INTERVIEW: Born Stranger

INTERVIEW:

 Born Stranger

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FEW come along that stand you to attention…

and make you want to dig deeper. This Is My Life is the latest single from Born Stranger and a song that shows Maddox Jones and Raife Hacking are on the top of their game. I learn more about the duo’s latest song and the story behind it; how they will be spending the rest of this year – and whether they have changed their sound in the past few months.

I ask whether there are any new artists we should keep an ear out for; the tour dates Born Stranger have in the pipeline – and whether there will be an E.P. very soon.

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

Maddox Jones: Good, thanks.

It's Tuesday night, all is well; currently walking to our studio to finish a new song. 

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

We are Maddox Jones (me) and Raife Hacking - and we are an Electronic-Pop duo from Northampton, U.K. – although, we now prefer to call Devon and London our homes. We are inspired by Pop music that says something different and we love anything from House music to Rock and Roll...

Good songs are always king: it doesn't matter where they come from. 

Is there a special story behind your name, ‘Born Stranger’? Where does that come from?

Well. We are all ‘born strangers’ aren't we?! We are two very different characters: Ying and Yang - that's why it works, I guess. 

 

Talk to me about This Is My Life. What is the song about, would you say?

This Is My Life is a song for the mavericks and the dreamers: for anyone who doesn't want to conform. It's about having and believing in your own voice. 

You worked with Yoad Nevo on it. What was that experience like?

We still work with him often, and he's great. He feels like a third member of the band! He has helped shape our sound massively!

Would you say you have changed a lot since Fire & the Flame and Be Someone? Do you look to inject something new into each single?

We like every single to stand alone and have its own voice - but be part of our sound as well. I would say we are always evolving and we never want to be tied down to any rules or specific sound.

Pop music is about living in the moment - and we never want to stand still creatively!

Your music has been praised by Chloe Moretz and BBC Introducing. Is it quite an honour getting that sort of praise?

Yes. It's awesome, of course. We love it when our music connects with people. 

Spotify seems to be a place your music goes down well on. Is it beneficial and special being included on their playlists? Is it something you two chase as musicians?!

Yes, Spotify is the new radio, isn't it? Being on Spotify playlists can attract so many new fans - it's amazing. 

I am seeing a lot of duos coming up and replacing bands in terms of popularity. Do you have a theory why this is so?

Less politics and cheaper to travel around?

Haha. Mmmm…I'm not sure. I think more and more people make music in their bedroom now and you don't need a full band to sound like a full band nowadays...songwriting partnerships have always been successful as far back as Lennon and McCartney. 

I guess duos need a solid bond and connection. Do you two get on most of the time or are there ever creative differences?

I'd say we know each other well enough to put up with each other's idiosyncrasies. We used to argue but now we know better - and it's just wasted energy as we both want the same thing! 

You are based out of London but did you two form a band after becoming friends? How did it all come together for you?

We are actually based in London, Devon and Northampton. Ha.

Northampton is where we met and grew up. Raife actually auditioned to be in an old band of mine, Newislands - and we just carried on working together ever since. 

Does Born Stranger have similar tastes in music or do you pull in different directions?

We pull in different directions - but for the common good! 

Can we expect an E.P. or album in 2018, do you reckon?

Mmmm maybe ?! We've got enough material so let's see what happens. We love creating, so if an E.P. feels natural, we will do that. 

What are you chaps up to this Christmas? Do you visit family or have other plans?

Mmm. Family; yes. I think Raife is going to France; I'll probably stay in Northampton and spend it with my girlfriend and family. 

IN THIS PHOTO: Caitlyn Scarlett

Are there any new artists you suggest we check out?

Mmmm - you probably know better than me. Caitlyn Scarlett is awesome; Ruby Francis and Girlhood (too).

 I've been listening to loads of old Classical music lately - so probably not much help to you here. 

Are you touring before the end of the year? Where can we catch you play?

Mmm. Keep an eye out on our Facebook page!

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

Depeche Mode – Violator

It’s when I first got into dark Pop music. Enjoy the Silence is my favourite song…well...it was.

Nowadays, I don't have a favourite song I'm always open and love hearing new music I've never heard before.  

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

Don't give up, and don't be precious - and do it because you love 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). 

Girlhood - Bad Decisions 

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Follow Born Stranger

Facebook:

https://www.facebook.com/BornStrangers/

Twitter:

https://twitter.com/born_stranger_

Instagram:

https://www.instagram.com/born_stranger/

Spotify:

https://open.spotify.com/artist/1iFQkdAkxRL9aeBe342DcY

SoundCloud:

https://soundcloud.com/born_stranger

INTERVIEW: Late TV

INTERVIEW:

Late TV

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SOURCING their membership from the U.K…

the U.S. and France – there is something cosmopolitan and exotic about Late TV. The London-based sextet talks to me about their new smash, Citizen, and what the story behind it is. The band fuse Jazz-Funk, Art-Rock and cinematic sounds; each band member brings something unique and stunning to the music – the effect is simply amazing. Guitarist, Lyricist and Singer Luke Novak charts the history of the band and what the future holds.

I ask about their formation and what gigs they have coming; whether they mix trashy cultures and late-night T.V. evocations into their music – and how they separate themselves from the competition.

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

Pretty sweet. We had a rehearsal last night…

We did a jam that lasted for ten minutes - that never stopped being fun. Now, we’ve got to carve a song out of it which, in a six-man-band, is like being a cross between a sculptor and hostage negotiator…it’s like…“I’ll give you eight bars of solo each and a helicopter to the airport..if you let me sing all over that cool bit.”

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

My name is Luke J. Novak I am the Guitarist, Lyricist and Singer for the band, Late TV.

The rest of the group is: Richard ‘The Showman’ Bowman on Drums; Ryan Szanyi on Bass; Martin Coxall on Synth and Keys; Evesham Nicholas on Saxophone - and Mathew Halsall on Trumpet.

Citizen is your new song. What led to the song’s creation and what kind of themes does it address?

Lyrically, the protagonist is trying to turn a negative experience into a positive one by shifting perspective. It seemed that, towards the end of the 20th century (and start of this one), culturally, we were promised a lot of action from Western society - and it turned out to be a somewhat cynical cheque that we couldn’t cash. I was chewing on that thought and, on reflection, felt it wasn’t necessarily just ‘The Man’ getting in the way: it was the mentality of our fellow citizens - like, “How dare you try to be yourself!”

The song is kicking against that attitude. I’m sure we’ve all come up against it at some time or another especially if you live, or have lived, in a small town or provincial area.

The song has a Lynchian, dark vibe. Was it an easy track to put together and which artists/types of music inspired the track?

Most of our stuff comes from one member bringing in a loose idea.

We, then, collectively kick the sh*t out that idea until it tells us what we want to know – and, if it doesn’t spill the beans, we leave it out the back in the alley for the rats. Citizen happened just like that. I already had the lyrics and was singing them to a tune but then Martin - our keyboard player - was getting on my back about it sounding too wistful - as it was in a major key. He came out with this slinky Acid-Jazz groove; shifted it all into minor and the whole thing clicked into this deep, dark vibe.

Our bass player, Ryan, stuck some cheeky Funk-Disco slaps: the horns came up with a killer hook and our drummer, ‘The Showman’, just balanced all those different elements like spinning plates. In the middle of the song, there’s a kinda French-House-style breakdown - it’s, basically, there to deliberately wind people up! Like… “Now; what the hell are they doing?!”.  

The music, much like the song, is turning the situation around. So, in reference to Lynch influence…I think that’s what he does with his work. He takes familiar and awkward feelings and re-frames them as exotic entertainment. That’s what I hope Citizen achieves.

The video looks like it was cool to shoot. Whose idea was the concept and do you think it does justice to the song’s lyrics/themes?

A friend of mine filmed out of the window every time he went on a train journey for a year...

He originally edited it to the beats of a Techno track. He showed it to me and I thought it was perfect! You get such a cross-section of life when you look out of a train window. All these fleeting places and people. It’s like hitting fast-forward on an old video. We layered the footage with us playing the song.

It's pretty lo-fi but I really like it.

Will there be any more material next year? What are you all working on right now?

We’ve got a ton of songs that I’d love to record. However, the next single and video is ready to go. It’s called Losin’ It. I’m not sure yet when we are putting it out...but stay tuned.

How did you all get together? When was the moment you decided to form Late TV?

I’ve known Richard, our drummer, all my life: we played in school bands together and came to London together. I met Evesham when we were both playing sax in an orchestra. Mathew (on trumpet) was our ex-bass player’s, sister’s boyfriend. After that; it goes international.

Ryan, on bass, is from Chicago. He stumbled across us while looking to buy an upright bass. Martin, on synth, is from Paris. I don’t really know why he moved to London - other than, maybe, a deep, subliminal urge to find me and argue about chord changes. 

The band is called Late TV because we like to think of ourselves as the house band on a late-night chat show - for people who can’t sleep.

It seems B-films, late-night T.V. and trashy shows are part of the sound/ethos? What bonds you guys in terms of passion and cultural tastes?

I suppose we all grew up on a certain brand of trashy Western culture - even though we are from different places, geographically. I wore a white suit at a gig once and Martin said something like: “Hey, Nash Bridges; where’s the Barracuda parked!?”. I thought, ‘F*ck you!… but, actually, this guy gets it’. What I like about T.V. and B-movies is the over-the-top sentiments and the garish intensity. I enjoy how T.V. soaps and cinema boil down all this humanity into a little tasty slice.

I’d like to think we attempt that, musically...

How would you define your music - and what stands you out from the competition?

We're a true band - in that everything is formed as a collective.

I don’t see the point of having one overriding writer in a group - you might as well make programmed music, in that case. We've got that vibey-ness of a live band – but, at shows, we join all our songs together like a D.J. set.

We want to take you on a trip the way that a good D.J. does.

It seems, in a way, your music comforts that who struggle to find any normality and live on the periphery – the outsiders and innovators. Do you think that lack of conventionality is what makes the music so special?

Yeah, man!

We're simultaneously highbrow and lowbrow. We are mutant junk-dwellers in the postmodern wastelands of Pop; collecting shards of fragmented culture and building a shelter out of it - and everyone's invited to come and hang out in that shelter.

I am struggling to compare your music to anyone else but aware you all must be fans of other artists. Who are the musicians you all cherish and listen to?

Hmm…. let me see…

…as a group, we enjoy a pretty broad spectrum…

Vulfpeck, The Souljazz Orchestra; The Budos Band, The Meters; Sam and Dave, Herbie Hancock; Sons of Kemet, The Stepkids; Phoenix, Thundercat; Michael Jackson, Weather Report (especially with Jaco Pastorius - Ryan); Tom Waits, Jamiroquai; Rage Against the Machine, Brass Construction; Medeski, Martin and Wood; Average White Band, Crazy P….loads of stuff.  

Personally, I’m into the 1980s Post-Punk stuff, such as The Lounge Lizards. I love the band Morphine - who were a minimalist sax/drums/bass trio. I am also influenced a lot by singer-songwriters such as Bill Callahan, Tom Waits; Nick Cave and Cass McCombs. I always loved Jarvis Cocker – specifically, it’s his irony and way of looking at the world that really stuck with me growing up.

I like musicians that build their own universe - rather than bend to this one.

Are there going to be more tour dates before 2018? What are your plans for Christmas?

We've got the Citizen launch gig on Saturday, 21st October - and we'll be arranging something else in London for late-November/early-December.

Then, we'll be back in the New Year with Losin' It.

IMAGE CREDIT: Angry Che

Are there any new artists you suggest we check out?

This year, collectively, we’ve enjoyed the aforementioned Vulfpeck.

We like Thundercat's Drunk album... I’d say, if you're ever in London on a Friday night; check if the Sarah Tandy Trio is playing at Servant Jazz Quarters. She does it every few weeks and blows me away every time...

Other than that; everyone needs to go and listen to Folk singer Natalie Bouloudis' E.P., Dead Sea Scripts.

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

Luke: Nighthawks at the Diner by Tom Waits.

I got this after hearing his late-1990s stuff - but I preffered the sleeve on this one. It’s part-lounge, part-performance poetry - and part-stand-up comedy. It was written and recorded like a studio album; however, they set up a bar in the studio and brought in an audience to make it a true performance. It’s a total one-off.

Ryan: Friday Afternoon in the Universe by Medeski, Martin and Wood

Because it spans so many different areas of Jazz: from Groove to Free-Jazz, to Melodic.

Evesham: Sleepify by Vulfpeck

Because someone had to make a joke suggestion - and this album hilariously ripped-off Spotify! They made twenty-grand from five minutes of silence by asking their fans to play the silent tracks on loop while they were asleep.

Martin: Rage Against the Machine by Rage Against the Machine

Because of the best use of cowbell during an intro, ever.

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

Play live at every opportunity and don’t be afraid.

The more you show your face in public, the more you get used to it…and the more fun it gets. Just remember: if it goes well, it’s fun: if it goes wrong, it's funny.

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).

Luke: Morphine - Buena (from the Cure for Pain album)

Martin: Rage Against the Machine – Killing in the Name

Evesham: The Souljazz Orchestra – Dog Eat Dog

Ryan: Medeski, Martin and Wood – Chubb Sub

Matthew: Angelo Badalamenti - Audrey’s Dance (from the Twin Peaks soundtrack)

Richard ‘The Showman’ Bowman: 18 with a Bullet – Pete Wingfield

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Follow Late TV

Facebook:

https://www.facebook.com/theLateTV/

Twitter:

https://twitter.com/TheLateTV

Instagram:

https://www.instagram.com/late.t.v/

SoundCloud:

https://soundcloud.com/latetv

INTERVIEW: LAOISE

INTERVIEW:

PHOTO CREDIT: www.ethanhartphoto.com

LAOISE

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IT is exciting discovering an artist who seems so natural…

that the music they produce sound effortless and pure. There is a personal – and stressful – origin to new single, Rich, that Galway-based LAOISE discusses with me. It is from her forthcoming E.P. (that follows the Halfway E.P.) and sees a new direction and impetus derive from the talented songwriter. Her upcoming E.P. is due in the spring so I ask her about future plans and what we can expect from her; what the music scene is like is Galway – and what kind of sounds she was brought up on.

A busy summer and gig experience means LAOISE’s new material is bolder and more intent than anything she has ever produced. I learn more about a sensational artist who has a very bright and promising future.

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

Hello! I’m great, thank you.

My week has been fantastic. I’m just starting to wind down after Hard Working Class Heroes Festival here in Dublin.

Had so much fun.

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

I am LAOISE; a twenty-year-old Electro-Pop artist from Galway, Ireland.

Rich is your new single. What can you tell me about its origins and inspiration?

Rich is a track I co-wrote with Seán Behan of A Place Called Kai Studios.

It’s about an old relationship that was supported by glitz and glamour and ended up turning nastily sour. I’ve said before that I don’t deal well with being screwed over - so the song has helped me to deal with poisonous people that are luckily no longer in my life.

It is taken from your forthcoming E.P. – out next spring. Can you reveal any of the songs or ideas that will appear on the E.P.?

Yes, for sure.

Over the past year or so, I’ve found myself delving deeper and deeper into my own emotions and the different perspectives that come with them. I’ve stopped being so afraid of expressing the finer details in songs that could possibly get me in trouble with old friends. Haha.

But it’s taking my new music to higher and bigger places.

PHOTO CREDIT: Ellie Smith

I believe your new material is a step-up from your debut E.P., Halfway. What was the decision behind the transformation?

Yes, definitely. I guess when I was writing and recording the Halfway E.P., I was still newly experimenting with electronic instruments and sounds. Now that I’ve become more familiar with them, there’s a sense of confidence and courage in my new music that I’m very excited about. If I feel like being brash, I’ll be brash. If I want to be a bit more abstruse, I can be abstruse.

I’m just learning to let myself go - and I’m basking in its ratification.

This summer, you have been busy gigging and not had much time to settle. Would you say this never-stop-rush has ensured your music has few compromises and time for reservation?

I’ve actually found that being away touring or playing festivals has given my creative side a little rest – that, when I came back into the studio to write and record, new ideas started pouring out of me. I guess because I had to keep a lid on that area on my work for a bit; I had gained some new experience I felt the need to write again.

PHOTO CREDIT: Lucy Foster

Will you get any time to calm before the year’s end – or are things pretty manic?!

Haha, yes and no.

I always make sure to take some time to myself if it’s necessary. Of course, music is my escape and I feel it always will be - but that doesn’t mean it doesn’t need a lot of work and energy. Like most, I go through bouts of writer’s block; so, if I’m not feeling a song, I’m not feeling it - I won’t force it. Mostly though, I’m just having fun!

I wouldn’t be an artist if I wasn’t…so I’m very lucky.

Galway is your home. What is the music scene like in that part of Ireland?

Galway is such a beautiful county to grow up in.

I’m so glad I got to experience its music scene when learning music, especially during my teens. I played traditional Irish music with my parents all the time and I taught myself guitar and Folk songs so I could sing during sessions. It’s always gladdening to go home to see that it’s the same; welcoming-as-ever a scene to be in.

Do you remember the artists that inspired you to take up music? Which albums were familiar to your young ears?

My father was fantastic for showing me incredible artists and bands like Joan Baez, Pink Floyd; Joni Mitchell…the list is endless. He played the guitar and sang – and, I think, I would’ve been too shy to do the same if it wasn’t for him. I still remember being seven or eight; the first time I heard Little Lies from Fleetwood Mac’s Tango in the Night album - and wanting to learn all the harmonies.

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

I’m heading on tour with the divine Ailbhe Reddy this month! We’re playing Galway, Cork and Dublin - and I’m itching to get back out on the road. There are a few tickets left for anyone that wants to come along!

Are you coming to the U.K. at all?

I hope to get back to the U.K. very soon, yes! I don’t have any set date at the moment but I’m definitely going to be back very soon…

PHOTO CREDIT: Lucy Foster

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

Ooh, tough question...

But, I’d have to (predictably) say Rumours by Fleetwood Mac

Just because of how much it reminds me of my childhood - and because Stevie Nicks is a QUEEN.

Second would be Kate Bush’s Hounds of Love

I’ll never get over her otherworldly creativity: the way she blends vision with sound will forever inspire me.

