs. We can block the shows from our T.V. but that does not expunge them from the world. I am getting depressed by the artists I come across who have appeared on talent shows and highlight it as a career-high. That is worrying to hear and something that is making me sceptical about the future-potential of music. If artists who, I feel, could go far are saying they willingly go on to shows like The Voice then that makes me question my own values. Back in 2012, when there was a lot of criticism levied at T.V. talent shows, NME ran a piece:

“…However, the negatives that are levelled at The X Factor are misguided. The stress, bullying and vapidity that comes with it is not unique to Simon Cowell’s theatre of pop – all the X Factor is doing is televising what the music industry is like behind closed doors. If you’re in a supposedly credible indie band, you’ll be jumping through the same hoops as someone like JLS. It’s a grim, shit-flecked world behind the veneer of the records you like and, somehow, Simon Cowell has turned the ogre-ish world of music into a successful entertainment programme that, basically, is to music what wrestling is to professional sport.

However, the negatives that are levelled at The X Factor are misguided. The stress, bullying and vapidity that comes with it is not unique to Simon Cowell’s theatre of pop – all the X Factor is doing is televising what the music industry is like behind closed doors. If you’re in a supposedly credible indie band, you’ll be jumping through the same hoops as someone like JLS. It’s a grim, shit-flecked world behind the veneer of the records you like and, somehow, Simon Cowell has turned the ogre-ish world of music into a successful entertainment programme that, basically, is to music what wrestling is to professional sport.

That said, there’s nothing wrong with enjoying WWE, just like there’s nothing wrong with The X Factor. Yet, time and time again, the same half-baked criticisms are levelled at it. Cher Lloyd, this weekend, was bottled off stage at V Festival. Of course, bottling anyone off stage is an act of supreme cowardice because there’s always a better option (that option being that you can walk away and do something else, especially at a festival and, if your best option is to stand and watch someone you hate, then you’ve been an idiot for buying tickets to a festival with an awful line-up).

IN THIS PHOTO: The Queen of Soul, Aretha Franklin

So what if these acts don’t write their own music? Neither did Aretha Franklin. The Supremes didn’t write any of their greatest songs, yet, Chris De Burgh wrote every single foetid note of his. The assumption that ‘the best’ write their own material is bunkum. Just ask Elvis Presley.

Maybe the problem is that the process of graduating from a talent show is galling? The ‘best’ bands cut their teeth without them and rise to the top by sheer talent alone, right? Well, there are a huge number of acts that have graduated from talent shows. The Zombies won a record deal through a rigged talent show way back when. Ella Fitzgerald, Gladys Knight, James Brown and Michael Jackson all graduated from talent spots in Harlem. Are they lesser artists because they didn’t play the toilet bowl circuit for years?”

I agree that shows like The X Factor are simply opening eyes to what happens behind these closed doors but that is not a good thing. One can write an article about bad practices and exploitation. These shows are not ironically doing the same and making practical and important changes. Their ethos is to popularise and promulgate something seedy, commercial and cruel. It is not impressive and progressive creating shows that elevate the worst facets of music: it is contemptuous, pointless and offensive. Again, when the journalist talked about certain artists getting their break through these talent shows; I am full aware some great artists appeared on talent shows and went to music school. They are rare exceptions and, to be fair, the fact they have endured has nothing to do with those appearances – they did that with huge talent and originality.

IN THIS PHOTO: Let It Shine was not renewed for a second series/PHOTO CREDIT: Guy Levy/BBC

If there was a singing/music show that proffered artists and then let them get on with things then I’d be all for it. Artists like The Zombies did not succeed because of their talent show appearances nor did they take great pride from those times. These are rare exceptions and the vast majority of great artists did not go on talent/singing shows – how many legendary and reputable acts do you know who did?! I argue against the point that challenges the songwriting chops of the talent (on reality shows). Michael Jackson and Aretha Franklin did not go on T.V. talent shows and put themselves in front of millions. There is a huge gulf between local talent ‘spots’ and televised circuses. Tonnes of great musicians go to battle-of-the-bands gigs and local talent contests. That is a different thing and has little in common with The Voice, for instance. Again; these acts used this as a platform and managed to ensure they were successful because of their own minds, direction and talent. If they had been given record deals off the back of their talent contest times then they would have been controlled and extinguished within a short space of time. Getting back to my point and one cannot say there is any parallel between Michael Jackson and Aretha Franklin – who often use co-writers and sing rather than write. I know Eva Cassidy did not write her own songs and loads of top-notch artists had other writers. I am not debating that but I am not saying those who write their own material is best.

IN THIS PHOTO: Singer Fleur East has performed on The X Factor a number of times - and not translated that exposure to a popular and notable career

The fact Elvis Presley, Gladys Knight and Aretha Franklin did not write their music does not hide the fact they became iconic because of their personalities, voices and potency. I do not object to T.V. show contestants not penning their own stuff. If the material they are singing is great then that is the main thing; if they have a driving and inspiring façade then that sticks; if they can inspire others and stand out from the crowd then that wins me – none of this is true; nobody who ever appears on singing shows will ever have anything like as much talent as Presley or Knight. These artists would not be seen dead on these shows so making any comparisons is pointless and misjudged. I accept there are a few good points to T.V. singing shows. For one, it does appeal to a certain audience who likes their music less potent and a bit more manufactured. They are entitled to their views and tastes so we cannot deny them. It is the sheer number of these shows that galls me. Two is bad enough – The Voice and The X Factor – but we have Sing: Ultimate A Cappella, Pitch Battle and God knows how many filtering through every channel you can imagine. I have heard there’s a few underground options that have the talent show aspect at heart but strip away all the cruelty, commercial and crass.

I am not sure if they have seen the light of day but the idea is to focus on bands/musicians who play their own stuff – whether self-penned or not; it focuses on authentic players – and gives them a record deal at the end. The voting is done by those who watch the acts in each show (a live audience) and the winner gets to make music on their own terms. Maybe I dreamt it but I know there are shows not that dissimilar that have been trialled. The way things are is not good as it is maddening to see T.V. singing shows survive and mutate. I am not against all talent shows but think, if you want credible music-lovers and the jaded masses to come in; offer something that takes the histrionics and emotion away and features musicians. They do not have to perform instruments necessarily but showcase artists that at least write their own material. Open it up in terms of genres – the T.V. options are too Pop-driven – and take away the farcical judging element. Have judges but staff the panel with proper music professional or fellow performers that know what music needs right now. If we had a couple of these variations – and stopped it there before too many said the same thing – that could replace the current order and make the T.V. singing talent show a watchable, worthy and wonderful thing. What we have now is so tired, horrid and pointless it is highlighting what fatigue there is in music. There is not a popular demand for the here-today-gone-tomorrow merchants and these brief careers. Eliminate the format and, if we are to have any singing/music talent shows on T.V., make sure they are formats that show up the…

PHOTO CREDIT: Unsplash

BEST and most beautiful in music

FEATURE: RedWineHead: Cool Artists to Watch in 2018

FEATURE:

 

 RedWineHead:

IN THIS PHOTO: The Big Moon/PHOTO CREDIT: Lauren Maccabee

Cool Artists to Watch in 2018  

________

THIS is a busy day for me in terms of writing…

IN THIS PHOTO: MALAIKA

but I wanted to start off by highlighting a few artists, I think, will be a big deal in 2018. I will do another such compilation later this year but it is worth giving backing to acts that have already made an impression – and look set to do so as we creep towards 2018.

I am excited discovering such an eclectic and promising bunch of peeps. Without further ado; a rundown of groups and artists that are going to make some waves next year….

________

PHOTO CREDIT: Emma Swann

Milk Teeth

Location: Stroud

Snippet:

(An interview the band conducted with DIY)

“Set in the middle of endless green, sheep-flecked hills, Stroud – a market town in Gloucestershire – is the sort of place where it’s entirely reasonable to find a different vegetarian cafe serving variations of tofu every second step. People pairing tweed suits with monocles isn’t even considered outlandish in these parts, and nightlife-wise, there’s a single sticky-floored club called Warehouse with a light-up dancefloor. Otherwise, the local music scene consists of born and bred bands gigging around the pub circuit, a man dressed as a jester playing keyboard covers on the high street, and the occasional failed attempt at hosting rural music festivals; before the fields are overrun with underage cider-swiggers, that is, and the whole thing gets closed down.

An anomaly to Stroud’s decidedly quiet reputation are Milk Teeth. Breaking the countryside hush with their raucous debut album ‘Vile Child’ last year, the band left behind their tranquil hometown to make a right beautiful racket around the world, supporting a dream roll-call of acts – from Refused and Against Me! to rising cult heroes Creeper – along the way. Now back where it all began, Milk Teeth are sat around their beloved park bandstand where they host regular meetings. Inexplicably, somebody nearby has a tame owl perched on their arm. A gaggle of baby swans are drifting lazily down a stream. And Becky Blomfield – Milk Teeth’s chief vocalist and bass-wielder – would quite like a cider, to be honest. “There’s a Tesco across there,” she says. “I’m down”.

Twitter: https://twitter.com/MILKTEETHPUNX

Facebook: https://www.facebook.com/milkteethpunx/

MALAIKA

Location: Leeds

About:

"Originally hailing from Belfast and now residing in Leeds, Malaika’s saccharine vocals and jazz inspired melodies have quickly turned heads across the UK. After winning ‘Best Jazz/Blues Act’ at this year’s Unsigned Music Awards last month and supporting pop-soul sensation JONES on some of her Autumn tour dates, it’s no surprise why so many industry insiders are tipping Malaika as ‘one to watch’ for 2017 ."

Follow: https://www.malaikamusicuk.com/

Twitter: https://twitter.com/malaikamusicuk

Pale Waves

Location: Manchester

Snippet:

(An interview lead Heather Baron-Gracie conducted with NME)

Where do you see your band in five years?

“We want to have a Number One album. We just want to grow and be playing sold-out tours. I reckon we can do it. You’ve got to be positive and optimistic. We’re all in.”

Follow: http://www.palewaves.co.uk/

Twitter: https://twitter.com/palewaves

Sofi Tukker

Location: New York

Snippet:

(An interview Sophie and Tucker conducted with NNW)

NNW: Your music has a lot of different sounds that make it hard to describe with just one genre. Is that something you set out to do?

T: I don’t think intentionally we were like, “Let’s make a genre bending thing.” I think we sort of just made it and thought it would be some artsy niche thing and then more people liked it and listened to it than we thought.

S: Most people called it Pop.

T: We don’t really know what to call it but we like that. A lot of our new songs are I think equally as hard to categorize but in totally different ways and it’s fun. We just get to be creative and do stuff that people aren’t used to hearing things together. We just kind of do whatever we want and if we like it we hope other people will like it.

S: It doesn’t mean anything is off limits.

Follow: https://www.facebook.com/sofitukker/

Twitter: https://twitter.com/sofitukker

Ms Banks

Location: London

Snippet:

(Exert taken from Source)

"Ms Banks, a South London native of Nigerian and Ugandan heritage, brings her own unique perspective to the UK Grime scene. Her rhymes are authoritative in nature and speak on her experiences growing up in the ‘hood with a predominantly male circle. Banks smokes weed, finds it uncomfortable presenting herself in an overtly sexual way and loves a challenge, but prefers to keep things classy. These traits make her stand out in an industry determined to make her fill the feminine stereotype. She feels that her gender only boosts her popularity and isn’t worried about breaking into a male-dominated industry.

Ms Banks has been rapping since she was 12 years old, inspired by her uncle who used to rap over drum and bass beats. Her real name is Thyra with a silent H, so the comparisons to the American supermodel turned businesswoman were inevitable. Adding the Ms to the Banks was her way of formalizing her take on the name and Ms Banks was born. She began songwriting at the age of 15 to vent her experiences and help herself through troubled times. These songs formed her debut mixtape Once Upon A Grind, which came out in 2014.

Her big break later came when her radio host friend encouraged her to start recording in the studio at 18. From there, she was invited to open mic nights and started to build her social media presence, including posting popular covers on YouTube. Since then she has collaborated with the likes of Tinie Tempah and JME and stacked up quite a few awards. At this point she is happy to be an independent artist and doesn’t want to sign to a major label anytime soon".

Facebook: https://www.facebook.com/msbanks94/

Twitter: https://twitter.com/MsBanks94

Goat Girl

Location: London

Snippet:

(An interview the band conducted with DIY)

Unassuming they may be, but “shit” is one thing they’re not. What began as a folk group boasting “three part harmonies and guitars” has gone on to become one of the most talked-about new bands – an impressive feat for a group with only two songs released under their collective name. It’s been a natural evolution, one that’s landed the outfit in the middle of a whirlwind of South London-stamped hype – not that they’re paying their acclaim any attention. “It’s good not to look into it too much,” Ellie - who also goes by ‘L.E.D.’, because why not - ponders. “It’s just a natural thing. We didn’t decide to form a band, we just all like making music with each other.” Being touted for great things right from the word go isn’t that uncommon. While Goat Girl sound sure to be on the path to something spectacular, the group make no illusions about where they find themselves right now. “I think that record labels want to snatch up ‘the next big thing,’” Lottie considers. “They’re trying to find this new scene that’s happening with the younger generation.”

Spotify: https://open.spotify.com/artist/1ukEEwzjucRtFTxiw2DrDZ

Facebook: https://www.facebook.com/goatgirlofficial/

PHOTO CREDIT: Steph Wilson

ALASKALASKA

Location: London

Snippet:

(An exert from an interview the band conducted with DIY)

"ALASKALASKA only formed a year and a half ago, but already this six-piece have built a cult following from a handful of dates in their native London. Short but sweet, these low-key shows are rammed with sweaty punters all raving to a monstrous groove. Everyone leaves elated, totally enraptured with the band’s jazz-infused art-pop that blends disco, funk and R&B into a rambunctious new sound. Anything but the icy exterior their name suggests".

SoundCloud: https://soundcloud.com/alaskalaskamusic

Facebook: https://www.facebook.com/alaskalaskamusic/

Caleb Kunle

Location: Dublin

About:

"Born in Lagos, Nigeria where he spent his childhood as well as Laois, Ireland. In Ireland at the age of 8 Caleb Kunle began writing music whilst participating in several choirs. 
At age 10 Caleb was part of a urban music group named "Illrics", under the alias "Lyrical Kingpin" he rapped whilst adding soulful melodic chorus to compliment the hardcore hip-hop vibe of the group. The group lasted for 4 years, leaving them with an unreleased album and a lifetime of experience.

Caleb Kunle branched into more electronic sounds, which lead to the project titled "When I was 17". Seeking more diversity he began playing the guitar and branched into his current sound, Soul-Afro-Electro Pop".

SoundCloud: https://soundcloud.com/calebkunle

Facebook: https://www.facebook.com/CalebKunle/

GIRLI

Location: London

Snippet:

(An exert from an interview GIRLI conducted with The National Student)

“Despite dressing head to toe in bubblegum style, GIRLI’s sickly-sweet pop couldn’t be further from sugar 'n' spice and all things nice—videogame melodies and autobiographical lyrics create an angsty cyber-pop cocktail that breaks convention. The opposite of a wallflower, the London-based singer/rapper/producer’s tunes demand as much attention as her neon pink hair and eyebrow combo.

Citing her influences as “Riot grrrl and punk bands like The Slits and Blondie, rappers like M.I.A, lyricists like The Streets and Arctic Monkeys” the self-proclaimed sassy songstress started making music when she was 15.

“I wanted to do something where I could perform and say shit I wanted to say, it was a trial to see if I could express what I wanted to in that way.”

Follow: http://www.girlimusic.com/

 Facebook: https://www.facebook.com/girlimusic/

Wildwood Kin

Location: Exeter

Snippet:

(An exert from an interview Wildwood Kin condcuted with HMV)

“You can understand the Haim comparisons with trio Wildwood Kin. Comprised of sisters Emilie and Beth Key and cousin Meghan Loney, the band have the same close-knit harmonies and turn for a catchy chorus as the Haim sisters, but there's something a lot more British about this threesome, more steeped in early folk and country.

They release their debut album Turning Tides today and we sat down with them to find out how it all came together... 

How did the experience of making your debut album compare to what you’d imagined it would be?

"When we started recording, we'd actually set out to record an EP because we'd had some older songs that we were desperate to record, but soon after starting to record and experiment with newer sounds, we were encouraged to write for a full debut album. At first, it was quite daunting, a debut album is a massive thing, but we've taken our time over it and are really excited to share it with everyone!"

Follow: https://wildwoodkin.co.uk/

Facebook: https://www.facebook.com/wildwoodkin/

Skinny Living

Location: Wakefield

Snippet:

(An exert from an interview singer Ryan Johnston conducted with Yorkshire Evening Post)

“Last year Skinny Living released an EP called 3 on their own label; they also gained their first taste of playing on a bigger stage when selected to support Jake Bugg at the First Direct Arena. “When we all got on stage it was so calm, we all felt really comfortable, which is strange because in a lot of other gigs we’ve felt more anxious before we got on stage,” Johnston says. “It felt like the bigger stage was more comfortable because you could move around. When we walked out in the crowd there was all these people screaming at us, so I think it was just that moment of everyone being really excited and us feeling welcome on the stage and them wanting to hear us play. It set the bar for us and we’ve been chasing that buzz ever since.”

Twitter: https://twitter.com/SkinnyLivingUK

 Facebook: https://www.facebook.com/SkinnyLivingUK/

PHOTO CREDIT: Sonja Horsman (for the Observer)

HMLTD

Location: London

Snippet:

(An exert from an interview the band conducted with The Guardian)

“Blinking into the sunlight for an interview are British frontman Henry Spychalski (mullet and eyebrows dyed blue, cut-glass accent, wearing a military cap and sunglasses), guitarist Duke from Paris (silver nail polish, leopard-pattern buzzcut, nifty moustache), and drummer Achilleas from Athens (flowing dark curls, piercing stare intensified with eyeshadow); left in the studio are guitarist James, bassist Nico and keyboardist Zac (most of them prefer not to use their surnames).

While hip-hop and R&B have been flourishing, in recent years much rock music has been floundering towards irrelevance. How can they make a bunch of men with guitars exciting again? “For a long time now guitar music has been looking backwards instead of trying to recontextualise itself,” says Spychalski. “It hasn’t been paying attention to what’s happening in trap and hip-hop and electronic music, so it hasn’t kept up with how the majority of people look at music.”

One solution is subverting listeners’ expectations within each song: their first single Stained starts as playful camp rock, morphs into a dramatic postpunk anthem, and culminates in an all-out feast of noise and distortion, courtesy of a sample from experimental hip-hop group Death Grips. “People’s attention spans are a lot shorter than they used to be,” says Spychalski. “With streaming you listen to about half a song and then flip to another one. So it’s important that our music flips between a lot of different things, or else people are going to turn to something else”.

SoundCloud: https://soundcloud.com/happy-meal-ltd

Facebook: https://www.facebook.com/HMLTD/

Terror Jr.

Location: U.S.A.

Snippet:

(An exert from a piece by Riverbeats)

“Terror Jr. appeared seemingly out of nowhere back in March 2016. Their song, “3 Strikes” was featured in Kylie Jenner’s advert for her lip-gloss line which premiered that fateful Thursday. That very same day, the group made their first tweet, declaring themselves “Born”, posted their first Instagrampicture, and uploaded the aforementioned song to their newly created Soundcloud.

This, along with a handful of other potential clues, led fans and critics alike to speculate that Lisa Terror was actually Jenner herself. The theory circulated strongly for a while, but was dismissed by the band and Jenner.

Terror Jr. is presently signed to the new collective, EFFESS, which Singer-Vine runs with Snow. The name itself is a play on Snow’s initials and stands for “Every Fucking Feeling Equals Something Special”. From Kiiara, to Gallant, to SZA, Rita Ora and more, Snow and Singer-Vine’s combined experiences and skills are amplified when they work together and Terror Jr.is no exception.

Their sound is a fusion of dreamy yet sometimes darker dream-pop colored with plenty of references to drugs and sex, all laid over bright synths and and occasional heavy bass work with plenty of saccharine autotuning to top it all off. The imagery they employ to accompany their albums is quite fascinating”.