Thirdly; Warpaint’s self-titled (2013) album changed the way I perceive music completely

Each song on this album explodes with a certain raw energy I like to draw from, particularly when recording. It’s a breath of fresh air.

PHOTO CREDIT: Lucy Foster

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

My advice to new artists would be to spend a lot of time on your own sound: don’t be afraid to try something a little outside of the box because that’s what’s going to set you apart from so many other artists. Seeking advice and feedback as much as you can is always great - be it with your songs, artwork; live shows etc.

Just keep finding ways to develop and progress.

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).

YES! I’m loving Glory by Dermot Kennedy. He’s insanely good.

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Follow LAOISE

PHOTO CREDIT: Ellie Smith

Official:

https://www.iamlaoise.com/

Facebook:

https://www.facebook.com/laoisemusic/

Twitter:

https://twitter.com/laoisemusic/

Instagram:

https://www.instagram.com/laoisemusic/

Spotify:

https://open.spotify.com/artist/23an6pADJ65QGp0XlnkYkI

SoundCloud:

https://soundcloud.com/laoisemusic

YouTube:

https://www.youtube.com/channel/UCHED5AUlEkNYFoShveroybA

INTERVIEW: Kadija Kamara

INTERVIEW:

PHOTO CREDIT: Garry Carbon

Kadija Kamara

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I am excited about the song Eyes on You…

and its creator, Kadija Kamara. The London-based songwriter explains her Alternative-Soul music and why she has a love of the 1960s and 1970s. Kamara talks about her influences and a residency at The Finsbury (London). She has won the MTV Iggy Artist of the Week poll and awarded PRS for Music Individual funding for her Artistic Development Programme. In addition; she curates a new showcase, LADY – highlighting great female artists within the underground and commercial scene.

I find out more about her upbringing and the new artists we should keep our eyes out on – and what future gigs there are.

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

I’m great, thank you! Busy days - but great stuff happening A.T.M.

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

Well, hello there, new readers! My name is Kadjia Kamara and I love to sing.

On a more serious note: I am a singer/songwriter/composer/curator; working independently on my craft I call music - and other projects, like curating events and platforms for leading female musicians.

Born and bred in South London - but I love to travel and meet creatives across the globe.  I would say my sound is Alternative-Soul - which is Soul fused with other sounds. A lot of my tracks are (mainly) guitar-based - but I love merging live instruments with electronic sounds.

I’ve been lucky enough to collaborate with some amazing producers and hope to continue down this route.

Overall…huge lover of music.

Eyes on You is your latest track. Can you reveal what the story behind the song is?

The song is about love at first sight and (just) feeling that instant connection with someone. It isn’t about anyone in particular but just a familiar feeling we may have all felt at some point.

I started writing it with a simple guitar riff, then mumbled a few words with the melody. I felt the vibe was quite sexy - so I wanted to play with my tone and flow.

It seems like an uplifting, charged stormer. How did you feel hearing it back for the first time? What are your feelings about the finished product?

Ha! This track took a while to complete.

Although I had written the lyrics quite quickly - and the basic skeleton was easy to work out - we revisited the track a couple of times; adding additional elements like synth and drum layers.

Overall, it was a relief to finally have it completed but I was very happy with the finished product - even more so to release the track.

The video is colourful and fun! What was it like shooting it?

We had a lot of fun shooting the video...

I worked with a bunch of creative friends, so I felt very relaxed and could be myself. I enjoyed putting the storyboard together with Bunny Bread, and then, the styling with Geraldine (and makeup with Stacey).

It didn’t feel like work and time seemed to fly by so quickly. I love shoots when you don’t have to be too serious. I feel at this point I can be my most comfortable at which point we capture the best pics/footage.

Is there going to be more material before the end of the year? What plans do you have regarding an E.P., for instance?

Yes. Most certainly so.

It’s been a long time coming but there is an E.P. ready … I will be out before the end of this year (all will be revealed soon). The process can be quite slow as an independent artist - but I am happy I to have such a patient and supportive fanbase, friends and family.

PHOTO CREDIT: Garry Carbon

You describe your sound as ‘Alternative-Soul’. Which artists did you listening to as a youngster? Was Soul music a big part of your childhood?

Soul was a massive part of my life and childhood.

My parents collected vinyl; so I was always interested in Motown, Funk and Soul. I have a love for collecting vinyl myself now, too. Also, the way music was recorded back then…I love to record live with my band and capture the vibe in the studio with the musicians.

My parents played a lot of Marvin Gaye, Aretha Franklin; The O’Jays, Sister Sledge and, of course, M.J. (and much more).

In your career; you have won MTV Iggy Artist of the Week poll and been awarded PRS for Music Individual funding for your Artist Development Programme. How important and pivotal have these moments been?

I was very humbled by both: as a creative, you create music you feel represents you. You don’t know if people will understand you or even like what you do. But, then, you put it out into the world hoping for the best...

When you receive positive feedback and gain great acknowledgement - or are even rewarded for it - it motivates you even more. I feel they helped build my confidence and release some of the doubts I may have had about continuing with music.

I’m not going anyway just yet.

You recently curated a music night called LADY – showcasing female musicians within the underground and commercial scenes. Was this something you have been planning to do a long time? Do you feel female artists are afforded less attention than men?

The idea actually popped out of nowhere...

Other than music, I love to get involved with business plans and projects. At that particular time, I felt I wanted to create something of my own - other than just focusing on creating music as a singer-songwriter. I knew there were so many things I was great at - but hadn’t invested any time in making them work...mainly because my main focus was on me as a singer-songwriter.

I also wanted a regular gig for myself and band; to perform and grow; work on our live set and just do our thing. I don’t like the idea of chasing promoters asking for gigs: I have something of my own; in a place I was comfortable with.

I thought about the other things I do behind the scenes like managing; P.R. video editing; events management (plus more). Sometimes, these things are overlooked … I wanted to provide a platform for others like me.

So, I spoke to Chris (the promoter for Lost in the Manor) about my idea - and he was amazing enough to give me the platform on which to run the first night. We did the second night after that and I was offered a residency. Now, almost a year later, I’m having a festival for my event, LADY, at Pop Brixton. This includes a larger line-up consisting a nine-piece band and D.J.s. I can’t believe how quickly the brand has grown - I’m excited about what’s to come next! I’m so grateful for the opportunities...

London is your base. You have played The Finsbury many times. What does London mean to you - and is The Finsbury an important venue for you?

London is my hometown and ‘the hug’.

I have so many connections here in the music world (and personal life). I would find it difficult to live anywhere else.

I've played The Finsbury in the past and loved the vibe in there. It’s even better now since the refurbishment - the staff and promoters are all great. They are becoming part of my family.

IN THIS PHOTO: Joan Thiele

Who are the new artists you recommend we check out?

Artists I recommend you check out …oh gosh; are you ready for my Longlist?! L.o.L.

Ok. So, some of them are new bands - and others are quite established:

Joan Thiele; Dead Man’s Knee; Jodie Abacus; Michael Jablonka; Leonn; Dornik; M w S; Zara McFarlane; Native Dancer; Tawiah; Stac; Aadae; Obenewa...

(...to name a few).

IN THIS PHOTO: Obenewa

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

So. The festival I mentioned earlier is coming up this month…but here are all of my dates so far:

Tues 3rd Oct. - PopRevue Women in Music @ Freedom Bar Soho

Sun 15th Oct. - LADY Presents: LADY Festival @ Pop Brixton

20th Oct. - Loose Lips @ The Haunt

27th Nov. - LADY (residency) @ The Finsbury

It is coming up to Christmas (sort of!). Do you have any plans at the moment?

I usually spend the time with friends and family.

I love to have some downtime in Dec. - as most months in the year are quite hectic. Many Christmas dinners and drinks coming soon.

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

Ah; that’s a difficult one…

Marvin Gaye - What’s Going On

Feel like we’re living this at the moment.

Alabama Shakes - Boys & Girls

Just feeling every song on here.

The Jimi Hendrix Experience - Are You Experienced

I just love Hendrix. This album has many great tracks I rock out to.

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

Don’t give up!

It’s a difficult industry but try not to focus on the politics. Remember why you started in the first place and just enjoy the journey. Learn as you go along and, most importantly, be comfortable with the music you put out.

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).

Ha, that was my first thought: my new single.

Ok. So, I recommend the following: Anderson .Paak - The Bird

_________

Follow Kadija Kamara

Official:

https://www.kadijakamara.co.uk/

Facebook:

https://www.facebook.com/kadijakamaramusic/

Twitter:

https://twitter.com/kadijakamara

Instagram:

https://www.instagram.com/kadijakamara/

Spotify:

https://open.spotify.com/artist/7vI8VvLrvPt0YrcdU3aU6K

SoundCloud:

https://soundcloud.com/kadija-kamara

YouTube:

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

INTERVIEW: Laura Llorens

INTERVIEW:

 Laura Llorens

________

FORMERLY of the American Midwest…

Laura Llorens is now based in Paris. I chat to her about her new single, Inside Out. September was Suicide Prevention Month. As is revealed; Llorens has exposure to suicide and discusses why her latest song has personal relevance. I ask about her musical upbringing and the artists she was reared on; what compelled her to move from Wisconsin to Paris – and what it was like working with producer Charlie Chastain.

Llorens talks about forthcoming music/gigs and whether she will come to the U.K. – and provides some useful advice for upcoming artists.

________

Hi, Laura. How are you?

Doing well, thank you! Yourself?

How has your week been?

My weekend has been quite nice – I’m enjoying seeing all of the feedback from the video release...

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

I am an Indie Pop-Folk singer/songwriter originally from the Midwest in America. I’ve been living in Paris, now, for the past fifteen years.

Tell me about the single, Inside Out. It tackles and addresses suicide. Is this an area you have personal or second-hand experience of?

Yes. One of my dear friends took her own life a few years ago...

She was such an amazing person; her energy and her musical talent were real motivators for me at the time when we met. She inspired me to reach new levels in my music and to not be afraid to show the world who I was - to really be a confident woman.

Why did you decide to highlight suicide through song? Was it emotionally challenging putting it to paper?

This song actually took years to be completed. I had this guitar-riff that I had been playing for years…I had even played it for my friend. I just wasn’t able to put lyrics down and it was really bugging me that I had this music with potential - but I didn’t know what it was about yet.

When Naghmey died; I just started writing down my anger, my frustration and my love for her. It was a big let-out for me.

The video seems to capture urgency and emotion. What was it like shooting the video?

I didn’t really know what direction the shooting was going when we started but I had worked with Clarence Tokely before - and he is a great coach and director; he really brought me back into the heart of the first emotions that I felt when I learned that she was gone.

I fed off of that and just let the performances become a celebration of life…of her life.

What has the reaction been like, so far? Do you hope the song helps change opinions and raises greater understanding?

Most people wonder why the colored powder, and for me, the color really represents calling out for help and allowing ourselves to express our feelings. Violence can sometimes be the result that our emotions make us go through. For me, the important thing is just to allow ourselves to share, talk; live, exist the way we are…

Nobody is perfect.

The song was produced by Charlie Chastain. What was it like working with Charlie?

Charlie is an amazing producer and artist...

He is a great listener and really brought me to a new level of creativity during the sessions. Inside Out was one of the first songs I recorded with him for this album - and he had a vision that the video for this song should just be contemporary dancing.

That idea stayed with me for a long time - and the result is this video.

You are from the shores of Lake Michigan. You seem more at home in Paris. What compelled the move and what are the differences between the music in Wisconsin and Paris?

Good question! I was born and raised in a small town; really quaint and full of nature. When I think of Wisconsin, I immediately go back to walks in the woods; sailing on the lake and campfires in the backyard. Wisconsin is my Folk/Acoustic music side (of me).

Paris is a completely urban setting (I actually live in one of the only parts of Paris where high-rise buildings are) and, here, I am stimulated by a totally different atmosphere - Rock and Roll and music from all around the world.

As a little girl, I dreamt of making it in a big city. I made it Paris and ended up staying.

It seems your music is influenced by France and its classic singers. Was it a quick thing for you – bonding with the nation and people?

I really just fell in love with France; long before I had travelled here.

I studied French in school before and once arrived; saw the real beauty in their ‘traditional’ culture, revolving around meals; respecting the arts and revolution! The country of France certainly has a strong cultural identity - and it was so inspiring to become a sort of chameleon and camouflage myself in their world.

Digging Deeper, released last year, tackled everything from war and love to living in a media-driving world. Do you think you captured everything you wanted to in the album – or are there songs/topics you still want to address?

No. There are certainly so many more areas to talk about…sing about. Digging Deeper was/is a snapshot of what I was feeling about the world at that time - and I certainly hope that I will continue to try and represent other areas that need the spotlight on them in the future.

Will we see a new E.P. or L.P. next year?

2018 is going to be a year of writing for me, for sure! I do hope to release something new in the near-future.

Are there going to be more tour dates before 2018? What are your plans for Christmas?

I am currently looking at a quick tour in the U.K. for late-fall and Christmas time -  will bring the release of one more video before the end of the year.

Who are the new artists you suggest we check out?

I would recommend checking out Hannah Featherstone (a dear friend of mine) and a French singer named Solveig.

Definitely worth the listen.

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

I would select Rumours by Fleetwood Mac

For its authenticity and amazing songs.

Alanis Morissette’s Jagged Little Pill

Because its lyrics and music really represent a time-frame of rebellion in my life - and singing my heart out until I couldn’t anymore.

Amy Winehouse’s Back to Black

An album that revealed, so candidly, the woman that she really was - and the love stories that brought her voice known more largely to the public.

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

I think this is more and more the case with the younger generation…but, just BE YOURSELF. Authenticity is YOU. Don’t waste time trying to become original.

Just be yourself - that is as original as it’s gonna get.

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).  

Fleetwood Mac - Don’t Stop

_________

Follow Laura Llorens

Official:

http://www.laurallorens.net/

Facebook:

https://www.facebook.com/laura.llorens/

Twitter:

https://twitter.com/LauraLlorens

Instagram:

https://www.instagram.com/laurasingsinparis/

BandCamp:

https://laurallorens.bandcamp.com/

YouTube:

https://www.youtube.com/channel/UCJz_TuirHCyW0qFBf5Axw3A

FEATURE: Songs in Slow Motion: The Best Music Documentaries Ever

FEATURE:

 

Songs in Slow Motion: 

IN THIS PHOTO: Janis Joplin (the focal point of Janis: Little Girl Blue)

The Best Music Documentaries Ever

________

WE often concentrate on the musician…

IN THIS PHOTO: Tupac Shakur (who featured in the documentary, Biggie & Tupac)

without considering where they came from and what makes them special. The music documentary allows rare insight into an artist’s life and what goes into the music. The best and most tasteful documentaries are never exploitative and crude: they are deal affectionately with the subject and feel no need to obscure the truth.

I have been thinking about the best music documentaries through the years and have assembled, what I feel, are the finest examples of the breed.

(Thanks to Wikipedia for supplying the information about each documentary)

________

Amy (2015)

Subject: Amy Winehouse

Director: Asif Kapadia

About:

Amy is a 2015 British documentary film about the life and death of British singer-songwriter Amy Winehouse. Directed by Asif Kapadiaand produced by James Gay-Rees, George Pank, and Paul Bell and co-produced by Krishwerkz Entertainment, On The Corner Films, Playmaker Films, and Universal Music, in association with Film 4. The film covers Winehouse's life and her struggle with substance abuse, both before and after her career blossomed, and which eventually caused her death.

In February 2015, a teaser trailer based on the life of Winehouse debuted at the pre-Grammy event in the build-up to the 2015 Grammy Awards. David Joseph, CEO of Universal Music UK, announced that the documentary entitled simply Amy would be released later that year. He further stated: "About two years ago we decided to make a movie about her—her career and her life. It's a very complicated and tender movie. It tackles lots of things about family and media, fame, addiction, but most importantly, it captures the very heart of what she was about, which is an amazing person and a true musical genius."[4] The film was shown in the Midnight Screenings section at the 2015 Cannes Film Festival[5] and received its UK premiere at the Edinburgh International Film Festival.[6]

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_noss?url=search-alias%3Daps&field-keywords=Amy

Supersonic (2016)

Subject: Oasis

Director: Mat Whitecross

About:

Oasis: Supersonic[2] is a 2016 British music documentary directed by Mat Whitecross. Asif Kapadia and James Gay-Rees, already awarded with an Oscar for the film Amy, worked on this film respectively as executive producer and film producer.[3][4][5] The Production Companies associated with the film are Mint Pictures, Nemperor and On The Corner Films and is distributed in the UK by Entertainment One and Lorton Distribution.[6]

The film details the history of the Britpop band Oasis during their formative years and the height of their success in the 1990s, featuring off-screen interviews with members of the band and people associated with them, set to archive video of concerts, contemporaneous interviews and backstage footage.

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_noss_2?url=search-alias%3Daps&field-keywords=supersonic+oasis&rh=i%3Aaps%2Ck%3Asupersonic+oasis

Cobain: Montage of Heck (2015)

Subject: Kurt Cobain

Director: Brett Morgen

About:

Kurt Cobain: Montage of Heck (also billed as Cobain: Montage of Heck)[1] is a 2015 documentary film about Nirvana lead singer Kurt Cobain. The film was directed by Brett Morgen and premiered at the 2015 Sundance Film Festival. It received a limited theatrical release worldwide and premiered on television in the United States on HBO on April 24, 2015. The documentary chronicles the life of Kurt Cobain from his birth in Aberdeen, Washington in 1967, through his troubled early family life and teenage years and rise to fame as front man of Nirvana, up to his death in April 1994 in Seattle at the age of 27.

The film includes artwork by Cobain as well as music and sound collages composed by him. Much of music and sound collages were released on the film's soundtrack, Montage of Heck: The Home Recordings. A companion book was also released containing animation stills from the film as well as transcripts of interviews, photographs, and Cobain's artwork that were not featured in the film.

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_noss_2?url=search-alias%3Daps&field-keywords=montage+of+heck&rh=i%3Aaps%2Ck%3Amontage+of+heck

The Devil and Daniel Johnston (2005)

Subject: Daniel Johnston

Director: Jeff Feuerzeig

About:

The Devil and Daniel Johnston is a 2005 documentary film about the noted American musician Daniel Johnston. It chronicles Johnston's life from childhood up to the present, with an emphasis on his experiences with bipolar disorder, and how it manifested itself in demonic self-obsession. The film was directed by Jeff Feuerzeig and produced by Henry S. Rosenthal.[1]

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_ss_i_1_25?url=search-alias%3Daps&field-keywords=the+devil+and+daniel+johnston&sprefix=the+devil+and+daniel+john%2Caps%2C157&crid=2OWKUR2E4J2L5&rh=i%3Aaps%2Ck%3Athe+devil+and+daniel+johnston

Dont Look Back (1967)

Subject: Bob Dylan

Director: D.A. Pennebaker

About:

Dont Look Back is a 1967 American documentary film by D. A. Pennebaker that covers Bob Dylan's 1965 concert tour in England.

In 1998 the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". In a 2014 Sight & Sound poll, film critics voted Dont Look Back the joint ninth best documentary film of all time.[1]

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_noss_2?url=search-alias%3Daps&field-keywords=dont+look+back+bob+dylan&rh=i%3Aaps%2Ck%3Adont+look+back+bob+dylan

Janis: Little Girl Blue (2015)

Subject: Janis Jopiln

Director: Amy J. Berg

About:

Janis: Little Girl Blue is a 2015 American documentary film directed by Amy J. Berg, about the American singer-songwriter Janis Joplin. It was shown in the TIFF Docs section of the 2015 Toronto International Film Festival.[3]

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_noss_2?url=search-alias%3Daps&field-keywords=janis+little+girl+blue

Searching for Sugar Man (2012)

Subject: ‘Rodriguez’

Director: Malik Bendjelloul

About:

Searching for Sugar Man is a 2012 Swedish–British documentary film of a South African cultural phenomenon directed and written by Malik Bendjelloul which details the efforts in the late 1990s of two Cape Town fans, Stephen "Sugar" Segerman and Craig Bartholomew Strydom, to find out whether the rumoured death of American musician Sixto Rodriguez was true, and if not, to discover what had become of him. Rodriguez's music, which had never achieved success in the United States, had become very popular in South Africa although little was known about him in that country.

On 10 February 2013, the film won the BAFTA Award for Best Documentary at the 66th British Academy Film Awards in London,[2] and two weeks later it won the Academy Award for Best Documentary Feature at the 85th Academy Awards in Hollywood.[3][4]

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_ss_c_1_19?url=search-alias%3Daps&field-keywords=searching+for+sugar+man&sprefix=searching+for+sugar%2Caps%2C174&crid=T938MBFUIF7M&rh=i%3Aaps%2Ck%3Asearching+for+sugar+man

The Filth and the Fury (2000)

Subject: Sex Pistols

Director: Julien Temple

About:

The Filth and the Fury is the second movie Julien Temple made about The Sex Pistols. His first effort was The Great Rock and Roll Swindle, which was released in British cinemas on 15 May 1980. This earlier effort was heavily criticised for being too skewed towards the Pistols' manager Malcolm McLaren's version of events about the band.[citation needed] The Filth and the Fury tells the story from the viewpoint of the band members themselves (albeit in silhouette during their contemporary interviews).

The title of the film is a reference to a headline that appeared in the British tabloid newspaper The Daily Mirror on 2 December 1976 after an interview on ITV's Today presented by Bill Grundy. The title of The Daily Mirror article was itself inspired by William Faulkner's novel The Sound and the Fury which was in turn taken from a line in Shakespeare's Macbeth.

Temple's documentary charts the rise, decline and fall of the Sex Pistols from their humble beginnings in London's Shepherd's Bush to their disintegration at the Winterland Ballroom in San Francisco. Temple puts the band into historical context with Britain's social situation in the 1970s through archival footage from the period. This film was seen in some ways as an opportunity for the Pistols to tell their side of the story, mostly through interviews with the surviving members of the group, footage shot during the era, and outtakes from The Great Rock and Roll Swindle.

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_ss_c_1_22?url=search-alias%3Daps&field-keywords=the+filth+and+the+fury&rh=i%3Aaps%2Ck%3Athe+filth+and+the+fury

Buena Vista Social Club (1999)

Subject: Buena Vista Social Club

Director: Wim Wenders

About:

Buena Vista Social Club is a 1999 documentary film directed by Wim Wenders about the music of Cuba. It is named for a danzón that became the title piece of the album Buena Vista Social Club. The film is an international co-production of Germany, the United States, the United Kingdom, France, and Cuba.

The film documents how Ry Cooder, long-time friend of Wenders, brought together the ensemble of legendary Cuban musicians to record an album (also called Buena Vista Social Club) and to perform two times with a full line-up: in April 1998 in Amsterdam (two nights) and the 1st of July 1998 in the United States (at the Carnegie Hall, New York City). Although they are geographically close, travel between Cuba and the United States is restricted due to the political tension between the two countries, so many of the artists were travelling there for the first time. The film shows their reactions to this experience, as well as including footage of the resultant sell-out concert. It also includes interviews with each of the main performers.

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_noss?url=search-alias%3Daps&field-keywords=buena+vista+social+club+film&rh=i%3Aaps%2Ck%3Abuena+vista+social+club+film

It Might Get Loud (2008)

Subjects: Jimmy Page, The Edge and Jack White

Director: Davis Guggenheim

About:

The film documents the varied playing and recording styles of guitarists Jimmy Page, The Edge, and Jack White.

Page's history with guitar traces back to his childhood when he played in a skiffle band. After desiring to do more than play pop music, Page "retires" from guitar playing to attend art school. He later revives his music career as a session guitarist, only to be discouraged by the realization that he is playing others' music and stifling his own creativity. At that point, Page begins to write and perform in the bands The Yardbirds and Led Zeppelin. Page discusses the skiffle and blues music that influenced him at the time. For many of Page's scenes, he is seen visiting Headley Grange, where several songs from Led Zeppelin IV were recorded, and in one scene, explains how the distinctive drum sound from "When the Levee Breaks" was achieved from the acoustics of the house in which it was recorded.

The Edge's history with guitar traces back to building a guitar with his brother Dik and learning to play. In the film, he visits Mount Temple Comprehensive School and recalls forming U2 in his childhood. He also demonstrates his playing technique, in how he eliminates certain strings from chords, as well as his use of echo and delay effects to "fill in notes that aren't there". He also discusses his purchase of his signature guitar, the Gibson Explorer, in New York City and the punk music that influenced him. In other scenes, he plays early demo tapes of "Where the Streets Have No Name", discusses his inspiration for "Sunday Bloody Sunday", and spends time experimenting with guitar effects for the riffs to "Get on Your Boots".

Jack White traces his musical background to his childhood in a rundown neighborhood of Detroit. Living with two drum sets and a guitar occupying his room and sleeping on a piece of foam due to taking out his bed for more room for his music, White struggled to find a musical identity, as it was "uncool" to play an instrument and his nine siblings all shared a musical propensity. His strong interest in blues and roots music opposed the hip hop and house music popular in the predominantly Latino south Detroit neighbourhood at the time. White eventually finds a niche in a garage rock band called The Upholsterers while working as an upholsterer, which paves the way for his future bands The White Stripes and The Raconteurs. White's philosophy is to limit and challenge himself in various ways to force creative approaches to recording and playing.

The touchstone of the film is a meeting of the three guitarists dubbed "The Summit". In these scenes, the three guitarists not only converse about their influences and techniques, but they also play each other's songs together, showing each other how to play "I Will Follow", "Dead Leaves and the Dirty Ground", and "In My Time of Dying". The film concludes with the men playing an impromptu cover version of The Band's "The Weight" on acoustic guitars.

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_ss_c_1_13?url=search-alias%3Daps&field-keywords=it+might+get+loud&sprefix=it+might+get+%2Caps%2C171&crid=2YRDN7W9NATDN&rh=i%3Aaps%2Ck%3Ait+might+get+loud

The Last Waltz (1978)

Subject: The Band

Director: Martin Scorsese

About:

The Last Waltz was a concert by the Canadian-American rock group The Band, held on American Thanksgiving Day, November 25, 1976, at Winterland Ballroom in San Francisco. The Last Waltz was advertised as The Band's "farewell concert appearance",[2] and the concert saw The Band joined by more than a dozen special guests, including Eric Clapton, Ringo Starr, Bob Dylan, Ronnie Wood, Muddy Waters, Neil Young, Neil Diamond, Van Morrison, Bobby Charles, Dr. John, Paul Butterfield, Emmylou Harris, Ronnie Hawkins, Joni Mitchell and, The Staple Singers. The musical director for the concert was The Band's original record producer, John Simon.

The event was filmed by director Martin Scorsese and made into a documentary of the same name, released in 1978. Jonathan Taplin, who was The Band's tour manager from 1969 to 1972 and later produced Scorsese's film Mean Streets, suggested that Scorsese would be the ideal director for the project and introduced Robbie Robertson and Scorsese. Taplin served as executive producer. The film features concert performances, intermittent song renditions shot on a studio soundstage, and interviews by Scorsese with members of The Band. A triple-LP soundtrack recording, produced by Simon and Rob Fraboni, was issued in 1978. The film was released on DVD in 2002 as was a four-CD box set of the concert and related studio recordings.

The Last Waltz is hailed as one of the greatest concert films ever made,[3] although it has been criticized for its focus on Robertson.[4]

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_noss_2?url=search-alias%3Daps&field-keywords=the+last+waltz+film&rh=i%3Aaps%2Ck%3Athe+last+waltz+film

Scratch (2001)

Subject: Hip-Hop D.J.s

Director: Doug Pray

About:

Scratch is a 2001 documentary film, directed and edited by Doug Pray.[1] The film explores the world of the hip-hop DJ from the birth of hip-hop when pioneering DJs began extending breaks on records, to the invention of scratching and beat juggling, to the more recent explosion of turntablism. Throughout the documentary, many artists explain how they were introduced to hip-hop while providing stories of their personal experiences.[2]

Buy/Watch:

https://www.amazon.co.uk/Scratch-DVD-Z-Trip/dp/B0000DINKC/ref=sr_1_1?ie=UTF8&qid=1506876226&sr=8-1&keywords=scratch+documentary

Woodstock (1970)

Subject: Woodstock Festival (1969)

Director: Michael Wadleigh

About:

Woodstock is a 1970 documentary film of the watershed counterculture Woodstock Festival which took place in August 1969 near Bethel, New York. Entertainment Weekly called this film the benchmark of concert movies and one of the most entertaining documentaries ever made.[3]

The film was directed by Michael Wadleigh. Seven editors are credited, including Thelma Schoonmaker, Martin Scorsese, and Wadleigh. Woodstock was a great commercial and critical success. It received the Academy Award for Best Documentary Feature. Schoonmaker was nominated for the Academy Award for Film Editing, a rare distinction for a documentary.[4] Dan Wallin and L. A. Johnson were nominated for the Academy Award for Best Sound.[5][6] The film was screened at the 1970 Cannes Film Festival, but wasn't entered into the main competition.[7]

The 1970 theatrical release of the film ran 185 minutes. A director's cut spanning 225 minutes was released in 1994. Both cuts take liberties with the timeline of the festival. However, the opening and closing acts are the same in the film as in real life; Richie Havens opens the show and Jimi Hendrix closes it.

Jimi Hendrix at Woodstock was also released separately on DVD and Blu-ray.

In 1996, Woodstock was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". An expanded 40th Anniversary Edition of Woodstock, released on June 9, 2009 in Blu-ray and DVD formats, features additional performances not before seen in the film, and also includes lengthened versions of existing performances featuring Creedence Clearwater Revival and others.[8]

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_noss_1?url=search-alias%3Ddvd&field-keywords=woodstock

Madonna: Truth or Dare (1991)

Subject: Madonna

Director: Alex Keshishian

Madonna: Truth or Dare (known as In Bed with Madonna outside of North America) is a 1991 American documentary film chronicling the life of American singer and songwriter Madonna during her 1990 Blond Ambition World Tour. The film was generally well received by critics and was successful at the box office with a worldwide gross of $29,012,935 (an estimated $50.99 million in 2016 dollars[1]). It remained the highest-grossing documentary of all time, until Bowling for Columbine surpassed it in 2002.[2] It was screened out of competition at the 1991 Cannes Film Festival.[3]

In 2005, Madonna produced another documentary, I'm Going to Tell You a Secret, which followed her 2004 Re-Invention World Tour. It was filmed and narrated in the same style as Truth or Dare, with stage performances filmed in colour and behind-the-scenes in black and white. Truth or Dare was nominated for a Razzie Award for Worst Actress for Madonna as herself, which she lost to Sean Young for A Kiss Before Dying.[4] It holds an 80% rating on Rotten Tomatoes.[5]

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_ss_c_1_14?url=search-alias%3Ddvd&field-keywords=madonna+truth+or+dare&sprefix=madonna+truth+%2Cdvd%2C171&crid=1YPXTV2XWSUIB&rh=n%3A283926%2Ck%3Amadonna+truth+or+dare

Marley (2012)

Subject: Bob Marley

Director: Kevin Macdonald

Marley is a 2012 documentary-biographical film directed by Kevin Macdonald documenting the life of Bob Marley.[4] It was released in theaters on April 20, 2012 to wide critical acclaim.[1][2][5] The film was also released on demand on the same day, a "day and date" release.[6] The film features archival footage and interviews.

The content spans the life and musical career of Bob Marley, mainly as seen through the eyes of those who knew him and contributed to the documentary, including Bunny Wailer, Rita Marley, Lee "Scratch" Perry and many others.

Although Marley was enthusiastic about music from a very young age, he had disappointing record sales as a solo artist with his first singles, “Judge Not” and “One Cup of Coffee”. He then decided to collaborate with Peter Tosh and Bunny Wailer to create “The Wailers.” This group later became known as “Bob Marley and the Wailers” and achieved international fame. The group made Bob Marley a household name and brought worldwide attention to Jamaican culture, Reggae music and the Rastafari movement.

Throughout the documentary, much of the content deals with Marley’s struggle with racial identity and acceptance. Marley’s widow, Rita Marley stated “they saw Bob as an outcast, because he didn’t really belong to anyone. You’re in-between. You’re black and white; so you’re not even black.” Livingston also comments that Marley was harassed in school for being mixed race. On his race, Marley stated:

"I don't have prejudice against meself. My father was a white and my mother was black. Them call me half-caste or whatever. Me don't deh pon nobody's side. Me don't deh pon the black man's side nor the white man's side. Me deh pon God's side, the one who create me and cause me to come from black and white."

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_ss_c_1_18?url=search-alias%3Ddvd&field-keywords=marley+documentary&sprefix=marley+documentary%2Cdvd%2C162&crid=T9ZDS7W0CZYZ&rh=n%3A283926%2Ck%3Amarley+documentary

What Happened to Miss Simone? (2015)

Subject: Nina Simone

Director: Liz Garbus

About:

What Happened, Miss Simone? is a 2015 biographical documentary film about Nina Simone directed by Liz Garbus. The film opened the 2015 Sundance Film Festival. The screening was followed by a tribute performance by John Legend.[1] The film was released by Netflix on June 26, 2015. The documentary combines previously unreleased archival footage and interviews with Simone's daughter and friends. The title of the film was taken from a Maya Angelou quote.[2]

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_ss_c_1_25?url=search-alias%3Ddvd&field-keywords=what+happened+miss+simone&sprefix=what+happened+to+miss+sim%2Cdvd%2C157&crid=1KZWF2MX707UC&rh=n%3A283926%2Ck%3Awhat+happened+miss+simone

Muscle Shoals (2013)

Subject: Muscle Shores Sound Studio

Director: Greg 'Freddy' Camalier

Muscle Shoals is a 2013 documentary film about FAME Studios and Muscle Shoals Sound Studio in Muscle Shoals, Alabama. The film was released by Magnolia Pictures on September 27, 2013.[2]

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_ss_c_1_25?url=search-alias%3Ddvd&field-keywords=Muscle+Shoals+&rh=n%3A283926%2Ck%3AMuscle+Shoals+

Biggie & Tupac (2002)

Subjects: ‘Notorious B.I.G.’ and 2Pac

Director: Nick Broomfield

Biggie & Tupac is a 2002 feature-length documentary film about murdered rappers Christopher "Notorious B.I.G." Wallace and Tupac "2Pac" Shakur by Nick Broomfield.

Broomfield suggests the two murders were planned by Suge Knight, head of Death Row Records. Collusion by the LAPD is also implied.[1] While the film remains inconclusive, when asked "Who killed Tupac?" in a BBC Radio interview dated March 7, 2005, Broomfield stated (quoting Snoop Dogg) "The big guy next to him in the car... Suge Knight."

Broomfield's low-budget documentary was as the New York Times[2] described it, a "largely speculative" and "circumstantial"[2]account relying on flimsy evidence, failing to "present counter-evidence" or "question sources." The movie alleged that Knight had Tupac killed before he could part ways with Knight's Death Row label and conspired to kill Biggie to divert attention from himself in the Tupac murder.[3] 

Buy/Watch:

https://www.amazon.co.uk/s/ref=nb_sb_ss_c_1_12?url=search-alias%3Ddvd&field-keywords=biggie+and+tupac&sprefix=biggie+and+t%2Cdvd%2C160&crid=3JOCKKSYYV789&rh=n%3A283926%2Ck%3Abiggie+and+tupac

INTERVIEW: Brenda

INTERVIEW:

 Brenda

________

WITH a name like Brenda…

 I had to ask the Canadian band where it comes from – and whether there is a cool story they want to share. The guys chat about their new single, Children, and why its video was shot in south-east London. I ask them about their track and what meanings/stories lie behind it; what we can expect from the E.P., Creeper, and whether touring will see them come over here.

There is a lot of good stuff in the pipeline for the band so I talk to them about the remainder of the year and what is ahead of them; the new artists we all need to switch onto – and the music that inspired them to get into the industry. 

________

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

We’re great!

Currently in the process of putting the final touches on some things; creating new things and discarding other things - while juggling our work lives.

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

Sure. Our band is Brenda.

Andrew plays the drums; Jordan plays bass; Matt plays the guitar and sings backup vocals - and John plays the guitar and sings! We’ve been doing this project together since fall, 2015. Jordan Matt and Andrew were in a Punk band previous to Brenda, based out of Toronto.

Andrew moved away for a while when we started the band with a different drummer - and, after some changes, moved back to Toronto and joined the fun.

Children is the new single. It talks about the inevitability of growing old. Was there a moment or realisation that compelled the song?