Twitter: https://twitter.com/terrorjrmusic

Facebook: https://www.facebook.com/Terrorjrmusic/

Dream Wife

Location: London

About:

“The pop punk trio - Alice, Bella & Rakel - Dream Wife formed within the walls of art university in Brighton. When they left uni that's when the rocky roads of Dream Wife kicked in full speed: Their reputation as one of the best new live bands in London is already cemented following tours with Sleigh Bells, The Kills and their recent US triumphant stateside debut on tour at SXSW which earned them praise from NPR, DIY, Stereogum, Nylon, Entertainment Weekly etc. Armed with razor sharp pop tunes and a take no prisoners punk attitude they’re are known to elicit pure chaos at their raucous live shows”.

Follow: http://dreamwife.co/

Facebook: https://www.facebook.com/dreamwifedream/

The Big Moon

Location: London

Snippet:

(An exert from an interview the band conducted with Interview Magazine)

“In 2013 Juliette Jackson was waitressing at a cocktail bar in London, writing songs on the side and seeking out a band that needed a bass player. She'd been in groups before but had never been the songwriter or frontperson, so the prospect of either seemed like a stretch. When she hit a wall ("Nobody needed a bass player," she recalls) and widened her search—she asked friends and friends of friends if they knew anyone who played an instrument or wanted to learn how—she found three collaborators: Celia Archer (bass, vocals), Soph Nathan (guitar, vocals), and Fern Ford (percussion). Together they formed the Big Moon in 2014, but before they sat down for pints and to practice, a tracklist was already in the works: "It took me quite a long time to find everyone, or to build up the courage to try to find everyone," explains Jackson, who became the band's lead vocalist and one of its guitarists. "So we had five or six songs before we even existed." 

Last week the four-piece released their debut LP, Love in the 4th Dimension(StarTime International/Columbia). Recorded live, it's a playful and boisterous indie rock record that satisfies an itch for self-revealing, relatable songs and invites the listener to jump around. Interview recently spoke to Jackson and Archer by phone ahead of the album's release, before the band came to the U.S. to perform at SXSW for the first time. They were dreaming of what they'd drink (beer, margaritas), what they'd eat (Mexican food, Doritos), what they'd wear (shorts), and the prospect of meeting celebrities (like Snoop Dogg or President Obama, who both have a standing offer for a free the Big Moon T-shirt.)”.

Twitter: https://twitter.com/commoonicate

Facebook: https://www.facebook.com/commoonicate/

IDLES

Location: Bristol

About:

“IDLES met as a quintet at the death of the indie scene in Bristol and began making visceral and sometimes unlistenable post-punk to a growing crowd. They began with their own club night Batcave and practicing religiously until they felt they had found their sound and their live show; with that in check they have now completed their first album and are savaged in hunger to play their music. They want to give themselves and their art to the audience in a concise and violent way unrivalled by their peers. They have no qualms in terrifying and entertaining in the same breath. They celebrate their influences in a vitriolic and belligerent sound that is both familiar and new. They are a nose-bleed on the ears and they're here to show you they care”.

Official: http://www.idlesband.com/

Twitter: https://twitter.com/idlesband

Betta Lemme

Location: New York

About:

“A Montreal Native of Italian origins, Betta Lemme is a vocalist, songwriter and producer. Betta quickly learned to play any instrument set in front of her. Her three native tongues of English, French and Italian have been incorporated into her music and elusive disposition. Betta made her recording debut as a featured vocalist and writer on Sofi Tukker's "AWOO”.

Follow: https://www.bettalemme.com/

Facebook: https://www.facebook.com/bettalemme/

FEATURE: Beauty in an Age of Denial: Some of the Most Striking Music Venues in Britain

FEATURE:

 

 Beauty in an Age of Denial:

IN THIS PHOTO: Belfast's Empire Music Hall

Some of the Most Striking Music Venues in Britain

________

EVERY band and artist who is compiling their tour dates…

IN THIS PHOTO: The exterior to Wilton's Music Hall, London

tries to get out there and bring their music to a range of people – at different-sized spots that are easy to conquer and impress. Maybe it is a lack of cachet and name – but few artists have the opportunity flex their musical muscles at some of those immaculate, eye-opening venues around the U.K. I have found, every time an artist doe gig at such a spot, the reaction is the same: their minds are blown and it goes down in their memory for years.

I am interested in these incredible locations and why more musicians do not play them. Maybe it is the reverence and dignity – any music might defile the quietness and splendour of the surroundings. Any new act looking for a nine-date series of gigs (perhaps with two dates at the best venue) would do themselves good to investigate these wonderful locations.

(All biographical information about the venues taken from their official website/Wikipedia)

_________

Leeds Town Hall

Location: Leeds

About:

“Until early 1813, the Moot Hall at the top of Briggate was the seat of Leeds Corporation and was used for judicial purposes. It was replaced by a new court house on Park Row, Leeds.

Leeds went through a period of rapid growth in the first half of the 19th century and by the mid-19th century it became apparent that the court house was no longer large enough for the functions it performed. In July 1850, Leeds Borough Council decided to build a new town hall and established a committee to assess the opinions of Leeds' inhabitants as to the building of a new municipal hall.

In order to finance the town hall, the council proposed to sell shares in the building to the value of £10 but the proposal failed. The council then proposed introducing a specific rate levied to fund its construction although it was not introduced until after the November 1850 local election, and most residents who would have paid the tax at the time lacked voting rights. The town hall was approved in January 1851 when Alderman Hepper put the motion to the council and it was carried by 24 votes to 12.[2] It was intended to represent Leeds' emergence as an important industrial centre during the Industrial Revolution and symbolize civic pride and confidence”.

Follow: https://www.leedstownhall.co.uk/

Twitter: https://twitter.com/LeedsTownHall

The Empire Music Hall

Location: Belfast

About:

There are ample spaces one can appreciate beauty and stunning architecture – it is a city that continues to reveal a colourful crysalise. Ulster Hall is one such venue but one cannot ignore the Empire Music Hall. It has that Wild West-esque theme and one half expects an old piano to play itself – as can-can girls entertain the enraptured crowds. Arcane Roots The Dears and Low have played there – it is a hot and popular stop-off for some of music’s most captivating talent.

Follow: http://www.thebelfastempire.com/

Twitter: https://twitter.com/belfastEmpire

Wigmore Hall

Location: London

About:

“Wigmore Hall, one of the world’s great concert halls, specialises in chamber and instrumental music, early music and song.

Having recently celebrated its 115th Birthday, Wigmore Hall is livelier than ever, offering music-making of outstanding quality and an array of activities in the broader community. With its infectious sense of adventure, it consistently captures the public imagination and broadens its audiences’ horizons.

Wigmore Hall’s focus is on great musical works, best experienced with a powerful sense of immediacy. The repertoire extends 250 years on either side of Beethoven (born 1770) – from the Renaissance to contemporary jazz and new commissions from today’s most exciting composers.

Bringing this music to life are the world’s most sought-after soloists and chamber musicians. Wigmore Hall also provides a showcase for exceptional young artists — some making their professional London debuts — and remains an essential platform as their careers flourish”.

Follow: https://wigmore-hall.org.uk/

Twitter: https://twitter.com/wigmore_hall

Royal Lyceum Theatre

Location: Edinburgh

About:

“The Royal Lyceum Theatre Company is Scotland’s leading producing theatre. With a strong reputation for excellence in classical, contemporary and community work. The Lyceum is committed to developing Scotland’s considerable indigenous talents while presenting the best of international drama. In Season 2016/17, under new Artistic Director David Greig, the company is producing 10 full productions making it one of the largest producing companies in the United Kingdom.

The company has been resident at the Royal Lyceum Theatre since 1965 and has been shaped by artistic and associate directors including Tom Fleming, Ian Woolridge, Kenny Ireland, Bill Bryden and Richard Eyre. Throughout its long history, the company has welcomed many stars to its stage including David Tennant, Alan Cumming and Emily Mortimer to Tony Conti, Ian McKellan and Marlene Dietrich. In Season 2015/16 the company celebrated its 50th anniversary with an acclaimed season programmed by outgoing artistic director Mark Thomson which included the award-winning, sell-out return of Brian Cox & Bill Patterson to the Scottish stage in Samuel Beckett's Waiting for Godot”.

Follow: https://lyceum.org.uk/

Twitter: https://twitter.com/lyceumtheatre

Wilton’s Music Hall

Location: London

About:

Wilton’s Music Hall is a gem in the heart of London and the oldest grand music hall in the world. It presents a year round programme of exceptional live music and world-class productions alongside learning and participation work that engages the local community and schools. 

The Grade 2 Star listed building recently completed a 4 year capital project with support from Heritage Lottery Fund and numerous trusts and individuals. This project, designed by Tim Ronalds Architects, recently won a RIBA 2016 National Award, RIBA London Award 2016, RIBA London Conservation Award 2016 and RIBA London Building Of The Year 2016.

Follow: https://www.wiltons.org.uk/

Twitter: https://twitter.com/WiltonMusicHall

PHOTO CREDIT: Getty Images

Bombed Out Church

Location: Liverpool

About:

“Since 2007 the church has been operating as a managed ruin and multidisciplinary arts venue with a programme of curated events, community engagement and creative learning projects. A gateway building within the city, crucial to both its past and present, the Bombed Out Church is a place for everyone. 

A committed team from diverse backgrounds have devoted tens of thousands of hours to keeping St Luke's Church open to the public and reinvigorated by the arts. Bombed Out Church has been supported on its route to international recognition by a dedicated community of friends and volunteers as well as notable names such as Paul McCartney and Yoko Ono. Together, Bombed Out Church stands as testament to history and to the spirit of Liverpool”.

Follow: http://www.bombedoutchurch.com/

Twitter: https://twitter.com/bombedoutchurch

St. Martin-in-the-Fields

Location: London

About:

“St Martin-in-the-Fields is a landmark church in the heart of London. It is a hospitable, vibrant and forward thinking community with worship at its heart. Located on the northeast corner of Trafalgar Square, St Martin-in-the-Fields is steeped in beautiful Georgian architecture which has been imitated across the world.

Whether you are joining us for worship, enjoying a delicious apple crumble in the Cafe in the Crypt, or relaxing to classical music in a candlelit church, St Martin’s offers everyone a warm welcome in the heart of London”.