The realisation probably came when we first started getting into a studio all together...

John had some songs that he had the bare bones of (one being Children) that everyone, together, kind of fleshed-out and transformed into one if not many different beasts - before it took its final form. When we realised, after a ton of practices, that we may have something; we all collectively decided that this was something that we were really going to seriously try and do.

Everybody gets old: we might as well really do something if we were going to do it at all.

Do you chaps feel like you are awkwardly straddling childhood and adulthood? Is getting it out in song quite cathartic?

We’re sure everyone is getting a cathartic release when they write songs in some way or another - and isn’t everyone straddling adulthood and childhood?!

Children’s video consists of old home movies. Where did that footage come from? Is it original (made to look old) or taken from another source?

Artist Sarah Ann Watson, at a church service in south-east London, shot the footage on an old camcorder.

The service was a gathering to pay tribute to Joseph Grimaldi - an entertainer that was considered to be the father of modern clowning, that lived and performed in London around the late-1700s. Sarah is a family member, and close friend of ours, and she does incredible video work. She shot the footage before we finished recording and proposed it to us after.

It works really well.

 PHOTO CREDIT: @brianmcmillanphoto

Toronto seems to be busy with life – so much so I am going to have to turn away artists from there due to the dominance on my blog. What would you say is the reason for this influx and output of quality?

There are amazing artists living all around Canada - so it seems only natural that they flock to big cities like Toronto, Montreal; Vancouver etc. Toronto has an extremely strong music community that tend to not only stick together when putting on shows, releases and whatever else - but they also open their arms to anyone that wants to get involved. Not only are the musicians open, but also the promoters.

Everyone helps everyone.

PHOTO CREDIT: Dominique van Olm

How did Brenda get together and what is the origin of that band-name?

Like we said; Matt Jordan and Andrew were in a band together before.

Jordan met John through friends and knew that he was writing music alone - but always wanted a full-band project. They wanted to begin playing together again, so Jordan called up John…and the rest is history.

The band name kind of started as a joke that stuck. We were bouncing first names around that struck an image in our heads. ONE of us said, 'Brenda'. None of us has owned up to it but it strikes a high-school scene in the early-eighties. Ha ha.

That’s really all we have for the origin of Brenda, but it works!

Do you all share the same music tastes? Give me an insight into your record collections?

We generally ball-park the same kind of stuff at the core.

To name a bunch: The Black Lips, Fat White Family; Wand, Brian Jonestown Massacre; Ty Segall, Joe Walsh; Goblin, Jack Name; POND, Orb; Lightning Bolt; Marc Bolan, Psychic TV; Tiny Tim, Roy Orbison; Ex-Cult, Oh Sees; Night Beats, Black Rebel Motorcycle Club; Can, etc, etc, etc, etc.

 IN THIS PHOTO: Thrifty Kids/PHOTO CREDIT: Victor Sweet

Who are the new artists you recommend we check out?

In Toronto: Crazy Bones, Hot Garbage; Jean Daddy, Possum and Thrifty Kids.

Elsewhere: Jerkcurb, Running; Speak Easy (in B.C).

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

We will be at the Monarch Tavern in Toronto, October 20th - promoting a split we are doing with good friends of ours.

We are at the Piston on November 16th.

The U.K. would be a great place for you guys to perform. Do you get a chance to come over here much?

John is from the U.K. so he goes quite often.

We haven’t yet (for performing) but, hopefully, that will change!

It is coming up to Christmas. You guys have any plans at the moment?

Turkey and family!

Can we expect an album or E.P. in 2018? What plans does the band have?

We may or may not have a full-length planned - we’ll both have to wait and see. We’ve definitely begun the process of writing songs that fit together well.

We definitely want to travel more.

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

Be nice to everyone and don’t be afraid to send out emails to everyone - even if you think you are annoying them.

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

Sure…put up Crazy Bones - I Am the Sun

_________

Follow Brenda

Facebook:

https://www.facebook.com/brendabandTO

Twitter:

https://twitter.com/brendabandto

Instagram:

https://www.instagram.com/brendasband/

BandCamp:

https://heybrenda.bandcamp.com/

FEATURE: BBC Introducing at Ten

FEATURE:

 IN THIS PHOTO: Last year's BBC Introducing Artist of the Year, Izzy Bizu 

BBC Introducing at Ten

________

ANY function or faction that actively promotes…

the finest artists out there is to be commended and applauded. BBC Introducing started life in 2007 and showcases unsigned, self-signed and emerging artists. It runs across BBC radio stations and, when each act is featured/wins, they retain their own identity and sound. That is rare in an industry where, if one wins a competition, they are often forced to compromise their music and fit into a label’s agenda. Since its formation; the competition has seen winners feature at Glastonbury – spotlighting wonderful acts on the main stages there. By 2010; BBC Introducing was awarded the best new platform to discover music at the BT Digital Music Awards. The following year, it won the Gold award for Best Use of Multiplatform at the Sony Radio Academy Awards. Since January 2013; every BBC Local Radio stations across England and the Channel Islands broadcast a BBC Introducing show (8 P.M. on Saturdays). The idea, originally, was for the BBC to introduce new talent to its stations – artists that have a definite future and are have commercial possibilities. Its brand was discovered by Jason Carter – who continues to lead to the proposition for the BBC – and has expanded and evolved since its first year. Back when it first arrived, many local BBC stations created competitions to showcase local bands. That became so popular and powerful that, as of 2010, that any local BBC station that had not rebranded themselves with the ‘Introducing’ component did so. It is amazing to think BBC Introducing had a stage at Glastonbury in its first year. That is power to a format that is not here to make money and sign karaoke singers – looking for serious artists who have the potential to headline the Main Stage very soon. The fact 2011’s incarnation featured Ed Sheeran at BBC Introducing (in Glastonbury) meant that desire fulfilled itself – Sheeran headlined Glastonbury this year. I am not a fan of his work – as many will know – but understand BBC Introducing has a wide remit and casts its net right across the musical ocean.

Many might say celebrating ten years of BBC Introducing is a minor thing: they have not spawned THAT many modern legends. It is true we have seen few breakaway stars survive and inspire but there have been plenty that have made a real impact and compelled other acts to come into music. It is the way BBC Introducing has spread to local stations and helped artists in those areas get their music heard. I know a lot of musicians who have auditioned and performed as part of the regional BBC Introducing events and it always puts them in a better mood. By that, they get their music to judges and new crowds; they get an impression regarding how their music will fare in the market and the fellow musicians around them. It is a tremendous networking opportunity and a showcase that is free from label pressure and viewer call-ins. Against the tide of televised reality T.V. shows and circuses: BBC Introducing seems like an old-fashioned showcase for musicians who are not leering after the camera – equipped with sob stories and broken-hearted tales. There are filmed segments and YouTube videos but, largely, BBC Introducing is about music and radio. It is great looking at each county and the talent that emerges forth. There are few national events/ideas that extend to local areas. The televised talent shows like The Voice are all about the glamour of the stage and finding something mainstream. That is not the case with BBC Introducing. Even though it has the BBC brand; that does not mean it is aimed to discover a talent that would be exclusive to Radio 1 and 2. One assumes they would search for a Radio 1 star – the age of the participants suggests a younger audience – but past winners, as I will explore, find their music played on several BBC stations – and other national brands. Sceptics have looked at other BBC initiatives like their annual ‘BBC Music Sound of…’ list and queried the winners and their longevity.

IN THIS PHOTO: WOWH at Glastonbury

It is always hard seeing, when you do crown a winner, how they will assimilate and adapt to the demands of music. The same can be said of BBC Introducing. It scouts for the finest artists out there but there is no way to say how the artists will fare – and whether they will be a long-term success. The upload tool, launched in 2009, allows users to upload their music direct to BBC Introducing producers and presenters. Artists can enter their postcode and submit their songs to producers. It is a quick and great mechanism for artists to get their music into the hands of producers without having to post material or audition. My final point will look at the upcoming anniversary concert that is taking place but we need to consider artists that credit BBC Introducing for bringing their music to the U.K. public. Jake Bugg, back in 2007, was covered during Glastonbury and, thanks to Introducing, it brought his music to a greater number of people. Other acts, such as Florence and the Machine, The Temper Trap and Two Door Cinema Club have seen similar benefits. Bombay Bicycle Club, Everything Everything and Izzy Bizu – more on her, soon – have credited BBC Introducing. BBC Introducing launched their Artist of the Year which highlights an Introducing artist worth extra merit. Jack Garratt claimed that honour at the end of 2015. Catfish and the Bottlemen won the award in its first year but both artists have found success following the nod. Before that, they were well-known, but it is an extra layer of accreditation and congratulations. When Izzy Bizu received the award last year; BBC ran a piece:

“BBC Music has announced Izzy Bizu as the winner of its BBC Music Introducing Artist of the Year Award ahead of the 2016 BBC Music Awards which take place at the ExCeL London on Monday 12 December.

Announced as the winner on The Radio 1 Breakfast Show with Nick Grimshaw this morning, Izzy Bizu says: “It’s an amazing honour to have won BBC Music Introducing Artist of the Year. The BBC has been hugely supportive of my music ever since my independently released Coolbeanz EP and it’s a real honour to follow in the footsteps of acts like Jack Garratt and Catfish and the Bottlemen.”

BBC Introducing, the BBC’s scheme for emerging musical talent, showcases undiscovered and unsigned artists and has helped to kick-start the careers of James Bay, Jake Bugg, Florence and the Machine, and George Ezra plus many more since its launch in 2007, providing a platform to propel the best new acts from across the UK onto the national stage.

IN THIS PHOTO: Izzy Bizu/PHOTO CREDIT: H&M

Jason Carter, Head of BBC Introducing says: “Izzy is a huge talent that I’m certain will be a huge success story both at home and abroad. I’m proud of the part that BBC Introducing has played in launching her career and look forward to her live performance at the BBC Music Awards, and supporting her in the years to come.”

Born in London, Izzy Bizu started her journey with BBC Introducing back in 2013 when she uploaded her EP Coolbeanz to the talent scheme’s website. Picked up by her local BBC Introducing show on BBC Radio London, the unsigned singer-songwriter gained exposure on the Radio 1 and 1Xtra BBC Introducing playlist slots, garnering support from the likes of Jamie Cullum who played her on his Radio 2 show before being chosen to perform at the BBC Introducing stage at Glastonbury in 2014.

She then supported Sam Smith, Rudimental and Foxes on their UK tours, and last year performed on Later…with Jools Holland and was shortlisted for Critics’ Choice Award at the Brit Awards. This year Bizu was longlisted for BBC Music Sound of 2016, performed at and was nominated for Best Newcomer at the 2016 MOBO Awards, opened the 2016 BBC Music Day concert from Cornwall's Eden Project on BBC ONE, and was the voice of the BBC Euro 2016 theme tune, singing her version of Edith Piaf’s La Foule.

Now signed to Epic Records Sony, she released her debut album Moment of Madness in September. Alongside other BBC Introducing artists Spring King and Sundara Karma, Izzy recently performed at the first BBC Music Presents US tour - a partnership between BBC, Live Nation and the GREAT Britain campaign - showcasing the best UK talent in the US. Beginning in November 2016 and running over the next 12 months, BBC Music Presents will deliver four tours across America, with the first tour visiting New York City, Boston, Philadelphia, Cleveland, Detroit, Chicago and Washington, DC.

Izzy Bizu will perform live on BBC One and bbc.co.uk/music on Monday 12 December from 8.30-10pm with additional programming on Radio 1 and Radio 2, alongside Kaiser Chiefs, Craig David, Lukas Graham, Zara Larsson, John Legend, Emeli Sandé, Robbie Williams and The 1975.

Last year’s winner was Jack Garratt who since his performance at the BBC Music Awards in 2015 has gone on to release his debut album and be named the BBC Music Sound of 2016. The first ever recipients of the award in 2014, Catfish and the Bottlemen, have enjoyed continuing success in the UK and the US appearing on The Late Show with David Letterman and winning the Brit Award for British Breakthrough act in 2016”.

Bizu’s album, A Moment of Madness, was released in September of last year and, alongside the BBC Introducing prize, completed a fantastic year for her. The L.P. was received well by critics and her music was played on T.V. shows and adverts. Her music has reached millions and it is debatable how far along she would be was it not for BBC Introducing. She has natural talent but the connections she has made through BBC Introducing cannot be undermined.

I will finish by bringing in the details surrounding the tenth anniversary of BBC Introducing – and the gig that is going to take place:

BBC Music Introducing has announced a gig at O2 Academy Brixton to celebrate its 10th anniversary.

George Ezra, Blossoms, Nao, Slaves and The Big Moon are among the names on the line-up for BBC Music Introducing Live, with more yet to be announced.

The night, featuring artists who have all been backed by Introducing, will be hosted by Huw Stephens, Annie Mac, Phil Taggart, Steve Lamacq and Tom Robinson.

BBC Music Introducing Live takes place on 4 October.

Since launching in 2007, acts supported by BBC Music Introducing have gone on to release 14 UK number one singles and 28 UK number one albums between them.

There are now over 460,000 tracks, which is more than three years-worth of music, uploaded to the BBC Music Introducing website and 170,000 artists are registered.

Each BBC regional radio station across the country has a BBC Music Introducing programme dedicated to finding local talent.

Some of the musicians they discover are then picked up on a national and international stage through BBC Radio 1, 1Xtra, Radio 2, 6 Music, Radio 3, Asian Network and World Service.

Bob Shennan, Director, BBC Radio and Music, said: "I'm incredibly proud of the work BBC Music Introducing has done over the last 10 years to bring talented UK artists, from all musical backgrounds, to a national and international audience.

"So many of the musicians supported by BBC Music Introducing have gone on to achieve great success and this gig will be a fantastic opportunity to celebrate all that is special about new music in the UK."

IN THIS PHOTO: George Ezra/PHOTO CREDIT: Robert Blackham

George Ezra

"The music industry was a very intimidating and confusing world for me when I was 18.

"I knew I wanted to perform and write for a living but had no idea how to make this a reality.

"BBC Introducing was, and still is, the most amazingly inclusive platform I could have asked for. Long live Introducing."

IN THIS PHOTO: Blossoms

Blossoms

"The BBC plays a significant part in everybody's lives in one way or another, but BBC Music Introducing (specifically) has certainly played a colossal part in ours, especially in our embryonic stage, and has continued to support us throughout.

"They provide a service like no other and are at the forefront when it comes to championing and nurturing new talent."

IN THIS PHOTO: NAO

NAO

"BBC Introducing were fantastic to me when I was starting out.

"Not only did they give me my first radio play but they put me on at Glastonbury, which at the time was a dream come true.

"They're a hugely important part of the BBC and a big reason why more interesting music can break through in the UK compared to other countries."

IN THIS PHOTO: The Big Moon

The Big Moon

"They've championed us from the beginning and given us the opportunity to play amazing festivals in the UK and abroad.

We're incredibly grateful for their support and are so so happy to be playing at their 10th anniversary."

TRACK REVIEW: Bleek Noir - Harder Love

TRACK REVIEW:

 

Bleek Noir

Harder Love

9.5/10

 Harder Love is available via:

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

The E.P., Fresh Born Animal (And I’m Not Sure Who I Am), is available from:

https://bleeknoir.bandcamp.com/album/fresh-born-animal-and-im-not-sure-who-i-am

GENRES:

Alternative; Lo-Fi; Noir

ORIGIN:

Leeds, U.K.

RELEASE DATE:

28th July, 2017

WRITTEN, PERFORMED; ENGINEERED AND PRODUCED BY:

Bleek Noir

MASTERED BY:

Mark Walker at Couch Studios

MIXED BY:

Bleek Noir and James O’Connor

PHOTOS:

Frank Garland

__________

ONE man has been in my mind for the past…

few days. Nick Cave has been performing over here and making the music news. It is rare we get to see him and his Bad Seeds gig in the U.K. Ever since his album, Skeleton Tree, last year; we have not heard any new music from him. That is understandable, to say the least – considering the harsh and tragic circumstances that defined some of the album’s most emotional moments. He is an artist that is in a league of his own. I have not encountered anyone who has his same gravitas, sense of atmosphere and songwriting ability. I have followed his career from the early days and amazed by every album he produces. He never seems to slow when it comes to quality and originality – each record provides a new dynamic and theme. The reason I mention Cave is because of my review subject, Bleek Noir (although I know him as ‘Chris’). I wanted to talk about a number of things but, before that, how influential Nick Cave is and why artists like Bleek Noir – who inject the same sense of shamanic darkness and theatricality to their music – are so important. There are so few genuinely exciting and intriguing artists in music at the moment. If one wants to discover a musician that plays in the alleyways of music’s metropolis then they need to really go far and wide – there is far too much convention and ordinary spirit wafting through the streets right now. Yeah, one can hear some interesting and dynamic artists but there are few who have that energy and rare magic of Cave. Bleek Noir is no tribute act but one definitely feels a connection between Cave and Bleek Noir. In fact, as I shall discuss earlier, Bleek Noir covered a song by The Birthday Party – a Post-Punk group Cave was a member of in the 1980s. I will arrive at that but wanted to stay on the theme of artists like Cave and why Bleek Noir is an exciting force. The group/moniker arrived from Christopher Fox and, by various reviewers, has been described as Victorian, seedy and fascinating.

It is hard to put into words but there are music gymnastics and lizard-crawling vocals: hovering spirits, cheap hotel beds and flickering city neon. It is a heady and intoxicating brew that takes you by the hand and leads you somewhere exciting. I am not sure how much of Bleek Noir’s character and personality Fox takes into his everyday life but one suspects the man’s songwriting and creative process has a flair of the method – immersing his head in a space most of us would not go. I wanted to discuss unique artists like this, first, because there are so few innovators and genuinely alluring artists. Fox’s alter ego is a fevered imagination and colourful brew that gets right into the brain and spikes the imagination. It is unusual departing from the garden path and going into a new world. It is not an exaggeration to say Bleek Noir inhabits a very rare territory and approaches music in a weird and wonderful way. Those who are not used to Nick Cave-like sounds and voodoo-cum-tribal embers; it will be an unexpected experience and might put some off. That is not a slight against Bleek Noir but a commentary on how we all get used to something quite familiar and safe. People assume artists that have a quirky appearance and eye-catching description are going to be off-putting and divisive. There is nothing niche about Bleek Noir and the music that comes through. If you give it a chance; you’ll find the music gets into the soul and provokes an immediate reaction. It sounds like I am defending the Goth kid in school but it feels like that at times. Fox’s disguise appears to be that free-thinking loner that stalks the playground with his dark make-up and peculiar views – this is the way outsiders might perceive his aesthetic and music. In fact, like Cave and artists who have few like-minded contemporaries, there is nothing to be fearful of. What you get is relatable music that has a different skin to anything out there. I’ll end the Cave mantra by talking about Bleek Noir’s sense of lyrical prowess and vocal dynamics. I have known Fox for a bit and can tell you, since his last project, there have been some real changes.