Follow: http://www.stmartin-in-the-fields.org/

Twitter: https://twitter.com/smitf_london

Wylam Brewery

Location: Newcastle-upon-Tyne

About:

“Our home at the Palace of Art in Exhibition Park is the last remaining building from the 1929 North East Exhibition. The Exhibition was an ambitious project built to celebrate and encourage Craft, Art and Industry at the start of the Great Depression.

Having remained almost derelict for nearly a decade the building has sprung back to life as a fully operational working Brewery.

Alongside the Brewery there is a Brewery Tap, which is open to the public Thursdays to Sundays inclusive.

The Grand Hall plays host to Live Music, Weddings, Pop Up Events and more …

Church music is provided by a professional quartet of singers at Sunday morning services and a voluntary choir at Evensong. The voluntary choir, open to all, sings regularly on Sunday Evenings and has up to 24 members. The choir was started in 2005 by the current Director of Music, Jonathan Bunney. The voluntary choir has sung at Guildford Cathedral and further cathedral visits are planned for the future.[10]

Current churchwardens are Thomas Hardin and Wil James.

St Giles is pleased to play host to companion groups who provide food and drink for the body, mind and spirit. From 2pm to 4pm on Saturdays and from 1.15pm to 3.15pm on Sundays the Simon Community hold a mobile street café in the north churchyard to dispense tea, coffee, sandwiches, fruit, cake and words of advice, seeking to reach out to the most unreachable.[11] During the week, various self-help groups, such as Alcoholics Anonymous and Narcotics Anonymous, meet upon church premises to assist those with addictions”.

Follow: http://www.wylambrewery.co.uk/

Twitter: https://twitter.com/wylambrewery/

PHOTO CREDIT: Tom Oldham

The House of St. Barnabas

Location: London

About:

“Our home at the Palace of Art in Exhibition Park is the last remaining building from the The House of St Barnabas, at 1 Greek Street, Soho, is a Grade I Listed Georgian building in London[1] notable for its rococo plasterworkinteriors and for other architectural features.

Since 1862 the House has been run as a charity to help those who have experienced homelessness.[2] The name of the organisation was changed from the "House of Charity" to the "House of St Barnabas" in 1951.[3] The building functioned as a hostel for women until 2006.[4]

The not-for-profit members' club at The House of St Barnabas opened in October 2013”.

Follow: https://hosb.org.uk/

Twitter: https://twitter.com/hostbarnabas

FEATURE: The Paperless Music Office: The Decline of the Magazine Industry

FEATURE: 

  The Paperless Music Office: The Decline of the Magazine Industry

________

IT is not merely music magazines, I guess, that are under threat in this current climate.

one of the saddest pieces of music-related news was hearing how Rolling Stone magazine was up for sale. This is how the Variety reported it:

“Until recently, Wenner Media was among the largest independent publishers still operating primarily in the print field, with titles Us Weekly and Men’s Journal rounding out its portfolio of magazines. In April, American Media Inc. (AMI), publisher of the National Enquirer, Star, and Men’s Fitness, among other titles, bought Us Weekly — for a reported $100 million, a fraction of the $300 million sale price for a 50% stake that Wenner paid to Disney in 2006 — and Men’s Journal in June (financial terms were not disclosed, but according to an insider, the deal nearly fell apart).

Currently, a diminished Rolling Stone staff occupies a small area on the second floor of 1290 Ave. of the Americas. It has been rumored that Gus Wenner had surveyed a variety of commercial spaces in Brooklyn to which he could potentially move operations. In a recent interview with Bloomberg Business Week, he lamented: “Long-term, I don’t want to be in the business of solely relying on ad revenue with the way things are changing so rapidly.” BBW cited a nearly 10% drop in newsstand sales while online traffic in the U.S. for RollingStone.com had declined by 28%".

PHOTO CREDIT: Duane Prokop/Getty Images

Ultimate Classic Rock weighed in on the news:

"The New York Times reports that publisher Jann Wenner, who co-founded the magazine in 1967, has agreed to pursue a sale that will leave Rolling Stone out of his hands for the first time in its history — and although Wenner and his son Gus, who’s taken on a leadership role at Wenner Media in recent years, have both expressed a desire to stay on after they strike a deal, they’ve conceded the possibility that the new owners may opt to move on without their involvement.

Paraphrasing Bob Dylan, the elder Wenner told the Times that “if you’re not busy being born, then you’re busy dying,” conceding that as a 71-year-old at the helm of what was once a pointedly counterculture publication, he believes “it’s time for young people to run it.” Both Wenners also admitted that given the current state of the publishing industry, their company’s position isn’t where it needs to be in order to “grow the brand” the way they’d like.

The Times‘ report outlines the ways in which Rolling Stone‘s influence has waned and reputation suffered over the years, as well as touching on some Wenner business deals that have undermined the company’s publishing presence while eroding its ownership stake in RS. It isn’t hard to understand why Wenner might decide to seek out a new owner with “lots of money” to breathe new life into the magazine — but it’s also easy to see why the prospect of a sale is cause for sadness among those who remember its glory days.

“That sense of the magazine editor’s hands on the magazine — that’s what’s going to get lost here,” predicted veteran Rolling Stone critic and editor Anthony DeCurtis. “I don’t know who’s going to be able to step in and do that anymore".

This does not mean the end for the beloved journalistic institution but does paint some worrying shadows. To me, like vinyl; music magazines are the physical format that we all grew up on. I remember buying editions of Q Magazine, MOJO and NME. Each publication has its own vibe and one can get a nice balance of the mainstream best and those working away underneath the hoopla. Maybe, like music itself, there is an inevitability music media will become digitised and be more computer-based. It was one of the joys of my early years: rushing to the newsagents and buying the latest edition of NME – sifting through the pages and looking at the reviews and cool features. That magazine is still around but has had to make it free. The fact Rolling Stone is being sold indicates financial burdens and some uncertainties. In fact; I do not know the fate of the U.S. publication – I assumed they would be fine and find new owners who can help jettison and secure the magazine. It is hard to say how its fortunes will play out but I hope there is an injection of finance and guidance that gets the magazine back on track. To be honest and open; Rolling Stone has never failed to provide striking covers and interesting content. Creative Industry Hub backed up the article (above) with their views surrounding NME give-it-to-them-for-free approach:

IMAGE CREDIT: Unsplash

“It’s been a sad few days for music fans from the previous generation and beyond, as NME announces that their circulation has decreased from 300,000 to 15,000. In order to keep the classic publication and legacy alive, they’re being forced to distribute it as a free magazine in hope of gaining a bigger distribution and making the deficit back through advertising instead.

This all sounds too familiar. NME is now using the Spotify model of, ‘give it away for free, and make the money back in advertisements.’ That consumer greed and the lack of willingness to pay for intellectual property, i.e. music is a sick thought, but sadly, this is the reality of music and media in our generation.

PHOTO CREDIT: Anna Wenner

The world is changing as websites move over to digital territory. According to Yorkshire Post, ‘to generations of music fans, it signals the end of an era,’ and I agree. ‘Then, it was an essential part of the pop landscape, promoting the likes of The Beatles and the Rolling Stones and putting them in the line-ups of its annual Poll Winners Concert.’

Again, I agree. And other music magazines such as Kerrang! have struggled also, since the arrival of the digital revolution. But we’re all guilty of it. I used to be an avid, and almost religious buyer of the Kerrang! when I was a teenager, but with social media and the internet, there is no need for me to pay for information any more, and lots of music fans would agree”.

PHOTO CREDIT: Unsplash

I know people have to move with the times and accept the way an industry evolves. It is easier now to get up-to-the-minute updates and a range of new items and articles. We use the Internet for our news – and do not buy newspapers…oh, wait, yes, we do. All of us can access breaking news when it happens so, acknowledged we buy newspapers, then why is our music press under such pressure? Newspapers can contain content their online pages do not and one might get puzzles, articles and conversation-pieces that are solely in the newspaper itself. I worry we are bastardising music and stripping it down to its electronics. The mechanicals and engine are rusting: physicality, soul and complexity have been replaced by something simple and easy. We can apply this theory to music and the way we buy it. C.D.s are still fairly popular but their appeal and sales figures have waned over the years. I buy C.D.s a lot and prefer to have something in my hand that I can actually feel. That may sound odd but many people have the same passion. This is why vinyl has come back into the fore: one can hold a record and get a sense of where it came from and the people who put it together – other than the artist themselves. I have the same reaction with music magazines and press. I want to go down to a newsagent and explore the collection of magazines and what is written on the cover. I get hooked by a great interview of big piece of news shouting from the skin.

IN THIS PHOTO: Zane Lowe interviewing Chance the Rapper

There are complexities to the argument and we cannot overlook how expensive hiring journalists can be – and the cost of arranging interviews attending gigs. Those expenses are the same in an online forum but I suppose being able to produce so many new and ever-changing pages/articles a day means the reader gets greater regularity and consistency. You do not have to wait a week for something to come out in printed form – sometimes, some of the articles are outdated by the time they hit the shelves. Rolling Stone has, in past years, faced legalities and issues regarding interviews and some of their pieces. If they were to do that online – and not have it printed – it would be easy to retract and remove that offending piece. It is a lot harder when it is in printed form and can throw up a lot of new legalities and offences. I can see the downsides of music magazines and how they are not as relevant and progressive as they should be. That is not their fault: one can only do so much with the printed word. I can accept the limitations and the fact the modern world is becoming digital but we cannot cast away the traditions we put down. I mentioned how we buy physical music and newspapers: D.V.D.s. still exist and they have not been completely extinguished because of the Internet. While I can get on board with a balanced argument: there is another side to things...

PHOTO CREDIT: iStock

Journalism is an industry always-growing and appealing. The more musicians that come through the greater the demand for pieces appearing on sites/magazines. We still have publications and newspapers with a large music section so I wonder why magazines such as Rolling Stone are facing threats. Music has become a paperless office and editors are keen to reduce overheads and streamline production. Upcoming journalists want to write for the large and popular magazines and follow in the footsteps of the greats. It is aspirational being a writer/contributor for a magazine: online sites seem less personable and more reductive. Too many writers are told to limit their word-count and produce something punchy and bite-sized. Magazines have time to wallow and bring the reader a more immersive and detailed experience. We cannot abandon great magazines and make everything music-related digital. It is soulless and, whilst it may be more updated and versatile – money plays too much of a part of things. Everything coming down to cost and affordability is what is strangling a lot of the promise and soul out of music. Rolling Stone needs to address its controversies and legal issues but, if you take them away, you have a trusted and fascinating source for music. In my mind; the best part of discovering new music and reading about the week’s event is giving that magazine in your hand. I love to pour over an article and sac each line. Maybe there is a different chemical process when reading from a screen but you cannot beat the feel and experience of reading a music magazine.

Some argue there is tabloidisation and a lack of teeth in the British music press, for one. The current mainstream best is not as explosive as Punk and the huge movements we experienced before – there are not many artists with something important to say that could lead to a front-page-worthy headline. Even if that were true – there might be few who would argue against – there are plenty of marvellous and original artists in the underground that can kick-start magazines. If we turn more column-inch and time to the underground acts it will only put the spotlight on the next generation but guarantee there is always something worth buying – people will pick up magazines get more into the written word. Even with music; I think we should be encouraging people to spend less time in front of computers and more time reading. It is easy to list arguments why we cannot allow the likes of Rolling Stone to face peril and (possibly) close their doors. If that were to happen – or they would change drastically – we would lose one of the last big music magazines that can…

 PHOTO CREDIT: Lu-Hai Liang

ATTRACT more people into music journalism.

INTERVIEW: Outsider

INTERVIEW:

 Outsider

________

IRISH artist Outsider…

talks to me about his self-titled E.P. and the new single, Míol Mór Mara. I ask about the use of Gaeilge in his music and whether he considers that ground-breaking - Míol Mór Mara, Gaeilge-sung, is the first time such a track has been featured in a video game (FIFA '18). Outsider tells me about that and what how he views guitar music now – and whether it is too dominated by the middle-classes. He looks ahead to touring and plans for the remainder of the year – and what it is like being signed to Warner Music.

I delve deep into a fantastic young artist and, in return, and provided an honest, open and revealing interview from someone who is making big impressions already.

________

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

I am fighting a chest infection at the moment but my week has been incredible - lots of people getting in touch about the new E.P. and wanting to talk.

The lead single, being on the FIFA soundtrack, takes me to a lot of new ears.  

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

The best way to get to know me is to listen to my music and come to my shows – it’s all online. Send me a D.M., too, and introduce yourself - I will more than likely respond at some stage.

I am trying to be like Henry Rollins and reply to messages as much as possible.

 

Míol Mór Mara is the new track. Can you explain what those words mean and hat inspired the song?  

‘Míol Mór Mara’ means ‘sea whales’ and translates literally into English as ‘giant beasts of the sea’. The song is about a child with Down’s Syndrome I worked with when I was suffering from huge heartbreak - and it had a profound influence on my life. The kid was so inspiring and pulled me out of a dark place really just by spending time with him. It's got a lot of biblical references to Jonah and the Whale - which is symbolic of diving into the sea of the unknown and becoming something far greater than yourself in a spiritual sense.

The song has deep layers of symbolism and subconscious meaning and people are responding to that…they are connecting to the human element.

Your self-titled debut E.P. is where the song was taken from. What was it like recording your first E.P.? What experiences and lessons did you learn from the process?

It was arduous at times because it was recorded, engineered; mixed and produced by myself and ATLAS (My producer). just people working with big mixes was a challenge; our ears burned fast. Most bands don't even mix their own record: it gets done for them. That sounds lovely and easy but I am a control freak – it’s easier to let me be there in the long run.  I learned that you can never predict how a track might evolve and I learned to slow down a little, take my time but, overall, I enjoyed it and I want to get back in there.

The song is featured on the FIFA '18. How did that opportunity come about and is it an important honour?

You would have to ask my publishing company exactly how that came about...

I just get to hear the good news. It’s a big honour: I am the only Irish artist on it; it’s a World Cup FIFA, which is huge - it makes me the first person to introduce the Irish language to mainstream video-gaming. Making history…that’s a huge honour.  

The soundtrack is stacked, too: the standard is great.

It is the first time a Gaeilge-sung song has been used in a video game. Is it important you retain Gaeilge roots and include it in your music?

Yeah, it is. Gaeilge is seen as a dying language in our country - maybe 20,000 speakers. Now, FIFA will bring a small piece to over 80-million people. The Irish government couldn't achieve that if they wanted to. You will have kids all over Ireland seeing Irish being used on a game they are obsessed with - and, hopefully, that will influence them to use the language more. Sometimes, I don't use Gaeilge. It’s not a personal crusade: I mean I will do it if I feel like it.

With Miol Mor Mara, the words felt important to me before I ever wrote the song, ya know. The first time was with Young Gods of Na Sionna. I will probably write whole songs in Gaeilge. It’s hard to explain, actually…good question. Super Furry Animals had that album in Welsh (Mwng). That was cool.

I of don’t know why I am doing it but that’s how I operate lately: I don't question my lyrics.

 Being based in Ireland; you must see a lot of talent around you. What is the scene like where you are? Do you think Ireland is a part of the world that gets overlooked in terms of music?

I think Ireland can get overlooked sometimes, but not right now.

Right now, there are eyes on Ireland because of the amount of successful bands here - Hozier going global changed that. No-one saw that coming. Check out Wyvern Lingo’s I Love You, Sadie - they (the band) are Irish girls. But yeah, Girlband, James Vincent McMorrow; All Tvvins, to name a few, are building fanbases I love Pleasure Beach, too. It’s a diverse scene, though. The styles are insanely different - which I like.

No-one seems to be doing the same style, really.

You are signed to Warner Music and released  Míol Mór Mara through W Songs. Do the labels give you a lot of freedom and what is it like being under the Warner Music banner?

I have total freedom: in fact, some people in Ireland told me not to use Gaeilge as it wouldn’t get radio play - whereas the people at Warner love it and really encouraged it. I think that decision speaks for itself when it ends up a globally-respected soundtrack. This is a business; you can talk all the sh*t you want about art - but good guitar-music does not record cheap and you won’t sustain for long if you are under the illusion it does. That’s why guitar music is middle-class-dominated right now. They are the only ones that can afford it - unless a label helps you. I am working-class, so I am very fortunate to have the support I do. The original punks had better gear and studios than most bands now.

You can believe the myth or face the truth.

It seems poetry and the beauty of language is important to you. Was music or poetry big in your early life? How crucial is language and how you convey it to your music?

Yes, I love poetry...

I started with lyrics and then learned guitar. The lyrics are unbelievably important to me. You will hear references to James Joyce etc. on the new E.P. The next E.P. has references to Wallace Stevens, Philip Larkin; Lord Byron, William Butler Yeats. I love the Pixies’ lyrics. The way they combine Spanish and English; making up words. It’s cool.

Expect that from me.

Many have compared you with great artists like Bruce Springsteen and War on Drugs. Are these artists you gravitate towards?

Yeah, I do.

People are always gonna hear something they know.  But to be honest, when I was a kid, I liked my dad’s traditional Irish music taste: The Chieftains, The Dubliners. In my teens, I loved Punk music and Post- Punk. I was never a Springsteen fanatic but I always sang like him a bit and, two years ago, I got this flashback of when I was five and my Auntie would have me and my brother dancing around the room to Dancing in the Dark. That kinda stuff gets internalised in your core. She was complaining that Springsteen had changed his image and everyone was against him now.  I love Springsteen but forgot that I did for a long time.

The War on Drugs are great. They are really in their prime. If ya listen to Wagon Wheel now - where he sounded exactly like Dylan - to (new songs) now where he has his own dream-like world created…it’s a cool journey.

They were able to evolve.

Is there going to be more material in months to come? Are you working on anything new at the moment?

Yeah, expect a new E.P. in 2018 - I am working on a new batch of songs, alright.

Who are new acts you recommend we check out?

Wyvern Lingo (I Love You, Sadie) and check out Twin Peaks (Making Breakfast).

IN THIS PHOTO: Wyvern Lingo

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

The Jesus and Mary Chain – Psychocandy

It taught me Punk could be ethereal. I think I sing like Jim Reid but people say, like Springsteen, the melody for Míol Mór Mara is in the same register as Upside Down.

My Bloody Valentine - Loveless

It taught me that someday, with enough time and money, you can make music devastatingly beautiful and to aim for that.

The Stone Roses – The Stone Roses

 It’s why I play bass and whisper on songs.

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

I had to cancel one last week because of this chest infection. Keep an eye on my social media, it will all be there.

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

The best art takes time and the best guitar music takes a hell of a lot of time. That has been proven over and over.

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

Wyvern Lingo - I Love You, Sadie

_________

Follow Outsider

 Twitter:

https://twitter.com/thisisoutsider

Facebook:

https://www.facebook.com/thisisoutsider/

Spotify:

https://open.spotify.com/artist/6KuabTjQd1CSoYXdx3hYac

SoundCloud:

https://soundcloud.com/thisisoutsider

INTERVIEW: AKA George

INTERVIEW:

 AKA George

________

THE meteoric rise of AKA George…

could have derailed his career and made him lose focus. He has, in a short time, turned down the chance to work with Pharrell Williams and Nile Rogers and seen legions of fans flock his way. The East London-based songwriter is a huge talent who can straddle genres but, on his current single, provides huge rush and funkiness. Stone Cold Classic has the potential to live up to its name and lodge itself in the minds of the masses.

So many people are responding to AKA George’s music so I ask him about his career and what it has been like so far – and why he chose to refuse Williams’ and Rogers’ deal and remain an artist on his own terms. AKA George talks about acts like The White Stripes and Muse; shares the memory of a particularly ‘eventful’ gig – and what gigs he has coming up.

________

Hi, AKA George. How are you? How has your week been?

Hi. Nice to meet you. I’m doing well, thanks.

I’ve just come back from a Sofar Sounds gig and I’m eating a veggie chili. My week has been busy - I’ve been rehearsing every day for my 4th October gig at Camden Assembly - in a tiny, sweaty room with four other guys...

...twelve-hour days; too much sweat.

PHOTO CREDIT: B@no1funkyhenry

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

I’m George. I’m twenty-three; I’m from the countryside but now I live in East London. I write songs and I play a lot of instruments.

Stone Cold Classic is your new single. What can you tell me about its origin?

Stone Cold Classic started with a guitar riff...