One would hardly recognise the man I was reviewing all that time ago – the transformation is quite dramatic. I am interested learning about his association and love of Nick Cave – and Rowland S. Howard, for that matter. Every time I approach an artist, when it comes to influences, there is a bit of a repeat. You get the same names popping up and, whilst that is okay, there is never the feeling you’ll find someone who breaks that trend. Bleek Noir is a pleasant surprise and someone who has given me a new impetus: the chance to talk about something new. I wanted to talk about the immediacy of release and how striking when the iron is hot is essential. Bleek Noir only formed in July but is straight to work! Two releases came straight to light: double A-side Harder Love/Draggin’ That Damn Thing Around and the E.P., Fresh Born Animal (And I’m Not Sure Who I Am). I am looking at those titles and a few things strike me. Fox, as a conspirer, is not someone who goes for the trite and boring. Harder Love, the song I am looking at, is as close as conventional as he will ever get – in terms of the title, anyway! Draggin’ That Damn Thing Around and the E.P., I will allude to both later, compel you with their title alone! It is hard discovering anyone on the musical landscape that has a flavour of fascination about them. You get samey titles and music that really doesn’t hook you like it should. The love of the lugubrious festers and crawls through the blood. I digress but such is the power of those titles and the suggestions one gets. I wanted to commend Bleek Noir for racing off the blocks so quickly. It can be hard for artists to get music out they are happy with. You hear a lot of tease and trickle in modern music. One will invariably have that debut single and all the hype surrounding it.

I know it is challenging getting a song out and keeping the pressure up. Such is the competitive nature of music, each artist takes their own approach to songwriting. I know few who put music out quickly that has a real quality and sense of completion. Bleek Noir’s music is atonal and dark but has plenty of fireworks, compelling scents and bold tattoos. There is a sense the world needs it and there is a gap that requires filling. The fact, only a matter of days after the formation the first material was out, shows what a talent Fox has – a work ethic that few others possess. I am interested he released a double A-side: this is something more musicians are undertaking. The fact an E.P. shortly followed shows what productivity there is in his blood. If you have a couple of great songs and do not want to divide them – releasing each as a single can be quite a task and drags on a bit – the double A-side is the perfect solution. One can experience two excellent songs and does not have to endure the endless promotion and build-up to get their hands on it. I am not sure why there is this rise in the double A-side but it interests me. Bleek Noir is that explosive project that you cannot contain. It acts as a guide to other artists to get their finger out and not to linger. There is that sense of theatre and performance when it comes to promotion. Why do we need endless teaser videos and those cryptic status updates?! It seems music can just arrive and not demand a carnival of buzz and spoon-feeding. Productivity is one of the most underrated and ignored aspects of music, to me. I find a great new artist but, after the first single, there is a huge gap until we hear new music. Maybe they are ensuring the music is as good as it could be but there is a risk there – so many others will come into music and take away some of your followers.

We live in an age where we need constant music and updates. It is not good enough to love an artist and wait an endless time for new stuff to come out. Bleek Noir is in no danger of disappointing. There is a real desire to get music to people that has quality and originality. If the songs out there seemed rushed then I would be reluctant to proffer such an artist. As it is; I find myself drawn to various tracks and noticing the differences between them. Harder Love struck me because it has an accompanying video and it stuck with me the longest – but I will mention other tracks as we go on. I am not sure whether there will be more material before the end of the year but one can forgive Bleek Noir for taking a bit of time off now. I find it fortuitous I am reviewing music that has such a Hallowe’en vibe so close to the big day – a few weeks away, anyway! I would expect Bleek Noir to mark the day with something, at least. Maybe there will be a video or a new song?! It will be exciting to see if anything does arrive on 31st. I wanted to talk about Spotify – before I come to look at a couple of other aspects. Bleek Noir is someone on Spotify but, as an aside, it is near-impossible finding his Spotify page through a search engine. If you type ‘Bleek Noir’ and ‘Spotify’ together – you will not get any relevant results back. It is a slight detour but I am not sure why that is coming up. I have not included the link because of that. Maybe I am typing the wrong words or not looking in the right places but that is beside the point. I know he is on Spotify because I have the application and can find his music on there.

The reason I wanted to (briefly) talk about the streaming site is because Bleek Noir has that niche. Owing to the night-crawling sounds produced; it appears there is a chance to create playlists and hook other artists/contemporaries in. I know Nick Cave’s music is on there so perhaps Bleek Noir could add his music to a playlist and tag Cave on Twitter? It would be good to see his own themed playlist come through that includes similar artists. I highlighted how there are few out there like Bleek Noir but one gets a similar smell from Captain Beefheart…um…yeah, might leave it to the man himself to search the archives! Spotify is a useful way of getting music shared and exposed. Playlists are a good way of including other artists, new and old, into your own rundown and getting their music shared. The hope is, once that is done, those artists will return the favour and include you. This allows the songs to get to new audiences. I wonder whether Cave, if his music were included on a playlist, would share it?! That would open Bleek Noir to his crowd and, with it, so many new fans. I am not sure why Bleek Noir does not show on the search engines but I will have a word with Fox and see whether he has encountered any similar issues. That is a minor point but I feel Spotify is a platform Bleek Noir could thrive on. I have mentioned Hallowe’en and it seems only natural there would be a place for the E.P. Fresh Born Animal (And I’m Not Sure Who I Am) on any spook-themed playlists. I will come to look at Harder Love very soon but, before I move onto that, I want to look at Leeds – and music from the North of England.

I have written extensively about the fact music seems to be split between the North and South. We live in a time when everything has to be divided between London and ‘elsewhere’. Artists who are close to London often get mentioned as London-based acts and that is quite worrying. Such is the dominance and size of the city it is hard for any other areas to get their music heard. It is a trouble that needs addressing but artists like Bleek Noir show what a wealth there is out there. I always mention Leeds in the context of music that flirts away from the mainstream. Mainstream acts like alt-J show there is definitely something in the water up there. Over the years, when reviewing Leeds artists, there have been so few that do anything ordinary and boring, Heir were the last band I featured (from there) but I have also looked at Electro-Swing (Little Violet) and similarly unexpected treats. I am not sure whether it is the way the city runs and the type of music heard there but few feel the need to follow the pack and replicate what is already out there. Different parts of the U.K. have their own sound but there is nowhere quite like Leeds. The city seems to beat to a different drum and everything about the place excites me. We put so much emphasis on London and what is coming from the capital, I wonder whether areas like Leeds are even considered? I guess it is easy to discover artists that live/work near London because that is where all the big labels and studios are – and most of the bigger venues. That is no good reason to overlook the rest of the country. The recent Mercury Music Prize showed what an emphasis there is on London. There were more South London-based artists on the Shortlist than there were from the North. It gets worse than that. Ed Sheeran, born in the North, does not live there anymore and the further North we got was Leeds – alt-J were the most-northern act, it seems.

Scotland was ignored and, actually, Stockport’s Blossoms were also in the mix. Even so; it is hardly encouraging to see so few northern artists included in big music prizes. The lack of visibility is no reflection on the quality and innovation arriving from cities like Leeds and Manchester. I will move things on soon but, before then, artists that come from other projects to create new music. I am not going to get into Christopher Fox’s previous incarnation too much but his latest project is a leap from where he came from. Anyone who has heard his older music would recognise very little in what he is producing now. Maybe it was the desire to do something more challenging but I have never heard him as electric and exciting as he is right now. Beforehand, when listening to his music, there was something charming and loveable but it was quite a niche style – something possibly reserved to past decades that attracts a very small audience. I have noticed certain bands/artists – who play under-heard styles of music – rebrand themselves. Most of these are older Folk types and genres like Hokum and Tinpan. You know the kind of music I am alluding to: music we might hear from the 1940s and artists who play sea shanties at coastal bars. It is quite interesting, I guess, but there comes a time when that kind of music slips the mind. Music has evolved where it is and going that far back creates a danger. I know a lot of artists want to be unique but if the style of music you are playing is not that popular then your lifespan is not going to be that long. Fox is in a position where he still plays on the outskirts of music’s normality but has reinvented himself in a more populist mould. I keep bringing names like Nick Cave in but it is only as a compliment. The Australian is someone who has an enormous fanbase but has very few out there like him. Maybe it is the sheer potency and majesty of the music but I feel there is a need to find Caves-in-waiting to fill the eventual void – when he does retire from music. Bleek Noir has all the right ingredients to build a real foundation and, in time, ascend to the mainstream. I am a little weary of what we have right now and there is a desire to give it a real kick. Too safe, predictable and grounded: Bleek Noir is a head-spinning cocktail that would shake-up music and provide it a rare fascination.

The hero, it is said, is going to make a hundred kind of harder love. These words spike the mind right away and make you wonder what he is alluding to. Before then, he urges (the heroine) to peel back that “fleshy, pink armour love”. The instrumentation and composition remain far-off and the vocal a little distorted and echoed. That lo-fi sound means the song has a degree of danger and stranger-lurking-in-the-shadows. It is a threadbare and interesting start that gets you in and settles you in your seat. The strings wallow and vibrate out of the blocks. Carnivorous, animal-like and echoed – few can ignore the power and mystical power of the sound. The percussion slams and offers punctuated slams that bond nicely with the strings. It is a witches’ brew that instantly transports the mind from the laptop into Bleek Noir’s world. In my mind; I was in a rather odd commune where the hero acts as a shaman. Standing over the boiling and bubbling pot – with lusty and night-dwelling ladies beside him – he fixes the listener with a cheeky and troubled wink. Before long, the steady and level-headed composition starts to twirl and trip. It is almost like a drug has got into their system and they are feeding on the chemicals. It is never too strange but one notices voodoo smiles and crocodile snap to the strings. The hero asks, the heroine, I assume, where it hurts. He is almost like a love doctor – albeit, one who wants satisfaction rather than a medical cure. His mind is focused on the bountiful and sensual: concerned with something primal and lusty. One cannot ignore the Nick Cave echoes that stem from the song. The composition has the same sort of sound and flavour one would find on the 1996 album, Murder Ballads.

The early stages of the song have a flavour of Cave but that is all good in my books! Yes, there is that love of the great mind but Bleek Noir has his own mind and soul. One gets a real hit of that as we learn about his motives and mindset. If one can detect bits of Murder Ballads on the song; it doesn’t take too long before the man steps out from the shadows and lets his golden teeth shine. That snarl and alluring smile talks of banging walls and the place where the pain if kept. Maybe there is that need to release something pent-up and confined. Perhaps a heroine is being addressed – someone who is reserved and in need of ‘guidance’. Our hero allows that deep and commanding voice to paint scenery and keep the imagination fevered and tormented. The imaginations and visions flood to the eyes and you cannot help but follow the story in your own way. My schematic and interpretation remains true but transports to a candle-lit room in a creaky house – maybe a grand mansion somewhere on the hill. Bleek Noir approaches the girl in the corner (without notice) and casts his spell. Such is the potency of the music; anyone who listens will have their own view. The girl, confessed, undressed for the hero with some shame – it entered both their backs at the same time. What the ‘it’ refers to is beyond me but possibly a sense of lust or a strange spirit hanging in the cobwebs?! Whilst most songs are neutered and domesticated: here, there is something sinned, damned and recidivist. One admires the skeletal nature of the composition – it has booming moments but retains a bone-knocking sound – and whether the introduction of swaggering/off-tune horns might add an element of the demented? Perhaps that would be a step too far but, also, a Quartet of Dark Souls – a string combination that fuses Bernard Hermann and Danny Elfman. “Sweet leather rain” are words you probably haven’t heard together but sound natural companions in a song that continues to press and stalk – the hero threatening to push the button where pain is penned; unlock something inside that has been cloistered and hidden.

Subcutaneous crawl and sense-altering odd: Harder Love continues to grace and fascinate to the dying embers. The hero wants a harder love and does not seem one for easy answers and natural foreplay. Fox’s voice has an operatic quality and is at its most striking near the end – when the chorus comes back in and he is at his most wracked and afflicted. The tree-clashing percussion and the Devil’s toybox are combined in a sentient sound that grabs you by the arm and leads you into a peculiar fantasia. If one watches the video to the song – link is at the top and bottom – then you can see the hero with his hands over his eyes and revealing little of his face. It is a simple concept but one that documents the torment and physicality of his feelings. I am not sure whether Harder Love is constructed from a personal relationship or is cribbed from the pages of fiction. It is an engaging song that conspires theories and makes you dig deep. Few songs get into the mind as easily and vividly. It is part of a remarkable double side and is the opening song to the E.P., Fresh Born Animal (And I Am Not Sure Who I Am). Many might see the song as anhedonic and quite po-faced – it does play on the shadier side of the street. There is much delight and colour to be found among the sepia, noir and grey. There is no privation of soul and one discovers emotional resonance and nuance in every moment. A remarkable and addictive song from one of music’s new pioneers; make sure you discover the song and explore the back catalogue (already quite fulsome) of Bleek Noir.

Wild World is the latest single from Bleek Noir – originally recorded by The Birthday Party. Given the fact, in a few short months, Bleek Noir has released a few originals – many would forgive the Leeds-based artist for releasing a cover. In fact; it is a great move and shows the full range of Bleek Noir’s talents. Covering other songs can be quite risky and few artists manage to add anything interesting to the songs that tackle. A song that has Nick Cave involved is already a quality product and has his own voice. Bleek Noir takes on the moment and does not replicate what has already come. It is a great interpretation and takes the song in a new direction. If that were not enough; we have the upcoming single, Last Night I Saw Myself with the Animals (And the Animals Ate Themselves). Bleek Noir is not someone who does punchy titles but, when you hear the music, it would be hard to abbreviate the titles. It seems like his upcoming song is not going to be a slushy ballad: another crawling and creeping viper with a variegated tongue and peculiar sting. There will be an E-book accompanying the song and another step from the new outfit. At the start of this month; Bleek Noir announced there would be FOUR new releases – two singles, a collaboration double A-side and the second Bleek Noir E.P. It seems like music pumps through every sinew of the creator and he cannot stop recording. He even makes King Gizzard and the Lizard Wizard look like a bunch of lazy bastards – they are only releasing five L.P.s this year. I was musing whether Bleek Noir would release anything for Hallowe’en but it seems like we are going to get Christmas presents, too. I am not sure when new releases will come to light but we have his E.P. out there – and singles like Harder Love. Draggin’ That Damn Thing Around and the Fresh Born Animal (And I’m Not Sure Who I Am) E.P. are fantastic works and show what a force of nature Bleek Noir is.

Material is spewing forth and it is hard capturing the breath. What we have right now is electric, fascinating and highly engrossing. There is something rare and peculiar about Bleek Noir but one is always hooked and seduced. You never balk or feel distant from the music. It beckons you in and takes you by the hand; takes you through the Lewis Carroll-cum-Haruki Murakami world of weird and wonderful. I wonder if there is going to be any touring before the end of this year? It would be great to see the songs come to life on the stage and how that is translated. That will be down to Christopher Fox but I know he is busy promoting and working on new stuff. He is a musician that never tires and has an imagination that one cannot put a corkscrew in – nor would you ever want to! There are few who are as prolific and keep the fans engaged. Normally, one would bond to an artist and then have to wait months for new material to come. It is important getting music out there but ensuring the quality is solid. That might sound like a hard trick but it can be achieved. Bleek Noir is someone who is unaffected by the buzz and stress of areas like London and is breathing the psychotropic smoke of the North. It will be interesting charting the progress of Bleek Noir and where the music goes. I am excited by what it is out there and seeing the fan numbers rise. Fox keeps his followers engaged and informed – this is rarer than you might think. I know few others who are as busy and keep that work ethic strong. The quality is really strong and it all bodes well for 2018. I would have reviewed his E.P. but I do so very infrequently – only assessing singles; due to the rather wordy nature of my blog. I have heard the remainder of his E.P. and can only urge people to dig in and experience something fantastic.

Each song explodes from the speakers and gets the mind working and whirring. If, at first, you find the music peculiar and unexpected then give it time: everything will fall into place and win you round very soon. The very best artists are those who remain aloof to the marketing men and the sounds of the mainstream. Fox, in guises past, has shown real promise and innovation but Bleek Noir is his finest realisation. I hope his horizons broaden and he continues to record top-quality music. There is, as he says, new music coming so keep your eyes on that. I have been hooked to Harder Love and all it possesses. It seems like an appropriate word (possesses) as one cannot shake off the entrance and allure of the song. Find out for yourself and, more than that, involve yourself with everything Bleek Noir. I am keeping my eyes out and seeing what comes next from Bleek Noir. Whatever it sounds like, you can pretty much guarantee…

IT will blow the mind.

_______

Follow Bleek Noir

Official:

https://www.bleeknoir.com/

Twitter:

https://twitter.com/bleeknoir

Facebook:

https://www.facebook.com/bleeknoir/

Instagram:

https://www.instagram.com/chrisfox_bleeknoir/

BandCamp:

https://bleeknoir.bandcamp.com/

YouTube:

https://www.youtube.com/channel/UCmnLpAbDUeMY42Usk4ZiY5A

FEATURE: Globetrotting (Part Three): Thirteen Artists to Watch

FEATURE:

 

Globetrotting (Part Three):

IN THIS PHOTO: Gretta Ray/PHOTO CREDIT: Emma McEvoy Photography 

 Thirteen Artists to Watch

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IT is rare we get to travel the music world…

IN THIS PHOTO: The Vryll Society

and discover artists from outside our own nation. The media does its best to cover other areas but it can be hard keeping a track of everything. In the third edition of the Globetrotting series; I have collated artists from Edingburgh, the U.S. and Canada; Swedish and Icelandic talent – plus, some Australian and Liverpool gems in the collection for good measure!