I was in my room trying to play Let’s Dance by David Bowie but then I changed it up a bit and took some effects off - and it started to sound more like INXS or Blur. I recorded it there and then. I had a Spotify playlist called I’m Amazing which I created for songs that make you feel like a champion. Things like Stronger by Kanye West or Sexyback (Justin Timberlake) - you know, things that make you go “HELL, YEAH”. I guess I was listening to that when I wrote the lyrics to Stone Cold Classic. It’s about believing in yourself and owning your life.

The key lyric in my song though is “If I repeat it, maybe I’ll believe it” - because, at least for me, there’s always something lurking in the back of my mind telling me I’m not as good as I think I am.

The video looks like a blast. Did you play all the instruments on the track – as it depicts you jumping between them – and how much fun was it to shoot the video?

Yep, that’s me on all the instruments.

The video was super-fun to make. That room is actually my studio - it’s in East London and it is SMALL. It gets unbelievably hot in there when it’s just me but, when you stick a few people and some lights in there, it’s like a FURNACE. In-between each instrument we would all pile out just to breathe for a few seconds! I was aiming for something that felt real: just me in the studio doing my thing.

The recording process for the song was very quick and instinctive - and that’s what I wanted to get with the video, too. The vocals on the finished song were one take - recorded live, just holding the mic and moving around the room.

It just felt right.

I hear elements of The White Stripes and Ramones in your music. Who did you grow up idolising and obsesses over?

Seven Nation Army was a BIG song for me.

Once, me and my mate Christy decided to do an impromptu version of it at a talent show. We were at a home-schoolers festival, and earlier that week we’d done a great cover of Feeling Good (in the style of Muse) which everyone loved. Christy was like, “Fuck it, we’re amazing; let’s do White Stripes, no rehearsal, tonight.” I’m like “Hell yeah, I’ll even do it topless. AND I know the face-paint lady and I’m going to ask her to paint some cool angel wings on my back…the girls are gonna love us.”

We get on stage; there’s about two-hundred people watching (all parents). Christy starts the riff. He’s out of tune. I start singing. The mic’s off. I’m suddenly very aware that we never discussed how to start the song…or end it. My wings are melting under the stage lights. Girls don’t love us...needless to say, it didn’t go as well as we’d expected.

Our egos took a hit that night (it’s ok; I got mine back). 

Your music has gained millions of YouTube views and social media love. How important is that kind of backing and does it all seem a bit daunting?

It used to daunt me, yeah.

A couple of years ago I had tens of millions of views - but all the numbers freaked me out and I took everything down (much to the dismay of my managers). This time, I feel like it’s a solid build. Numbers aren’t everything and I don’t think people should judge on them, but it is fantastic to see people support you - so yes, I guess they are important. 

I know you have turned the chance down to work with Pharrell Williams and Nile Rogers. Was that so you can retain independence and not be led too early in your career?

Looking back on it now, I know it probably seems crazy not to have taken those offers - but I really didn't know who I was as a musician and songwriter then. I was scared of being something that people jumped on and then jumped off a few months later. I really felt the whole YouTube thing was a novelty: an unnatural way to build a career in music. Even the word ‘viral’ was an alarm bell to me – because, if anything in nature goes viral it’s a disease, isn’t it? I think I knew in my heart that if I took my chance, then it would all crumble within a year or two. It was a risk but it paid off.

Now, if I work with other people, I know who I am. 

PHOTO CREDIT: @huntershootsinlondon

Was there an ethical and commercial quandary turning an offer like that down?! Will you work together down the line, do you think?

If you believe in what you’re doing you don’t jump at the first glimpse of fame.

I’ve always seen things long-term - this is my life. I’d love to work with Pharrell and Nile Rodgers but at the right time - and for the right reasons.

You are unsigned at the moment. Do you think about looking for a record label or do you prefer working without that pressure and expectation?

Not at all. I think a bit of pressure and expectation is good for me.

I’d like to be signed by a great label - preferably a big one. No artist I’ve seen has managed to sustain a career without a label - at least not to the level I’m aiming at. For now, I’m concentrating on becoming a better performer, songwriter and person.

All that other stuff will follow naturally.

PHOTO CREDIT: @kristina.emily

Can we expect an E.P. next year? How far ahead are you looking? 

Yes. I’m releasing an E.P. early next year with some songs I’m really excited about.

They still have a level of attitude but with more melodic elements and slightly more electronic production. I really want to set things alight with this next collection of songs!

Watch this space...

There are so few genuine voices and exciting artists with their own voice. What do you think of the big artists and does music lack any real bite and direction right now?

There is some great Pop music out there but, yeah, the general slew of music does lack bite at the moment.

I think part of the reason is a lack of intent and originality. People like to jump on a sound: particularly now with the ability to see via analytics/numbers how well it went down last time. It doesn’t matter though - the real ones know what they’re doing and they have the strength to put their neck on the line, speak up and trust in themselves. They’re the true stars.

Anything else is just here today, gone tomorrow.

How does the rest of 2017 look? How will you be spending the next few months? Any tour dates approaching?

Well, there’s the 4th October gig at Camden Assembly which is taking up most of my time at the moment - as I am rehearsing and programming new songs. The rest of 2017 will be spent writing and getting together the new E.P. Also, every now and then, I do a secret gig somewhere and I would like to put one of those in before Christmas.

They’re great nights and we cram loads of people into a small space - and hang around talking afterwards.

IN THIS PHOTO: Sigrid

Who are new acts you recommend we check out?

I really like Sigrid - she’s pretty cool.

There’s a guy called Steve Lacy that I like as well - he records everything on his iPhone.

He’s not a new artist but I supported Kwabs last night at the Sofar gig and he was incredible. His voice is soulful and he had great jeans. 

IN THIS PHOTO: Kwabs/PHOTO CREDIT: James Marcus Haney

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

All That You Can’t Leave Behind by U2

Because it reminds me of my dad and it is full of great songs.

Sam’s Town by The Killers

Because it’s the album I used to play over and over by myself growing up in the country. 

Yeezus by Kanye West

Because I’d never heard anything so explosive and cutting-edge before.

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

Try VERY hard at the beginning. Then, when you’re good, don’t try so hard. 

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

Yesss. Please, could you play a new song by Foo Fighters called T-Shirt. It’s huge.

Thanks for the questions x

_________

Follow AKA George

PHOTO CREDIT: Chiara Dalla Rosa

 Twitter:

https://twitter.com/akageorge

Facebook:

https://www.facebook.com/akageorge.uk/

Instagram:

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TRACK REVIEW: James Leonard Hewitson - Sometimes

TRACK REVIEW:

 

James Leonard Hewitson

 Sometimes

9.4/10

 Sometimes is available via:

https://soundcloud.com/jamesleonardhewitson/sometimes

GENRE:

Pop

ORIGIN:

Hartlepool, U.K.

____________

WHEN it comes to talking about James Leonard Hewitson…

I am compelled to look at a number of different subjects. I want to look at artists whose music gets played on T.V. – thus, affording them greater exposure – and influences/sounds that differ to what is out there. I will look at instant songs and big choruses; how rare they are and the results that can arrive; acts releasing singles whilst working on a record – the music from the North and how we should be focused there; male songwriters and those capable of making the singer-songwriter genre more interesting. I am not sure it Hewitson has a Twitter account but I cannot see one for him. It seems odd that, in this day and age, artists overlook the importance of Twitter. I may have missed his account – and whether there is an odd tag/handle – but I feel Twitter is the most effective way for any artist to get their work shared. It is hard enough getting songs spread and enjoyed if you are on all the social media platforms. For Hewitson; there is a definite quality that deserves a wide audience. So much of music is about marketing and exposure so, with that being accepted, there is a definite need to get your music on all the platforms you can. Hewitson is an artist with a great sound and someone who has years ahead of him. This might be a detour from what I wanted to talk about but I am compelled by Hewitson and his future. I know there will be some great times ahead but his songs are strong enough they can get to international audiences. Maybe I am being a bit over-the-top but I feel Hewitson could get to a huge market is he put his music on Twitter. What I find is Facebook and streaming sites are not as connected and joined as they should be. Twitter makes it a lot easier to get music out there fast and has a lot more musicians on it – by which, I mean one can connect with and follow them easily and share their music, too. James Leonard Hewitson is in a great position where he has a unique blend but needs to exploit all the channels out there. The reason – I knew there was a reason! – I am mentioning Twitter and augmenting popularity is because Hewitson is already under many people’s radars.

His songs have been played on T.V. shows and this means a range of listeners are checking out what he is about. Say what you want about Made in Chelsea – and I normally do! – but it does feature some pretty cool music now and then. The good thing about the show is the audience it pulls in. It is an addictive brand that sees a wide demographic, voyeuristically or not, look at the lives of the rich and elite. Maybe the music is part of the background but, if a musician gets featured there, that is a big step. It is not only the kind of people who appear on Made in Chelsea that watch the show – in fact, the viewing figures cross social classes and areas of the country. The fact Hewitson has a song on the show ensures it gains new fans but gives him the confidence to keep going. I am always wary when songs get on T.V. shows and whether it genuinely benefits an artist. In Hewitson’s case; he has his music on Made in Chelsea: Ibiza, too, and that must give him a boost. Getting music played on T.V. gives the artist financial benefit (although not as much as anyone would think) and it is a great way of spreading the word quickly. I was a bit miffed he avoids Twitter but, perhaps, getting his songs on T.V. is a good alternative. He has also featured on Tattoo Fixers and, whether you like the show or not, that is a new audience. I cannot guess the sort of audience that would watch BOTH shows but there is not going to be a great overlap. E4 is a minor station but it has a growing, young audience. I watch now and then and have tuned into Made in Chelsea – for the sheer pleasure of seeing rich and posh people get their heart broken and tears shed.