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The Night Café

Location: Liverpool, U.K.

Genre: Indie

Essential Song: Felicity

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

Cardi B

PHOTO CREDIT: Natalia Mantini

Location: New York, U.S.A.

Genre: Rap

Essential Song: Bodak Yellow

Follow: http://iamcardib.com/

Gretta Ray

Location: Melbourne, Australia

Genres: Alternative; Indie

Essential Song: Towers

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

JFDR

Location: Iceland

Genre: Indie

Essential Song: White Sun

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

Hater

Location: Stockholm, Sweden

Genre: Indie

Essential Song: Coming Down

Follow: https://jajajamusic.com/artists/hater/

Elijah Ocean

Location: Los Angeles, U.S.A.

Genres: Folk; Rock; Country

Essential Song: Malibu Moon

Follow: http://www.elijahocean.com/

Emma Stevens

Location: Surrey, U.K.

Genres: Singer-Songwriter; Country; Folk

Essential Song: A Place Called You

Follow: http://emmastevensmusic.com/

Pastel Felt

Location: Los Angeles, U.S.A.

Genre: Rock

Essential Song: Miel

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

The Vryll Society

Location: Liverpool, U.K.

Genre: Indie

Essential Song: Shadow of a Wave

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

Lion Bear Fox

 PHOTO CREDIT: Morten Fog Photography

Location: Vancouver, Canada

Genre: Alternative-Rock

Essential Song: Going Going Gone

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

Stefflon Don

Location: London, U.K.

Genre: Grime

Essential Song: 16 Shots

Follow: https://www.facebook.com/stefflondon.official/

CAMP COPE

PHOTO CREDIT: Ian Laidlaw

Location: Melbourne, Australia

Genre: Alternative

Essential Song: Keep Growing

Follow: http://www.elijahocean.com/

Indigo Velvet

PHOTO CREDIT: Alice Hadden Photography

Location: Edinburgh, Scotland

Genre: Alternative

Essential Song: Mona

Follow: http://weareindigovelvet.co.uk/

INTERVIEW: VJ Jackson

INTERVIEW:

 VJ Jackson

________

VJ Jackson is a hot Dublin-based artist…

who specialises in soulful R&B songs. He is waving the flag for Tallaght and hopes to become a household name. I speak to Jackson about his upcoming single, Famous, and what it is all about. He talks about the Irish music scene and what it is like for a young artist there – and whether he has any plans coming to the U.K. in the future. Jackson sang lead in a choir when he was young and busked in Dublin city centre when he was at BIMM – something that has helped him craft stage presence and confidence.

I ask him about artists he would recommend to us and whether there is any more material coming through before next year. Jackson talks about gigging and the artists who will be supporting him – and the albums that have made a big impact on him.

________

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

Hey, Sam, I’m good, thanks. How're things?

The week has been good and busy for me. Getting prepared to release Famous next week - and follow that up with my first headline show in The Workman’s on 19th.

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

Of course...I’m VJ Jackson; a Dublin-based artist specialising in soulful RnB-Pop songs. I’m a Tallaght native who has been on the Irish music scene for a few years now. Singing lead in choir from a young age and playing guitar, keys and drums; I began busking in Dublin city centre while attending BIMM college to develop my song and stage presence - something that I bring to all my performances and audiences; no matter how big or small the stage.

I’ve also just announced that my new single (and video for) Famous will be released on 5th October. We shot the video with graduates from Pulse College and will be kicking things off on Thursday 5th October - with the song available on all digital platforms - and in Tower Records - from Friday 6th.

To celebrate that, I’m putting on my debut headline show in The Workman’s Club on 19th October (with support from Rueben James, Sean X and Yomi).

Famous is your new song. What is the tale behind it?

Famous is about how people, nowadays, are generally only in music and entertainment for the fame – and because it looks easy but most of them don’t know how hard it can get to be into a sustainable position. You need to put work and sacrifice in all the time.

You have to invest in yourself and be prepared to go all the way.

I have had a look at the video and it looks like an interesting concept. Can you tell us anything about the shoot and what it was like to film?

The shoot was amazing.

We shot it on a budget - with some extra help and support - and made it work to make the best video we could - using two locations and a brilliant crew and cast.

With the concept, the thing about that is that our director, Daphne, brought an extra perspective to the song - which opened things up for me. We connected straight away on some of the ideas. At the end of the day - and hard work from all involved - it came together.

Everyone will get a chance to see what I mean on Thursday 5th!

You confirmed your first headline show in The Workman’s Club on 19th October. Are you looking forward that show?

Yes, I’m actually just on my way into rehearsals with the band right now and we’re creating something special for the night.

Shout out to my manager Paul for making this happen, because I couldn’t have done it on my own. I’m looking forward to seeing my family and friends there - and to let them see how far I’ve come.

Rueben James, Sean X and Yomi are supporting. What is it about that trio that resonates?

Rueben has been grinding for years, same as me. We went to the same college (BIMM) and clicked from there. He’s humble and I like people that are very humble. He’s also very honest. I like to keep those people around me - and that’s why I picked him to support. We’ve also collaborated on a song before called Everything You Need - so we work very well together.

Sean X and I have a similar sound and genre and I wanted to mix the set up and not just have Hip-Hop or Rap, only - as he is a singer, too, like me.

Yomi is a young up-and-coming artist new to the game. We grew up together and he kept talking about his music. I wanted to help him out and give him an opportunity for people to hear his music.

Is there going to be an E.P. before the end of the year?

There will definitely be another single or two before the end of the year – and, come 2018, we’ll be looking at an E.P. release. I’m constantly recording and working on my music so I have a wealth of material to choose from.

Who are the musicians that inspired you when you were young? Did you have a musical upbringing?

I was listening to Tupac, Tyrese; Neo and Chris Brown. I grew up in church, so I spent most of my Sundays there - as the lead singer of the choir at a young age - and played other instruments there too - piano, guitar and drums (which I still continue to do now).

My mum sings lead in the choir too - so that’s where I get it from, I guess!

Dublin is your hometown. What is the city like in terms of music and venues? Is it somewhere you feel can further your career?

A great scene – it’s really buzzing right now. We’re booking shows and doing our thing, which is great.

Yes. I feel like I can further my career here: it’s a small city but that can also mean there’s more opportunity to get further and get heard.

Many people gravitate towards London and cities in the U.K. Do you think you’ll remain in Ireland – or are you settled there right now?

Yes. I will remain in Dublin because of opportunities here and the scene that’s building right now. Very soon, people will get to know the Irish scene better.

But, of course, I want to expand and play shows all over Europe, the U.S. and the world!

Your fan numbers are rising and people are vibing to your music. How important are the fans and what message would you give them?

The fans are key: without them, or family and friends to support, artists would be nowhere.

Thanks for all the support and messages so far. Keep an eye on all my social pages and website for upcoming dates and new releases coming your way.

Are there going to be more tour dates before 2018? What are your plans for Christmas?

Yes. I hope to have more shows before Christmas.

At the moment, my manager and I are talking about a potential mini-tour before Christmas - but we’ll keep that under wraps for the minute.

IN THIS PHOTO: Jafaris

Who are the new artists you suggest we check out?

Reuben James, Sean X; Yomi, Jafaris; Sion Hill, Killa Yan; King David, MathMan and Mango.

IN THIS PHOTO: Sion Hill

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

It’s not so much that they mean the most but they have influenced me recently;

Anderson.Paak - Malibu

Justin Bieber – Purpose

Chris Brown - Royalty

As artists; The Script and Coldplay count as influences.

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

Always be focused on your craft and improving it. Take time on your own and focus, the hard work pays off at the end of the day. You never know how close you are to getting to that next level.

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

Sion Hill - Beaches

_________

Follow VJ Jackson

Facebook:

https://www.facebook.com/VJJacksonMusic

Twitter:

https://twitter.com/vjjacksonmusic

SoundCloud:

https://soundcloud.com/vj-jackson

YouTube:

https://www.youtube.com/channel/UC7mvzLAEw4puKRTszGXj-Mw

FEATURE: BBC Radio 1 and 2 at Fifty

FEATURE: 

IMAGE CREDIT: @BBCR1

 BBC Radio 1 and 2 at Fifty

________

ANYONE who says radio is a dying medium…

IN THIS PHOTO: D.J.s Nick Grimshaw and Tony Blackburn

would do well to remember the impact and influence it actually has. The fact BBC Radio 1 and 2 are celebrating fifty years of broadcast shows there is a lot of demand and love for the quality and variation you get on the radio. I will employ my own thoughts but a lot of other sources have been celebrating the milestone anniversary the past couple of days. This morning, D.J.s Nick Grimshaw and Tony Blackburn presented a joint ninety-minute broadcast that featured music from the past fifty years. Radio 1 has launched a ‘pop-up’ vintage station to feature fifty one-hour themes shows (over the next three days). On this morning’s celebratory show was Sara Cox – a current Radio 2 D.J. (who hosted the Radio 1 Breakfast Show between 2000-2003) – whose first record on her show was Robbie Williams’ Let Me Entertain You – she started the job three days early and, tasked with hitting the ground running, put in a pretty great show. She recounted how nervous that first show was but how exhilarating it was.

I shall let the BBC ­take up the rest of the story:

“Veteran broadcaster Mike Read, who hosted the breakfast show for five years from January 1981, spoke about the former BBC Radio 1 roadshows.

He told how he once played Wham! classic Club Tropicana with three kazoos on stage at a roadshow in St Ives, Cornwall, alongside George Michael and Andrew Ridgeley.

"We had such a great time that we said 'lets stay for the whole weekend'," he added.

"It wasn't exactly George's kind of weekend so he flew back the following day, but Andrew and myself stayed on and had a crazy time, gatecrashed a few parties and had enormous fun."

He added: "The roadshows were fantastic. I want to go back and do those all over again."

IN THIS PHOTO: Mike Read

Red telephone

Tony Blackburn, who hosted Radio 1's first ever show, spoke about interviewing The Beatles and Rolling Stones and also of touring with Diana Ross and The Supremes.

"That was the big moment for me. I was standing on the side of the stage and listening to her and watching her. It was fantastic, because I love Diana Ross.

Blackburn also described hanging up on Frank Sinatra, who had the same agent as him.

He described how a red telephone, usually reserved for Radio 1 bosses to call the studio, started ringing one day.

"I picked up the phone and said 'who's that' and he said 'Frank'.

"I said 'Frank who?' He said 'Frank Sinatra' and I said 'oh very funny' and put the phone down.

"I thought it was Pete Murray, one of the DJs at the time. He always used to send us up a little bit and do these things - but it was actually Frank Sinatra."

Meanwhile, Simon Mayo - who hosted the breakfast show from 1988 to 1993 - spoke about his interviews with Sir Paul McCartney and Sir Mick Jagger.

"Mick Jagger and the Rolling Stones were part of Radio 1 in the 90s as well. Even then you are dealing with a guy who has been responsible for 30 years of hits."

The show heard archive footage of Jagger appearing on Mayo's "God of the week" section of his show.

New-look stations Radio 1 and 2 were launched on 30 September 1967, from what had previously been the BBC's Light Programme”.

IN THIS PHOTO: Tony Blackburn in 1967

It has been a momentous and eventful day for the stations. Although Radio 1 peaked in the 1970s; it first broadcast, obviously, was back in 1967. It was seen as an edgy and cutting station: Radio 2 a more middle-of-the-road show that could go alongside Radio 1. Before that, there was BBC Light Programme  - it had been broadcasting music and entertainment since 1945. It is interesting to learn about the background and why there was so much anxiety when Radio 1 was launched. We all know about pirate stations like Radio Caroline and Radio London. The former, especially, gained huge notoriety and acclaim during its tenure. It was a rebellious, offshore station that brought music to the people. It was a ‘pirate’ station because it was outlawed by an Act of Parliament. There was, also, an element of swashbuckling about stations like Radio Caroline. Something very cool, outlawed and contemporary – we do not really have any likeminded stations these days. Things have changed so we do not need to moor stations out to sea but there are, I guess, a few smaller stations that have the same sort of vibe as Radio Caroline. It is just as well things did change as radio has become more mainstream and widespread. It would be shocking to imagine a world without radio – if Radio Caroline’s death was the end as we know it. That could never be but it is was a huge relief when Tony Blackburn launched BBC Radio 1 at 6:55 A.M. on 30th September, 1967. He had worked on Radio Caroline and Radio London and was a natural, affable voice to herald in a new era. U.S.-style jingles were used on the station and that was familiar to those who had followed Blackburn during his pirate radio station days. The Move’s Flowers in the Rain was the first full record played and, in its early days, D.J.s like Ed Stewart.

Jimmy Young and Kenny Everett made their voices known. I will end the piece by looking at facts about Radio 1 and 2 – and the most popular BBC D.J.s of the past fifty years. Although there were a lot of great names in those early days; it was Annie Nightingale’s appointment in 1970 that created the biggest wave – she became Britain’s first female D.J. She is the longest-serving presenter and is responsible for more women coming into radio. It is amazing that, until 1970, there had been no British female D.J.s on the air. It would be an outrage if there were no female D.J.s today but, back in the 1960s, it was not seen as that unusual. Pioneers such as Nightingale broke boundaries and ushered in, gradually, a change in radio. Now, we have so many wonderful female D.J.s in the country – that is down to Annie Nightingale and what she created from the 1970s. It is pleasing to hear she is still a D.J. and has such a passion and determination for what she does. I am not surprised she became the first female D.J. as her defiance and love of music can never be extinguished. Over the decades, there were changes and controversies. In the 1970s, there was a sense that radio had become institutionalised and was part of a huge corporation like the BBC. A few of the D.J.s, like Jimmy Young, were in their 40s – and there was the feeling BBC Radio 1 and 2 were bringing in ‘older’ listeners. Before, pirate stations like Radio London, were aimed at younger listeners. Times changed and radio had to broaden and become more conventional. That being said; Radio 1 rose to become the most-listened-to station in the world with many of its D.J.s courting column inches in the tabloids of the time. That was not due to scandals but the celebrity status they had acquired. Owing to a lack of competition at the time – a few periphery stations but no mainstream rivals – BBC Radio 1 and 2 (the former, especially) was free to reign and dominate.

IN THIS PHOTO: Steve Wright

Eventually, Radio 1 became more crossover and took talent from other parts of the BBC. High-profile D.J.s like Steve Wright departed – an unsuccessful move from his long-running afternoon show to the breakfast slow in 1994 – meant Chris Evans was drafted in. Evans was sacked in 1997 and Mark and Lard (Mark Radcliffe and Mark Riley) only lasted a few months when they took over the breakfast show. There were bumps but the rebrand and changes at Radio 1 coincided with the birth of Britpop. At a time when British music ruled and compelled: BBC Radio 1 seemed like the perfect station to soundtrack the explosions, developments and joys of the time. That, alongside Rave and Dance of the 1980s and 1990s, brought in youth-orientated like Pete Tong. He was a D.J. that laid down a mark and saw many age-appropriate contemporaries come to the station. It seemed, by the 1990s, Radio 1 was becoming what people wanted all along: a station with younger D.J.s who played music that definitely did not stray anywhere near the middle of the road. As the station went into the 2010s; things changed even more:

“The licence-fee funding of Radio 1, alongside Radio 2, is often criticised by the commercial sector. In the first quarter of 2011 Radio 1 was part of an efficiency review conducted by John Myers.[12] His role, according to Andrew Harrison, the chief executive of RadioCentre, was "to identify both areas of best practice and possible savings."[12]

The controller of Radio 1 and sister station 1Xtra changed to Ben Cooper on 28 October 2011, following the departure of Andy Parfitt. Ben Cooper answers to the Director of BBC Audio and Music, Tim Davie.[13]

On 7 December 2011, Ben Cooper's first major changes to the station were announced. Skream & Benga, Toddla T, Charlie Sloth and Friction replaced Judge Jules, Gilles Peterson, Kissy Sell Out and Fabio & Grooverider. A number of shows were shuffled to incorporate the new line up.[14] On 28 February 2012, further changes were announced. Greg James and Scott Mills swapped shows and Jameela Jamil, Gemma Cairney and Danny Howard joined the station. The new line up of DJs for In New DJs We Trust was also announced with B.Traits, Mosca, Jordan Suckley and Julio Bashmore hosting shows on a four weekly rotation.[15] This new schedule took effect on Monday, 2 April 2012.

 IN THIS PHOTO: Jameela Jamil

In September 2012, Nick Grimshaw replaced Chris Moyles as host of "Radio 1's Breakfast Show". Grimshaw previously hosted Mon-Thurs 10pm-Midnight, Weekend Breakfast and Sunday evenings alongside Annie Mac. Grimshaw was replaced by Phil Taggart and Alice Levine on the 10pm-Midnight show.

In November 2012, another series of changes were announced. This included the departure of Reggie Yates and Vernon Kay. Jameela Jamil was announced as the new presenter of The Official Chart. Matt Edmondson will host a weekend morning show and Tom Deacon will return to present a Wednesday night show. Dan Howell and Phil Lester, famous YouTubers also joined the station. The changes took effect in January 2013.[16]

Former breakfast presenter Sara Cox hosted her last show on Radio 1 in February 2014 before moving to Radio 2. In March 2014, Gemma Cairney left the weekend breakfast show to host the weekday early breakfast slot, swapping shows with Dev.

In September 2014, Radio 1 operated a series of changes to their output which saw many notable presenters leave the station – including Edith Bowman, Nihal and Rob da Bank. Huw Stephens gained a new show hosting 10pm-1am Mon-Wed with Alice Levine presenting weekends 1pm-4pm. Radio 1's Residency also expanded with Skream joining the rotational line-up on Thursday nights 10pm-1am.

From December 2014 to April 2016, Radio 1 included a weekly late night show presented by a well known Internet personality called The Internet Takeover. Shows have been presented by various YouTubers such as Jim Chapman and Hannah Witton.[17]

In January 2015, Clara Amfo replaced Jameela Jamil as host of The Official Chart on Sundays (4pm-7pm) and in March, Zane Lowe left Radio 1 and was replaced by Annie Mac on the new music evening show.

In May 2015, Fearne Cotton left the station after almost 10 years. Her weekday morning show was taken over by Clara Amfo. Adele Roberts also joined the weekday schedule line-up, hosting the Early Breakfast show.

In July 2015, The Official Chart moved to a Friday from 4pm-5.45pm, hosted by Greg James. The move took place in order to take into account the changes to the release dates of music globally. Cel Spellman joined Radio 1 to host Sunday evenings 4pm-7pm”.

IN THIS PHOTO: Clara Amfo

Radio 2 has experienced such shifts but is truer to its original roots than Radio 1. It has maintained its more mature sound and has always appealed to a slightly older target audience. That sounds like a jab but if there were two stations exactly like Radio 1 then there would be no point. Both plays mainstream songs but from different ends of the spectrum. Both stations, between them, have inspired other stations to form and remain the most popular brands in British radio. Against all the turbulence and change over the past five decades – Radio 1 and 2 have launched artists and helped break careers (in the good sense). It is debatable how far the influence stretches but newer stations like BBC Radio 6 Music stemmed from Radio 1 and 2; smaller stations have taken their cue from them and, in fact, most of the new mainstream radio stations would have been influenced and compelled by Radio 1 and 2. One cannot truly underestimate the legacy and continued effectiveness of BBC’s best and biggest stations. Things have changed since the early days. There are a lot more female D.J.s – like Sara Cox and Jo Whiley; Clara Amfo and Fearne Cotton – on the air and demographics have shifted. There are more black and Asian D.J.s and a mixture of the older, established legends and the new breed. It is exciting seeing the continued evolution of Radio 1 and the sturdy establishment of Radio 2. Radio 3 and 4 came later (than 1967) and offer something different – less popular music but a more intellectual and news/factual-driven show with features and discussion shows. Radio 6 Music is, perhaps, the natural offspring of Radio 1 and 2. It seems to splice the two and provide a broader palette.

I will end this by, first, bringing in a list of fifty facts about the stations:

1. The first voice on Radio 1 was Tony Blackburn, right? Wrong. Shortly after 5:30am on 30 September, broadcaster Paul Hollingdale was at the helm, with his Breakfast Special show broadcast simultaneously on both stations.

2. The opening announcement was not what you'd call dynamic...

3. The two stations split at 7:00am. After a five-second countdown, Tony Blackburn officially launched Radio 1 with a jingle promising "too much fun" and the sound of a barking dog.

4. The first song played on Radio 1 was Flowers In The Rain by The Move. Over on Radio 2, it was Julie Andrews singing The Sound Of Music.

5. George Martin's Theme One, however, was technically the first piece of music on Radio 1. Blackburn also played Johnny Dankworth's Beefeaters under his opening link.

6. Blackburn later revealed that the famous film footage of the launch was recorded the night before, and he had to write down the words, so he could replicate them when the station went live.

7. Many of Radio 1's presenters were drawn from the ranks of pirate radio - but they found the BBC a lot more strait-laced. "I was yelled at when a 10-second link lasted 11 seconds," recalled Keith Skues. "'You cannot just ignore Greenwich Mean Time, Skues!'"

8. Weather presenter Rosie O'Day received 12 complaints in the opening weeks of Radio 1 and 2. Why? Because she had the audacity to be a woman. "Please, please spare us from Rosie O'Day reading the weather forecast," complained one. "It sounds more like a children's fairy story. I'm sure she is a charming girl, but let us stick to a man for the weather news!"

9. Radio 2's Ken Bruce has a licence to drive Routemaster double-decker buses, and owns six of them, which he hires out for weddings and funerals.

10. Before his Radio 1 debut, Dave Lee Travis stole the microphone he'd used on Radio Caroline. "The very first pirate broadcasts were made on it, and I thought, 'I have spent so much of my time on this ship, I'm having a souvenir,'" he said. "I just went and got a pair of scissors and cut the cable."

IN THIS PHOTO: BBC Radio 2's Ken Bruce

11. Radio 1 launched half a decade after The Beatles' debut single, a fact that did not go unnoticed by the music industry. Trade magazine Record Retailer accused the BBC of "trailing years behind public taste" and warned "the new station must swing if it is to be effective".

12. Radio 2's own soap opera, Waggoners Walk, launched in 1969. Set in Hampstead, it was often controversial, covering story-lines like contraception and homosexuality.

13. The show was cancelled at short notice in 1980. Some of the cast heard the news on the radio, and the writers responded by having aliens invade Hampstead Heath.

14. Terry Wogan made his Radio 2 debut in 1967, presenting show Late Night Extra - "on the beat with music and news [and] off the record with pop".

15. The Radio 1 Roadshow began in July 1973 with a Land Rover pulling a converted caravan around British holiday resorts. It's now morphed into the Big Weekend, with up to 100,000 fans watching acts like Jay-Z, Foo Fighters and Madonna playing unlikely towns like Swindon, Dundee and Norwich.

16. Between 1967 and 2004, John Peel brought more than 2,000 artists into the BBC to record one of his fabled Peel Sessions. First up were psychedelic rock band Tomorrow, with the likes of Led Zeppelin, Pink Floyd, Jimi Hendrix, Bob Marley, The Smiths, Nirvana, Pulp and The White Stripes coming after.

17. But it was The Fall who recorded the most Peel sessions - 32 in all.

18. These days, DJs are expected to know everything about music - but no-one can be right all the time. Revealing the Radio 1 Top 40 in March 1981, Tony Blackburn announced a new entry by pop newcomers "Duhran Duhran". After several phone calls, he corrected the mistake, saying: "None of us are too big to apologise."

IN THIS PHOTO: Kenny Everett

19. Kenny Everett recorded several interviews with The Beatles for Radio 1 and 2 - but he also helped inspire one of their lyrics after taking an acid trip with John Lennon on the Weybridge golf course (of all places).

"A couple of months after my psychedelic round of golf with John I was in the Abbey Road recording studios where the Beatles were recording I Am The Walrus," wrote Everett in his autobiography. "When he got to the line about getting a tan from standing in the English rain, he stopped and said to me: 'Reminds me of that day on the Weybridge golf course, eh Ken?' to which I replied: 'What'?' I'm sure he thought I was a complete lemon... or was it a bird?"

20. Chris Evans has presented both the Radio 1 and Radio 2 Breakfast Shows - but he got his start in radio as Timmy Mallet's assistant on Manchester's Radio Piccadilly, playing a character called Nobby No Level, whose catchphrase was: "What I don't know - I don't know!"

21. To celebrate its fifth birthday in 1972, Radio 1 released hundreds of balloons from the top of Broadcasting House. Attached to each balloon was a form on which the finder could write their favourite record title and return it to their favourite DJ, who would play it on air.

22. In 2015, Elaine Paige helped Pieter - a regular listener to her Radio 2 show - propose to his boyfriend live on air.

23. Derek Jameson, who presented Radio 2's Breakfast Show from 1986 - 1991, became a broadcaster late in life as a consequence of suing the BBC. The former newspaper editor accused Radio 4's Week Ending of libel for saying he was "so ignorant he thought erudite was a type of glue". He lost the case and was ordered to pay £75,000 in costs - forcing him to accept a job with the corporation he had sued.

24. Many songs have been "banned" by BBC Radio over the years - but one of the first to be censored by Radio 1 was Pink Floyd's It Would Be So Nice. A reference to the Evening Standard newspaper in the opening verse was enough to breach the BBC's strict no-advertising policy.

25. DJ Mike Read got the blame for banning Relax - but he says the decision wasn't in his power. "I didn't ban Relax," he said, "the BBC banned it. I was just a BBC employee." Defending the decision, he added: "The video did have that big fat Buddha bloke urinating from the balcony into somebody's mouth. Even now, that's not terribly good."

26. Read later made up with the band and provided a voice-over on the TV advert for their debut album.

27. Jimi Hendrix, Madness and The Who have all recorded jingles for Radio 1 and 2.

28. On December 6, 1980 Radio 1's Andy Peebles interviewed John Lennon and Yoko Ono in New York, just two days before John was assassinated.

29. In 1976, Tony Blackburn fell to pieces on air, after his wife Tessa Wyatt, star of hit sitcom Robin's Nest, left him. With millions listening, he played Chicago's If You Leave Me Now over and over again, begging for Tessa to return. He has called this his "one big broadcasting mistake".

30. In 1991, Radio 1 managed to persuade Whitney Houston to cover for Simon Bates while he was on holiday.

31. Nowadays, almost every show has some sort of interactive element, but Annie Nightingale's Sunday Night Request Show was Radio 1's first request show. It ran for 12 years from 1975.

32. Taping songs off the radio was a rite of passage days before streaming. It was illegal, of course, but Annie used it to her advantage. "I used to say: 'In a few minutes, I'll be playing Is That All There Is by Cristina,' so it gave people a chance to set up their tape recorders," she laughs.

IN THIS PHOTO: John Peel and Annie Nightingale

33. Nigel Ogden, the host of Radio 2's big organ bonanza, The Organist Entertains, first featured on the show as a player in his teens, before taking over as a presenter in 1980.

34. "Hi there, pop pickers". "Quack Quack, Oops". "Stop!.... Carry on". "One Year Out". "It's Another True Storeeee!" "Not 'Arf".

35. After a Christmas Party got out of hand in 1995, Chris Evans "phoned in sick" for the following day's Breakfast show. He was duly docked a day's pay - reportedly in the region of £7,000. The following morning, he was back on the airwaves, telling listeners: "I feel like I've had a holiday in Bermuda - although it was more expensive than a week in Bermuda, obviously."

36. Simon Bates' first job at the BBC was as a Radio 4 continuity announcer. "I was very bad at it too," he told The Independent. "I never mastered the art of saying 'Radio 4' between the end of one programme and the start of the next. If you try it, it's really very difficult."

37. Early DJs were hired for their skills as presenters, rather than an interest in music. John Peel, the one exception, remembered attending a party at Dave Lee Travis's house when he "suddenly realised that DLT didn't own any records". He asked him about it and Travis replied, "Oh no, it's too much trouble... Anything I really like I've copied on tape. I've got quite a lot of tapes and I play them in the car, you see."

38. Chris Moyles opened his first Radio 1 Breakfast Show in 2004 with a five-minute song crammed with clips of his predecessors. The song concluded with the prescient declaration: "From now until they fire his ass, the saviour of Radio 1 is here".

39. Moyles clocked up eight years in the hot seat before bowing out in 2012 - making him Radio 1's longest-serving Breakfast presenter.

IN THIS PHOTO: Current Radio 1 Breakfast Show host Nick Grimshaw with its former host, Chris Moyles

40. Terry Wogan managed 27 years on Radio 2's Breakfast show, before bowing out in 2009. Bidding farewell, he said: "Thank you for being my friend," before cueing up The Party's Over by Anthony Newley, which features the lyrics: "Now you must wake up, all dreams must end."

41. In 1976, Noel Edmonds presented the Radio 1 Breakfast show live from a flight from London to Aberdeen. During take-off, he played Fifth Dimension's Up & Away In My Beautiful Balloon, the needle on the record skipping as the plane's wheels left the ground.

42. Except they didn't... the whole programme was an elaborate hoax for April Fool's Day.

43. Jeff Young pioneered Radio 1's first dance music programme with his "Big Beat" show in 1987. Pete Tong and Dave Pearce picked up the mantle with Dance Anthems and the weekend Recovery Session - a breakfast show for clubbers - in the 1990s.

44. Amy Winehouse's Live Lounge cover of Valerie by The Zutons was so popular it was later turned into a single in its own right, produced by Mark Ronson. It became one of her biggest hits, charting at number two (higher than the original, which peaked at nine).

45. Emma Freud once introduced a song by an artist she called "PJ and Harvey" - raising the enticing prospect of indie queen PJ Harvey duetting with Ant and Dec's alter-egos PJ and Duncan.

46. Laura Sayers, a former Radio 1 producer, met her husband through a feature on the Scott Mills show, which she was working on at the time. One Night With Laura saw Scott and the team scour the country to find a listener to be her new boyfriend. After trying to impress a panel of judges, the contestants were whittled down to a final four, before an eventual winner was chosen. However, Laura actually ended up marrying one of the runners-up, James Busson.

47. In 1992, a poll conducted by Radio 1 saw listeners vote Stars by Simply Red as their favourite album.

48. The most popular video on Radio 1's YouTube channel is Miley Cyrus's cover of Lana Del Rey's Summertime Sadness - which has more than 35 million views.

49. In 2011, Radio 1 entered the Guinness World Records when Chris Moyles and his then-sidekick Comedy Dave presented the longest music radio show by a DJ team or duo, clocking in at more than 51 hours. Their record has since been broken and is currently held by Belgian DJs Eva Daeleman and Peter van De Veire, who broadcast non-stop for a staggering 100 hours in 2015.

50. When it was first launched, the Radio 1 website had a considerably longer URL than it does now, as Pete Tong found out when he attempted to read it out on air.

The second piece is a list of the greatest BBC D.J.s of the past fifty years:

Sir Terry Wogan has been named the greatest BBC radio presenter of the last 50 years in a Radio Times poll of broadcasting experts.

Sir Terry presented Radio 2's breakfast show for a total of 28 years.

John Peel, who discovered dozens of new bands during his long BBC career, was in second place.

The top 10 includes four women - Woman's Hour presenters Jane Garvey and Jenni Murray, its former presenter Sue MacGregor and DJ Annie Nightingale.

IN THIS PHOTO: Sir Terry Wogan

1.       Sir Terry Wogan

2.       John Peel

3.       Sue MacGregor

4.       Annie Nightingale

5.       Alistair Cooke

6.       Kenny Everett

7.       Jane Garvey

8.       Humphrey Lyttelton

9.       Eddie Mair

10.   Jenni Murray

11.   Brian Redhead

12.   Kirsty Young

13.   John Humphrys

14.   Melvin Bragg

15.   Danny Baker

16.   James Naughtie

17.   Fi Glover

18.   Linda Smith

19.   Nick Clarke

20.   Tony Blackburn

I hope that gives an insight into BBC Radio 1 – and its sister station, 2 – and why its fiftieth anniversary is such a big deal. It has helped shape radio and music and remains and remains one of the world’s biggest brands and a go-to for serious music listeners. It is a time/weekend to celebrate and congratulate a fantastic milestone. Let’s hope the next fifty years since BBC create new stations and secure its existing foundations. We all take Radio 1 and 2 for granted but few of us would have any idea they could have survived when pirate stations like Radio Caroline were sunk. Those first (rather brave) words by Tony Blackburn welcomed in a new era and, with it…

IN THIS PHOTO: The D.J.s that launched BBC Radio 1 on 30th September, 1967

A radio revolution.

TRACK REVIEW: DIDI - Back Off

TRACK REVIEW:

 

DIDI

 PHOTO CREDIT: CK Goldiing 

Back Off

9.4/10

 Back Off is available via:

https://soundcloud.com/iamdidimusic/didi-back-off

GENRE:

Pop-Punk

ORIGIN:

Hertfordshire, U.K.

RELEASE DATE:

28th August, 2017

PRODUCER:

Rhiannon Mair 

MASTERED BY:

Katie Tavini

___________

THERE is a bit of a split in this review….

PHOTO CREDIT: CK Goldiing

when I look at DIDI. I want to address a number of things before I come to look at the young songwriter’s latest track. Lauren Deakin Davies is the woman behind the moniker so wanted to address artists who are producers – Deakin Davies is a successful, award-winning producer. She has worked with some of the biggest names in modern music and is someone who helps guide and tutor young artists to making stronger music. Aside from her producer work; I want to look at female producers in general and how few there are – and why those we have are among the very best out there – and, looking at DIDI specifically, music both raw and nuanced. DIDI creates tracks that have a lo-fi edge to them but there is a lot of depth and layers to her work. I have just reviewed Wolf Alice’s latest album, Visions of a Life, and was mesmerised by the way the band mixed full-on, snarling tracks with something lighter and more compassionate. I will also talk about artists in the modern climate and competition; acts based out of London and, with it being fifty years since Radio 1 (and the first BBC stations) took to the air – why radio promotion is as vital as it ever was. DIDI is the alter ego of Lauren Deakin Davies: one of the finest producers we have in the country at the moment. I have been following her work for a while now and amazed at the work she has helped create. I recently reviewed Kate Dimbleby and her album, Songbirds. That record was a study in vocal excellence and the power of the voice. There was scant accompaniment and it was an album inspired by, in part, artists such as Bobby McFerrin. I was amazed by the record and many would say it’d be quite easy to produce an album with so few instruments and elements: it is harder because you have to focus on the voice and its beauty without undercooking it or making it sound too overproduced.

PHOTO CREDIT: Helen Meissner

It is a hard balance but one Deakin Davies got right. I am reluctant to take credit away from Dimbleby herself but the production on that album is incredible. In addition – one can look at her official website (link is at the bottom of the review) for all the releases – Deakin Davies has captured music from Kelly Oliver and Roxanne de Bastion; Laura Marling and Alexa Mullins. If one looks down her credits and there are a lot of female artists on the list. That is not an exclusive policy but the fact she knows how undervalued many female artists are – in an industry that is still male-heavy. I will come to that later but it is worth mentioning that, at the NMG Awards, Deakin Davies won the Producer of the Year prize. It might have been a surprise to her but for those who hear her work – that sense of shock is resigned to fact that she should win a lot more awards. One of the reasons I like the connection between Lauren Deakin Davies and DIDI is the fact they are very different people. The creative side of both is interlinked but there are distinctions between the producer and songwriter. The reason I wanted to mention producing is because many artists are working on their own stuff. It can be expensive getting songs produced and a day at a studio can cost an extraordinary amount. I worry many artists are being priced out of the market and unable to record tracks. In an age where technology makes it easy to make your own music; that is the option many songwriters are choosing. Maybe that method lack a certain professionalism and quality but the D.I.Y. method is becoming popular. At the very least, it gives artists the chance to produce and understand what it takes to make their own music. I can imagine Deakin Davies started modestly and built her way to where she is now. The fact she helms her own studio and is an award-winning producer has not come overnight. The talent and skills she has acquired means, as DIDI, she can guide her own work and does not need loads of other voices controlling it.