That might sound cruel but so much of the show is set-up and faked one wonders whether any of it is real. Because of this, I often drift into the background and see what songs are being played. They are vastly more interesting than the banal conversations that spew from the mouths of the Chelsea toffs. I mention Tattoo Fixers because, one imagines, a rather different subset watches the show. I imagine the viewers of this show would be a bit more into tattoos and less fascinated by rich people gallivanting around the world – a sense of exploitation and mockery is involved on both shows. The reason I mention both shows is because of the diverse audiences. Not only does this mean James Leonard Hewitson’s music has flexibility and variation but it is making its way to a massive audience. Film would be the next logical step and I do not think Hewitson’s music is limited to a narrow brand. One might think Hewitson is reserved to documentary/reality shows but those shows attract a young audience and that can extend to other sources. I hear his latest material and hear someone whose songs have real reach and depth. I can envisage them on the big-screen and scoring some fascinating film scene. If a musician has faith from T.V. broadcasters then it shows they are taking a step in the right direction – let’s hope this fortune continues for Hewitson. Three different songs have been played on three different shows so I know Hewitson will take pride from that. What it shows is people are connecting with his songwriting and there is something in the music that has a popular appeal. Many might overlook influence when it comes to new artists but, in the case of Hewitson, it runs through the D.N.A. of what he does. Reviewers have compared his (previous music) to The Fall and Gang of Four; there is a blend of Psychedelia and Surf-Rock; some 1990s’ bands and U.S. Rock.

It is interesting discovering the lineage of a musician and, in Hewitson’s case, he is someone who has grown up on some fantastic sounds and impacted him greatly. I am interested seeing names such as The Fall and Gang of Four line-up against one another but, to me, there is a lot more at work. I can imagine Hewitson sifting through vinyl and being fascinated by his parents’ music. There is some modern work in his own material but such a range of different artists. This sort of variety could only come from someone who curiously investigates every strand and area of music. So much of today’s sounds are marketed and commercial. The harder, Rock-orientated bands are generic and boring. I find a lot of those artists without any commercial pretence can be rather stiff and unengaging. It is hard manufacturing music that retains some sense of individuality and interest but is strong enough to connect with a wide remit. Hewitson takes little patches from classic acts and the coolest from past days and mixes that with his own vision and voice. Influence is as important to an artist’s music as anything and can separate them from the pack. I am not one who likes acts who mimic others or have so little about them. This is not the case with Hewitson: he is a strong and accomplished musician whose instincts and songwriting skillset perfectly mixes with a love of the finest musicians from the past. This all comes together in a wonderful explosion of harder and softer sounds. One experiences colour and energy; there is weirdness at moments but conventional wisdom at others. You can get a real blast of something fresh and then, the next moment, soothing and contemplative vibes. I love how Hewitson has such a wide taste in music and is unafraid to mix all of that into the pot. I hear bits of Surf-Rock in his bog choruses and some incredible 1990s guitar music in some of the verses – a spirit of Punk and Indie nestling and sparring in other parts. It is a fantastic and colour-bomb explosion that gets under the skin and into the heart.

Let us move on in a minute but, for now, remain with the low-key arrangements and lo-fi charm of Hewitson’s music. I will look at one of his more-recent tracks soon enough but I am fascinated by his style and sense of cool. I mentioned how so much of today’s music is ruled by a rigidity and boredom. It has been a while since I have experienced anything mainstream-worthy that gets me excited. It is always a case of the song starting promisingly and then fading into the distance. Other times, one can hear promising areas but the complete thing is inconsistent. Maybe it is a bad period we are in but things are very serious and unengaging. A few musicians manage to create something interesting but they are in the minority. New musicians – those in the undergrowth and away from the mainstream – are always more reliable in this area. You can argue there is a commercial need for music that calms the spirits and spikes the brain but, in my view, we need something more compelling and escapist in hard times. I feel big bands and the exposed are not delivering any lyrics that discuss what is happening in life. It is possible to provide fun and exciting music whilst escaping banality. James Leonard Hewitson, with his double-release, Sometimes/Experience Song, provides humour, intelligence and wisdom but gives the listener a real kick of fun and fascination. I wanted to move to look at artists who create songs with big choruses and huge songs. Hewitson is not someone who values shallowness and easy joys above deep music. What we find is a young talent who can document something personal and intriguing with a sense-lifting, bold sound. That is a hard trick to get right and one few artists are attempting. Listening to Sometimes – the song I felt would suit a review – and I am attracted to the chorus - which seems to rush straight into the imagination and provoke all manner of visions.

The entire song, in fact, has a real energy and spark but it is the chorus that really gets into my mind. One is left humming and singing along with it but, listening to the entire song, there is something quite rich and nuanced working away – a track that carries a lot of clout and seriousness when it needs to. You may look at the previous sentences and thoughts – when looking at Made in Chelsea – and think Hewitson’s music is perfect for those shows because of its fresh attack and youthful vibes. Maybe that is what the shows picked up on but, tying that with his influences, and you know there is a lot more at work than you might think. If a musician can create two distinct worlds (in their music) and make them mix and coexist then you have a fantastic compromise. Hewitson brings summery vibes with his natural warmth and engagement but underneath is a soulful and thought-provoking talent whose music contains so many different layers. Stations like BBC Introducing and appeared at Stockton Calling, Evolution Emerging and Twisterella Festival. There is a lot of love for his sounds and so, because of this, I have been hooked to explore further. Hewitson has performed in London and has a lot of fans in the North. It seems there are no limits for his music and that fantastic sound has resonated with the masses. This, again, is a rarity and those musicians that can cross borders and tastes are to be commended. I feel Hewitson succeeds because he does not follow the crowds and do what he thinks will ‘sell’. A lot of acts are too concerned with survival and, in their minds, that means replicating the acts one finds in the mainstream. Hewitson recognises he needs to compromise to an extent but never devalues his own talent and background by saying what everyone else does. Mixing together his favourite artists and that handy knack of penning big songs and one has a musician that has the opportunity to ensure and inspire others – someone we will be hearing more from in the coming years.

I am not sure whether Hewitson has an album arriving in 2018 but I do know he is working on more material. If one looks at previous songs like Dream Person (a song that featured on E4) and Care Less, Love Less (Antifolk in its ethics) then you can see an artist who has a great mobility and ease. His songs are never the same and one always gets a different sensation with each number. That is the same with his double A-side release: so many ideas working away; none remind you of anything that has come before. The Screen is another older track that has a real personality to it - addressing the overuse of social media. Thinking about that song might answer my questions when it comes to his lack of Twitter account and visibility there. So far, we have seen some great music arrive from him and it now comes to the point when they could all be put together in an album. There are, conceivably, eight or nine great numbers that he can put into an L.P. I would like to see that and maybe Hewitson is working on that right now. What I do find with modern music is how much of the promotional run-in is to do with singles. By that, I mean an artist releases a series of singles before an album arrives. There was a time when acts brought out a couple of songs and then the album would be released. Now, artists cannot afford to record an album that soon so fill the gaps with singles – ensuring they have popularity and can gauge what people think of them. I would like to see more musicians taking risks and releasing albums sooner. Maybe that is a marketing and financial consideration but I feel musicians are programmed and guided to release a minimum number of singles before an E.P./album. In Hewitson’s case; he has enough material for an album but I feel he is waiting to see what the reaction is going to be.

Modern music is so tough and money is so sparse – it is not always optional to release an album right off the bat. Hewitson has established himself and is getting to a lot of influential people right now. I am sure his 2018 will be a huge one and I cannot wait to see where that takes him. I am interested hearing from Hewitson because he is based in the North – an area that does not get as much attention as it should. I find music is split between London and the North. It seems any artist based outside the capital has to struggle a lot harder to get their voices heard. What I find, when looking at the North and South, is a lot more originality stemming from north of London. I have spent a lot of time investigating Yorkshire musicians and, with them, one finds artists willing to take bigger risks and push the possibilities of music. Their spectrum is galvanised and striking; they blend older genres and are not so beholden to the structure and conventions of the mainstream. That might seem like a binary, black-and-white vantage point but there is some wisdom in it. I know there are London artists that have real talent and originality. It is not the case all acts from the South are less interesting and have fewer great ideas. I am aware there is a North-South divide and that is something that unsettles me. Such is the focus on London it means few northern artists get a look in. Hewitson is based in Hartlepool and an area many do not look at. Liam Howe – a producer who has worked with the likes of Lana Del Rey – is, perhaps, the biggest talent and most recognisable person to come from Hartlepool in recent years. I know well enough there are brilliant acts in Hartlepool but, for someone like Hewitson, he will get more attention if he were based in London. The grooves, slacker vibes and stunning songs mean it is sad to think artists need to move here simply to be seen and approved.

I shall end my introduction soon but, to end, a look at male songwriters and how the best of the breed is making singer-songwriters more interesting. I always think female solo artists are stronger but, in the case of James Leonard Hewitson, he has his band The Relevant People around him. He is, essentially, the lead and focus - but having those extra bodies affords him more freedom and possibility. Maybe that is the answer to remedy the (comparative) lack of great male solo artists: getting yourself a band but keeping the focus on yourself. That may seem contradictory and pointless but there are plenty of sole songwriters who flesh their music out with extra players. I am being a little down on male songwriters but I feel female acts are more interesting and diverse. One gets the beauty of their voice but, when it comes to mixing sounds, they are braver and more intriguing. Too many male songwriters lack real vision and the desire to create something fantastic. There are a few great male songwriters but I am drawn more and more to females. Why I wanted to bring this up is because acts like Hewitson add a real spark of imagination and passion into what they do. I have mentioned how wide-ranging his music is and that is a good enough reason to get excited. There is nobody like Hewitson in music at the moment and that can all change. It does not take a great leap of imagination to go from something quite ordinary to extraordinary. Hewitson’s love of older music and his natural experimentation means his current sounds are already ahead of the competition. I find myself soulless when faced with solo artists who all sound alike and never really inject any punch into their music. Hewitson is a rare breed but someone giving me a lot of faith. I would like to see two things happen with this being accepted. He is a proud northern artist but his exposure is coming from London/southern T.V. shows and bigger gigs.

The fact he has made it to shows like Made in Chelsea is to do with his talent and skill.  I would like to see more people take notice of those away from the capital. It is not true the best are based in London…that has never been the case. I am annoyed so many labels and newspapers keep themselves isolated to London and do not look for talent elsewhere. I would also like to see artists like Hewitson embraced more and his music become more commercialised. By that, I mean he should be given big airplay and set as an example of how to do things – rather than be sold and cheapened by record labels. I shall move on now but am interested there are splits when there do not need to be. How many of us are aware of those many artists who emanate from areas like Hartlepool? There are some great acts there and some excellent venues. Maybe the fact the media does not look that far up the country means so many have to come down to London – or quit music altogether. I hope Hewitson does not abandon his home but, at the same time, I hope he spends some time down here. If the only way he can get proper exposure is to come to London then that is better than nothing. Hewitson has such strong music because of how he was raised and his innate abilities. The popularity and visibility has a bit to do with London but his local reputation helps. I am wandering off the course but wanted to get that off my chest. Hewitson is one of the strongest new artists around and I hope he gets adequate respect into 2018.