PHOTO CREDIT: Cassy Paris, Bellanova Photography

I find this is a great reason to become a producer and learn the craft: one can have a say in their music and make it the way they want to! I know there are terrific female producers out there but they get less credit than the guys. I wrote a piece on it a few weeks back – I shall not include it here; let’s concentrate on the review – but the idea behind it was to expose the issues many women face when they try and become a producer. There is that boys’ culture and the sense the studio has a very particular mood to it. Women are making their way into the bigger studios but, if you look at any studio right now, the majority will have men at the controls. It is sad to think there is a gender imbalance in studios but things are starting to change…slowly. Lauren Deakin Davies is a pioneer and will inspire many women to come into the studio. Courses are available but there is that perception that there will be few job opportunities waiting for them – any that do will see them struggle to fit into the clique of a modern studio. I have been to a few and, whilst they are welcoming and open, it is hard to shake the sense they are not actively recruiting women and changing policies. After my feature came out; some contacted me to say their experience was not that bad – many women have been welcomed and not faced prejudice. There are many who have had bad experiences, mind, and the statistics speak for themselves. Look at the best albums of this year – or any, for that matter – and the top-ten songs in the charts and the majority would have been produced by men. This is not to say they are better but it shows there are clearly a lot more male producers than women. I feel things need to change and there should be a bigger drive to break barriers and ensure women are given exposure and spotlight.

PHOTO CREDIT: Cassy Paris, Bellanova Photography

Lauren Deakin Davies has her own studio but I wonder what reception she would be afforded if she were coming into the industry – and had a placement at another studio. Maybe her experience has been smooth but I am glad she has been recognised for her terrific work. She, alongside awesome female producers such as Catherine Marks, is responsible for incredible, career-defining work. I am so pleased she has this great career and her story will give encouragement to women who want to become producers. One can say Lauren Deakin Davies and DIDI are two separate entities but they are, obviously, the same person. The fact DIDI’s latest track has a sense of personality, confidence and nuance is because of Lauren Deakin Davies and her production insight. She is a songwriter who knows how to create original and affecting songs but one listens to Back Off and knows Deakin Davies’ education and knowledge directly goes into the track. I want to talk about DIDI as someone the music industry really needs right now. I am looking at the new solo artists emerging and find so few of them stick in the memory. There is a faction who claims Rock and Punk are genres best left in the 1970s – that is when they peaked and have never been the same since. I agree Rock and Alternative sounds had a resurgence in the 1990s but there are few modern-day acts that match the quality and scope of those past days. I know there are plenty of great bands out there but it is the solo market that is seen as more popular and profitable nowadays. By that, I mean there are more musicians going out alone as opposed to setting up bands. The high-profile break-ups of The Maccabees and Wild Beasts make upcoming bands a bit nervous about their future and security. Those cases are exceptions and there are reasons why those bands have split. Regardless; one cannot argue there are tonnes of great bands inspiring the young to get into music.

PHOTO CREDIT: Jonathan Watts

The best music, largely, is coming from solo artists. When we accept that, we have to take a forensic approach to this side of music and whether, what is being said, is valuable and inspiring. I find there are a lot of great solo artists out there but there are relatively few who can produce great Pop-Punk and Rock. I find these genres, Pop-Punk especially, marries the tough and swagger of Punk with the accessibility and singalong quality of Pop. It is a hard blend to get right but, if someone does, you get a fantastic sound and music that hits all parts of the body. DIDI knows this and could easily have failed. It would have been easy for her to produce something generic and commercial – aiming to get the songs on the radio as quickly as possible. What I love about her music is the fact she eschews demands and expectations and creates songs that come from her heart. Sure, there are words of strain and oppression but she reflects what is happening around her and the life-experiences that mean a great deal. One hears shades of U.S. giants and modern-day bands in her music but, by and large, it is hard to compare DIDI with anyone else. I know she wants to be seen in her own right and not easily compared with another artist. In an industry where there is so much competition, one could forgive her for replicating another artist and trying to get to the top quite quickly. What comes out from her music is the raw and tough-cut sounds that we lack in the mainstream. There is an emerging wave of promising Punk/Indie artists but there are few creating influence in the prominent parts of the market. I am not sure why this is but I feel those who do try and make something great, and fail, are obsessed by commercialism and do not spend adequate time creating music that has any original voice and depth. This is a shame but it might speak to the way we want music consistently – not allowing an artist to cultivate and explore. DIDI is someone who knows the pressures of the industry but will not be rushed and defined.

PHOTO CREDIT: Helen Meissner

DIDI, effortlessly, seems to bring together the heroines and heroes of 1970s Punk and modernised that sound. There is a bit of U.S. Power-Pop from the 1990s and the latest cuts from the current time. It is an intriguing blend and one that would have been shaped by her music upbringing. I can only imagine the artists that she discovered as a youngster. Gathering those legends of the 1960s and 1970s with the 1990s’ brightest – hearing the best of the past two decades and joining them all together. Whilst it is easy to compare artists to their influences; that is not the case with DIDI. She seems to have crafted something true to her that does not lead someone to link it to existing musicians. There is that lo-fi sound to the music but plenty of layers and fascination. It is interesting comparing her to the best artists around – including our very own Wolf Alice. I want to mention the London band, not because I have just reviewed them, but highlight them as a band who are making a real mark. In an industry where there are few prominent female-led acts and properly solid bands. Their album, Visions of a Life, has moments of real heart and emotion – from a band one would not associate with being tender and delicate. Contrasting this are songs that spike, spit and slam. One would expect that from Wolf Alice but they never do it in a facile and overly-crude way. There are swears and aggression but that is married with incredible musicianship and exceptional lyrics. I wanted to link Wolf Alice and DIDI because, I feel, the latter has the opportunity to follow the trajectory of Wolf Alice. She is making music that carries the same rebelliousness and youthful vivaciousness but there is an air of introspection and fragility. Whether DIDI is planning something similar to Visions of a Life, I am not so sure – I would not be surprised to see an album as strong come from her!

IN THIS PHOTO: (Left to right) Shiva, Laura Marling; Lauren Deakin Davies and Rhiannon Mair

What DIDI does is provide music with a glimpse of its former best. I noted how there are some terrific artists coming to the mainstream (which there are) but the so-called best and brightest out there are still too Pop-lite and shallow. Few artists really stand out and there is that need for music that does not tax the brain. DIDI’s creator knows what it takes to succeed in music and how hard it can be for truly credible and talented artists to get noticed these days. DIDI is not going to compromise or pen music that sounds good on the charts and appeals to a set demographic. The music world is a competitive and capricious one so we cannot be naïve enough to suggest there is no place for chart acts and those who do not expend a lot of effort. Everyone is entitled to their own tastes but the only way music is going to evolve and transcend is to look at the music it proffers and augments. I feel the artists that have something to say – and are pushing boundaries – have to work a lot harder than those who have a commercial appeal. This is wrong and is causing a lot of musicians to compromise their ethics. DIDI wants success and attention but is not going to dumb her work down or ensure it is palatable to delicate ears. One gets a real sense of identity and personality when hearing her music. This is rarer than you might think which is why she warrants a lot more acclaim. I will look at some of the attention and honour afforded to DIDI later but, before investigating Back Off; I wanted to look at artists based outside of London and what Radio 1’s fiftieth anniversary means to modern music. DIDI is Hertfordshire-based but has that proximity to London. I wonder whether Lauren Deakin Davies’ musical moniker would sound the same was she based in the capital.

PHOTO CREDIT: Helen Meissner

What I feel is acts that have that easy access to London – but not actually based in the city – are producing the best music. The stress and competition in London mean it is becoming harder to distinguish the genuinely good and worthy. So much focus is being paid to London and that means it is tough discovering artists from any other part of the U.K. DIDI is turning heads and I feel the reason her songs sound and fresh and good as they are is because she is not tussling with the London competition and surrounded by people and never-ending rush. She is free to create music the way she wants without being crowded and pressurised. Maybe that theory is flawed but, at the very least, it is worth celebrating genuinely fantastic artists not based in London – we need to get over the assumption all the best music comes from the capital. I feel northern areas are overlooked and, rather worryingly, artists that are not based in London are labelled as London acts – because that is the only way people will listen to them and be able to relate. I love London, obviously, but feel there is too much focus put on the city. I realise there is a world of wonderful music out there that does not really get a look in. Hertfordshire is a county that houses some of our best young talent and some wonderful venues. I can understand why DIDI is based there. She has that closeness to London but is free to enjoy the local splendour and benefits of Hertfordshire. I have not got the time to list all the great acts in Hertfordshire but I recommend everyone investigate it further and check out the fantastic spots artists can play. I want to end the introduction but urging everyone to get involved with the celebrations surrounding BBC Radio 1’s fiftieth anniversary. Radio 2 is also included but Radio 1 is at the forefront of the commemorations because it was the first station we heard fifty years ago – D.J. Tony Blackburn welcoming people to the airwaves.

PHOTO CREDIT: CK Goldiing

The station took over from the pirate options of the time and brought radio from the offshore illegality to the mainstream. It was a nervous time – not sure whether there would be the same sense of independence and quality as the pirate stations – and how long these new brands would exist. The fact they are prominent fifty years down the line shows what affection and need there is for radio. I am a fan of digital promotion/releases but feel radio is even more influential now than it was decades ago. For new artists; they cannot solely rely on music-streaming sites to promote their music and find new fans. Radio is the natural tune-in for true music lovers. I listen to BBC Radio 6 Music to discover the hottest new artists but realise stations like Radio 1 and 2 are vital. These big stations have always been at the forefront and are not going to relinquish their influence anytime soon. DIDI is someone who balances the benefits of digital promotion and radio exposure. To her, surely, hearing her music on the airwaves is more satisfying than getting who-knows-how-many Spotify streams?! There are few bigger thrills than hearing your music projected over the air and reaching thousands of listeners.

PHOTO CREDIT: Cassy Paris, Bellanova Photography

A reason I bring up radio – aside from the big anniversary this weekend – is the fact artists like DIDI make perfect radio music. What I mean by this is (sounds like hers) are best enjoyed through the radio. One hears a track like Back Off and gets a different experience when hearing it digitally – not quite as expressive and potent as it is when listening on the radio. I know Lauren Deakin Davies would have grown up listening to the radio and she creates songs that seem born for the medium. It is hard to explain but I have heard her music on stations like BBC Radio 6 Music and it sounds wonderful. You get the full expressionism of the music and hear it in full bloom. Her Power-Pop/Pop-Punk blends are suited for big speakers and the lure of radio. In addition to the sound and dynamic of her music; DIDI realises getting played on radio is as influential and important as digital means. I find sites like Spotify are only effective if people share music from there. It can be easy for artists to put their music on the site and not find it promoted by others. Unless you are a big name; it is tough getting a lot of streams and your music to the masses. Radio crashes through barriers and makes it easy to get to all sorts of listeners. It is instant and hugely effective. Rather than having to rely on social media and hoping people discover your music; the song goes across the airwaves and straight into the ears.

Following previous singles Sorry and Awkward; we have the wonderful, Back Off. The song has already been received a lot of praise from some big names. The stomp and twirl of the introduction is quite unexpected. It is a funky and danceable sound that has shades of, oddly, Rockabilly to it. One gets a sense of jive to the introduction but there is plenty of granite and electricity working away. An intriguing and fiery opening to a song that looks at an anti-hero who is getting in the face. The man is telling the girl what to do and getting really aggressive. His face is turning blue and there is that air of violence and control. Maybe the woman has been having her own thoughts and trying to live her own life – such values cannot be tolerated by the man! He is unhappy she has independence or any sort of mind. We can all imagine the sort of bully and ogre that would have these kind of ideals. He does not want his girl being who she is: follow what he says and make sure she is under the thumb. This is not something that sits well with DIDI who is aggrieved and off put by the callousness and boorish manner of the man. Maybe this is someone who has impacted her life but it seems like she is watching from the outside. Previous DIDI songs have tackled deeper and less-talked-about themes – she wrote an L.G.B.T.Q. anthem in Awkward. Here, I am not suggesting there is domestic abuse at play but something unsettling and dominating comes to the mind. The man is someone who does not want anyone disobeying his orders and arguing with him. DIDI is someone who recognises the danger but does not suffocate the song or make the situation worse. We will do “fine without you”, it is said, and the boy has to leave. The man thinks he is in control and can do better with him.

PHOTO CREDIT: Cassy Paris, Bellanova Photography

The chorus argues against this and urges him to back off. There is no need for him to be around and that urge to expel him from their lives is paramount. I wonder whether DIDI is involved in this melee and whether she is stepping in for a friend. As the lyrics go on; I was looking at other interpretations and whether it was relationship-based. Maybe the song is about men in general and those who promote sexist and abusive ideals. Perhaps that sexism is about the industry or issues faced by musicians today. Whatever the early truth; the chorus delivers plenty of fire and kick. It is a sassy coda that benefits from multi-tracked vocals and catchiness – few other songs this year boast such a dominant and memorable chorus. The syncopated rush of the choruses gives the song an urgency and rush but the lyrics are never buried and scrabbled. It is testament to the production and mixing – in addition to the performance – that everything hangs together and sounds crisp. Despite the fact it is a song that has polish and clarity; it relies on a lo-fi sound that gets into the head and compels the body to move. As the second chorus comes out; DIDI brings herself into the song more and, it appears, there is a lot of personal relevance. The boy would rather stick knives in his eyes than spend more time with her. That is not a reflection on her personality and appeal but the impatience and attitude of the man. He is angry and someone who will not take ‘no’ for an answer. The heroine tells him to give her space and get out. It is fascinating discovering where the song came from and whether it is a look at clingy and controlling lovers or a commentary on men who belittle women.

PHOTO CREDIT: RedMoonStudio

One gets a real sense of magic and potency in the chorus. The vocals shout and project but there are lovely little touches that elevate it. That can be said of the chorus, too. DIDI does not lazily repeat lines and make everything sound the same. She adds a real voice and personality to every lyric. Keen to get people chanting the track and remember each line – Back Off is a hugely memorable song that is afforded a lot of attention and dedication. DIDI’s guitar playing is excellent and the entire track has a great drive and rush. If anything, I would think making it even rawer and snarling would heighten and highlight the song’s messages. I have mentioned Wolf Alice and why they are so successful at the moment. They play in a slightly different way but consider the animal bite and grungy vibes of their music. Maybe Back Off would be even more digging and direct were it to be afforded the same treatment and dynamic. One of the reasons Back Off sounds like it does it to keep it light and accessible enough for everyone. It is never too aggressive and has enough melody and charm to hook younger listeners. A thing I love about DIDI’s music is the fact she does not limit herself to certain people. Each number is intended to be appreciated by large demographic. The chorus is the big selling point and the mantra that will be repeated by gig-goers every time they hear it. Back Off hits you instantly and will lodge itself into the head. It differs from songs like Sorry but retains that unique DIDI edge. I am excited to see where she goes from here and whether Back Off is a potential E.P. inclusion. Each song sees the young songwriter grow stronger and more intent.

PHOTO CREDIT: RedMoonStudio

I will end this piece here but wanted to congratulate DIDI on her success so far. Lauren Deakin Davies is an award-winning producer and is one of the brightest young producers we have right now. Her alter ego, DIDI, is getting a lot of love from big D.J.s such as Chris Hawkins (BBC Radio 6 Music). He played her other single, Awkward (twice in April and June I know Back Off was played on his show on 16th of this month – he is not someone who plays any old crap! DIDI is being taken to heart and resonating with local and national radio – she was featured on Amazing Radio, too. This would be an honour for an established artist but DIDI is a relatively new artist. It is incredible seeing her do so well this soon but not a surprise. There is something intuitively addictive in her music. One hears a blast of Back Off and is flooded with memories and visions. I was drawn to my childhood and some of the artists I grew up on - acts from the present days and a real concoction of sounds. Who knows how far she can go but I do know there is a big future for DIDI. I wonder whether next year will see an album come from her - I have been told an E.P. is likely before an album. It is interesting to speculate, for a number of reasons. She has a couple of great songs under her belt and, surely, will be planning more. This can only spike her mind and make her think about a full release. As a producer who has worked with a range of artists; Lauren Deakin Davies has the chance to collaborate with others. It would be an interesting experience if, say, DIDI united with Kate Dimbleby for a song – that would be an exciting clash that could lead to something wonderful. The same could be said if DIDI played with Kelly Oliver – or another artist she has produced. Maybe she wants to remain solo but there are creative options for the young songwriter.

PHOTO CREDIT: Howard Key

It would be good to see DIDI perform around the country and I am sure she has ideas of where she wants to play. London would be a natural base but there are great venues around Hertfordshire. DIDI’s music suits big cities so I can see her play in places like Manchester and Glasgow. Maybe that will come further down the line but her 2018 will be a huge one. DIDI has played at Balstock Festival a few weeks back but has visions of playing other events in the coming weeks. I will try and catch her perform very soon because I know DIDI is a terrific live act. Combined with a brilliant songwriting ability and rare sound; she is someone we need to see and hear more of next year. Back Off is a wonderful cut that has, rightfully, been getting a lot of praise. I am excited seeing where DIDI will head and what is next for her. There are a lot of bodies in the music scene but, with powerful acts like Wolf Alice scoring huge reviews, there is demand for musicians that bring Indie/Punk sounds into the modern age. There are still too many vague and listless examples who are one-dimensional and commercial. Wolf Alice show what is possible when you push away from convention and do not follow the tribe. DIDI is another artist who works on the periphery and is not beholden to latest trends and chart rules. She will have a wonderful future and songs like Back Off highlight what an incredible force she is. Make sure you get involved with her latest track and follow her on social media (links are below). DIDI’s year has been productive so far – she has achieved a lot – and a lot of ground covered. The arrival of Back Off proves DIDI is born for great things and one of those rare artists who possesses…

IN THIS PHOTO: (Right to left) Alexa Mullins, Kaity Rae (Lauren) and Minnie Birch

A real bang!

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Follow DIDI

Official:

http://www.didimusic.co.uk/

Twitter:

https://twitter.com/IamDIDImusic

Facebook:

https://www.facebook.com/IamDIDImusic/

Instagram:

https://www.instagram.com/iamdidimusic/

Spotify:

https://open.spotify.com/artist/5cQQ9FJMLv9nUwuqsn9njR

SoundCloud:

https://soundcloud.com/iamdidimusic

YouTube:

https://www.youtube.com/channel/UCAUdNcYRi1URpIvb-OVnySw

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

________

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.

________

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

_________

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

________

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.

________

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

_________

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

________

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  

________

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

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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.

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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

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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

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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!

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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