There is a real interesting clash of notes and sounds in the introduction. The strumming and percussion are unconventional and they have an element of older-days. One gets Punk incorporations and acts like The Velvet Underground. Gang of Four and Lou Reed’s solo work comes out but, truly, that is never the biggest takeaway in those early moments. It is such a vibrant and compelling start that your feet and heart are instantly and actively enlivened. Hewitson comes to the microphone and, when one hears his voice, you get something unexpected. Most male songwriters have a very familiar voice and it is never that deep. Hewitson reminds one of, yes, Lou Reed, but there is so much more at work. Before a single word has been sung you are involved in the song and interested by its every move. Sometimes, it seems, the hero needs nobody – maybe the solitude and advantages of solemnness not being lost. The song is lo-fi which means the vocals have that real physicality and proximity. They are not buried in layers of production and, as such, it is easy to gain access to the soul and truth of the song. Our hero is a mass of contradictions as he claims he needs no one but often comes home for company. His mind is confused and entangled and questions race. The percussion drives and strikes whilst the hero lets his voice wander and muse. It is an interesting marriage of fast-slow/broad-specific. The lyrics offer a window into his mindset and the current state of affairs. He is looking for clarity and a real degree of direction. I feel Hewitson needs somebody but, as he claims, he is fine on his own. He, at least, requires another set of hands and eyes to get him on the right road. Maybe this malaise and confusion is as a result of a bad time or harsh breakup. Adam Soper, Steven Hart; Josh Ingledew and Michael Kitching provide impressive backing and ensure the words are provided the maximum amount of passion and intelligence.

As the song carries on; there is no real decision being made – more a series of wonderings and confusions. Maybe things are not as evident and obvious but, I don’t know…perhaps, the hero is unworried about his current predicament. There is no need to really rationalise these conflicts or cure any ailment. He is laying it out there and not keen to raise any moral lawsuits – life creating tortious interference and harshing his mellow. The man is a bit of a slacker but is not someone who idly wanders and does not care about things. Essentially, our hero does have these contradictions in his life but is not letting it get him down. I do wonder whether he needs that stability because, this blowing-aimlessly-in-the-breeze dichotomy is not providing any direction. There is simultaneous simplicity and enigma in his words. Our man goes to work but that does not seem to satisfy his desires. Sometimes he needs people around him and other times that loneliness is best for him. Chris McManus mixes and masters the song perfectly – I should use that in past tense but you know what I mean. It is a fantastic song that has a great and hypnotic beat and some fuzzy guitars. All the instruments combine perfectly but have separate agendas. The boys all blend natural but each has a chance to step out from the pack and do their own thing. Hewitson, and that voice of his, brings so much candour and personality to the lyrics. There are few words but the ones we do hear seem to take on a new perspective each time they come around. By the closing moments; you are sucked into this world and motivated to help the hero find his way. Not many people would know where to start but it seems, as I have mooted, maybe the hero is going through life and not concerned with settling things. It is one of those songs that seem to be simple and not really bothered with depth but, the more you listen, you discover a man who is trying to figure things out. Sometimes is a terrific song from a songwriter who has a long future ahead of him. Superbly backed by his band; there is no denying the chemistry in the ranks. I cannot wait to see how he develops next year and where his talent takes him – it seems he will go very far in the industry!

I will end this very soon but wanted to look back on my points about variation and big songs – and where James Leonard Hewitson can head. Hewitson plays The Tyne Bar (in Newcastle-upon-Tyne) tomorrow and has a date in Middlesbrough soon. In the past few weeks, he has played around Manchester and the North but a couple of gigs in London. I like the fact he is getting dates nearer to home and I hope that carries on into next year. With talk of new material upcoming; I wonder whether the diary is going to get busier – and where popularity takes him. The local crowds will want to see Hewitson perform but there will be demand from further south. I know international audiences will want to be listening to his music and want to see him at some point. Next year is a pivotal one for Hewitson and one where he will take some big strides. His music has already been featured on prominent and popular T.V. shows and been taken to heart by radio stations. There are not many who produce music that appeals to more mainstream sources and retains its sense of cool and unique flair. I predict Hewitson will perform a lot more in the South but will have more gigs in the North. His life will get busier but this is not a surprise. The fact his music produces so many different reactions and emotions is because of the artists he follows and the music he loves. Hewitson wants to be known on his own terms and seen as separate but one hears embers of others when listening to his work. Every new song brings something sensational to the ears. I have been hooked on Sometimes because it elicits so much heat and electricity. The lyrics get you digging deep and there is so much fascination and appeal.

I know that has come from years of performance and honing but there is an instant and natural ability to Hewitson. He knows how to bond with a listener and produce music that remains in the mind. There are great northern songwriters out there and many are not being given enough backing. I feel Hewitson would be further along if the media looked at areas like Hartlepool, Newcastle and Middlesbrough. One may fight and say it is uneconomical and unwise trying to cover that much ground but there are plenty of journalists out there. If we allow music to become geographically homogenous...then that is going to lead to issues – music not at its most optimal and equal. I want to see changes but the fact musicians like Hewitson are doing great work might help redress the problem. It is wonderful hearing songs like Sometimes come out because they have that popular edge but sound unlike anything out there in music. Experience Song is the other half of the double-release and testament to the abilities of a rare and fine songwriter.  I am excited and pumped by Hewitson’s music and know next year will see many more opportunities and achievements, Hearing his music heard on T.V. is satisfying but his real pleasure and sense of place comes from playing across the country and performing to a range of crowds. The demand for that close connection will rise in 2018 and introduce fresh eyes to one of our most promising songwriters. There are few like him and, considering the beige and boring mass obsessing the mainstream today, musicians like James Leonard Hewitson are…

WHAT we really need right now.

_______

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INTERVIEW: James Ghareeb

INTERVIEW:

 James Ghareeb

________

I have been speaking with James Ghareeb about…

his latest track, Do It with Luv. The single’s artwork depicts the songwriter slumped on a sofa – on a lawn - surrounded by debris. I wondered whether that image tied to the song’s themes and, indeed, what the song was about. I ask how his music has developed since 2015’s Hanging from the Stars and whether his time posting to Vine – an eclectic selection of cover versions – strengthened him as an artist.

Ghareeb reveals his gig plans and the music he is inspired by; what the Chicago-raised musician is up to later in the year – and what the local scene is like where he is based in Peoria.

________

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

Hey, I’ve been great.

Just got back to Chicago from rehearsal - for my next gig out in Peoria.

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

I am a Pop singer from Chicago. I am relocating to Los Angeles. I have an awesome band that plays with me that give Reggae and sexy vibes.

Do It with Luv is the new single. What can you reveal about its inception and was it based on a particular girl/event?

Surprisingly, it was not about a girl: it was more about life today and the struggles that the world is going through. It’s about spreading love and appreciating the goodness in the world - rather than letting negativity take over.

The artwork sees you slumped on a lawn, surrounded by the remnants of a living room. Is that a predicament you’ve faced and has love, in the past, left you a bit uprooted and shut out?

Not necessarily.

It’s more about the goofiness of the video and how to have more fun in life - it’s meant to inspire people to be more carefree.

PHOTO CREDIT: @joshuaburch

Your road into music was when you uploaded short clips to Vine. What was the reason for this and can you remember the first video you posted?!

L.o.L. I don’t remember the first video I posted...

Vine was a great way to share original and covers. I connected to a lot of people from it and actually made a few great friends from it. 

Many of the songs you tackled were by mainstream Pop artists. Is that where a lot of your current inspiration comes from – or do you find yourself taking influence from various other areas?

To be honest, I don’t find much inspiration in Pop artists' work - except for John Mayer, of course. A lot of my inspiration stems from Folk. For a long time, I’ve gone to Ben Howard, Bon Iver and JP Cooper for my inspiration.

How would you say your music has developed since 2015’s Hanging from the Stars? Have you grown more confident as a performer?

I have definitely grown as a performer and a musician.

My work now sounds a lot more professional and structured - with many more diverse sounds and instruments.

Your sophomore release is approaching. Can you tell me how you came to work with Tony Ghantous and what tracks will be on the new E.P.?

I’ve been working with Tony for a couple years and I am very blessed to have him and his experience. I, unfortunately, can’t give away much detail - but a couple of my favourites are Colours and Get the Whole World High.

Peoria, Illinois is where you were raised. (It seems pretty bitching). What is it like for an aspiring musician and how has the landscape and people inspired you?

To be honest...Peoria is not the best place to follow your dream.              

But, if you truly believe in yourself, others will start to believe in you. With that being said; I began to be inspired by the emptiness I felt. Watching people start to believe in me made me stride so much further to what I truly want.

Also...the silent cornfields do kinda help sometimes. L.o.L.

What kind of music did you grow up listening to? How important are periods like 1990s’ R&B to your current sounds?

If we are being honest, there was definitely a time where I put on a jean-jacket and sang Usher in the mirror.

I, of course, love my NSYNC and Backstreet Boys.

Your fanbase is loyal and large. What message would you send to them right now?

I would first off say, from the bottom of my heart, thank you...

Second of all; I would say if you have a dream; make sure you are doing everything in your power to make it come to life.

What tour dates are coming up? Any plans with regards coming to the U.K.?

I have a very big show with Matt Nathanson, coming up this October, and I also have a few in Chicago.

As for the U.K.; I hope I make it out there after the album drops (for a European tour).

IN THIS PHOTO: Dermot Kennedy

Who are new acts you recommend we check out?

Hands down Dermot Kennedy and Tom Walker.

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

Every Kingdom by Ben Howard

It helped me through very low times.

How to Save a Life by The Fray

The 1975’s first album (The 1975)

It helped me to not care about what people thought. Matty is a true inspiration.

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

Keep grinding: if you want something bad enough, you will get it.

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

Play Deep the Water by Lewis Watson

<

_________

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 Official:

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