INTERVIEW: Amber Donoso

INTERVIEW:

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 Amber Donoso

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AS she has roots in Chile…

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I ask Amber Donoso about her heritage and how she is acclimatising to the London lifestyle. She tells me about the new single, Get Off, and the inspiration behind it. I ask her about upcoming material and how self-sufficiency is a mantra of hers – and the musicians who have made an impact on her. I learn more about Amber Donoso’s fashion modelling and how she blends style and music; what the remainder of 2017 has in store; the albums that mean most to her – and where we can catch her perform in the coming weeks/months.

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

I’m very well, thank you. How are you? My week has been fantastic so far, thank you.

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

Yes. My name is Amber Donoso. I’m a singer/songwriter.

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Get Off is your new single. What can you reveal about its title and story?

Get Off is about my relationship with an ex-boyfriend. The theme of the song is being unable to move on from someone you are still in love with. It was important for me when writing the song that there was a clear storyline for people to follow. I wanted people to be able to understand my thought-process in and after the relationship - and how that left me feeling. The song is about love. I’m a big romantic.

There is also a sexual meaning behind the song - which I don’t think needs further explaining. Haha. 

The video was shot in Margate. Did you film it yourself and what was it like to film?

It was amazing! So much fun.

It was a massive video to shoot as we had so many locations and shots to film. I had spent months and months planning for the two days shooting; so the morning of the first day, I took a very deep breath as I knew it would be a very long day. I felt really lucky to have such a wonderful team to work with as they made everything really smooth sailing. My dancers were lovely as was my love interest Keudy. Thankfully, I speak Spanish as Keudy spoke very little English - so that would have been a bit of a challenge trying to communicate on set.

Both Michele Du Verney (my Creative Director) and I directed the video - whilst Chas Appeti was head of D.o.P. 

Is it quite nervous releasing a debut single? How have you been feeling about it?

It’s a wonderful feeling.

It feels surreal to work on something for a year-and-a-half and then release it into the world. It’s been amazing to see what a positive reached everyone had to both the track and video. It’s really humbling. 

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You are a model and have promoted fashion across the world. How, would you say, your love of fashion and music interweaves? Is there an inherent connection between style and music?

Modelling, for me, was short-term and my way of financing my music career: music has always been my first love and passion. I love fashion but in a way of using it to express myself. My style is definitely a clear representation of my personality and character. I like to experiment with what I wear and push boundaries of ‘the norm’.

Down the line, I’d definitely like to design my own collections and have my own makeup line. 

You are Chilean-born. What compelled the decision to relocate? What was it like being raised in London?

My parents divorced when I was very young; my mother is English and my father was Chilean - so the move to London was for educational purposes. However, I’d once I moved to London, I’d spend my holidays in Chile with that side of my family. I feel very blessed as I’ve had the best of both worlds: living in London then growing up on a farm in Chile. Nevertheless, growing up here I have always felt London is my home….

I’m a London girl through and through. 

It seems, already, you have confidence and star quality. Are there any artists you idolise and incorporate into your own music?

Thank you; I really appreciate it. For sure, my music has been massively inspired by many of my favourite artists. I absolutely love Erykah Badu and Lauryn Hill due to their beautiful songwriting and storytelling - not to mention they’re incredible voices. Gwen Stefani and Madonna are other artists who have inspired me.

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It appears you have been raised on a mantra of self-sufficiency. Do you think your success, so far, is a result of your hard work ethic and determination?

Yes. I think if you want something enough you’ll get it.

So far in my life, I would put my successes down to persistence. Sometimes, it may feel like pushing a brick wall but if you love and believe in what you’re doing, you’ll keep pushing until you’re on the other side. I’m a very driven person and I won’t stop until I get to where I am heading. 

Tell me about your music and what sounds you were raised on…

I grew up listening to all genres of music: from Alternative-Rock, dreamy Pop; R&B, Hip-Hop; Reggaeton to Dancehall. So…a lot. My music has been inspired by all of these genres. I feel I get the best out of my music if I’m as well educated as much as I can be. For example, I sing in the style of R&B and Pop, yet I’ll put a hard Hip-Hop beat in my track (or dreamy Pop samples).

It, obviously, really depends on that track I’m making - but these are all things which go through my mind when I’m in the studio. 

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Can we see an E.P. or more music in the coming months?

For sure.

All I can say right now is I’ll be releasing my next single early next year. I will say that this is gonna be a BIG track for me. I’m excited for everyone to hear it!

Do you have any tour dates approaching? Where can we see you play?

I’ve just been confirmed to perform at Cuckoo Club (in Mayfair) on 4th November. I’m also looking to perform in Glasgow in the next few weeks. 

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

So many people will probably be shocked by my variety of choices...

The Miseducation of Lauryn Hill - Lauryn Hill

This is one of my favourite albums of all time. Lauryn Hill’s vocals, writing and performance on this album is mind-blowing. 

SweetSexySavage – Kehlani

Man, she got a beautiful and sexy voice. I love this album as it has a song for everybody and for every mood you are in. 

The 1975 – The 1975

I’ve been a massive fan of The 1975 for years. I think they’ve bought something fresh to the table. Their first album, The 1975, played a massive part in my teenage years. I’d listen to them ALL THE TIME...and I still do. I love every single track on that album as they range from beautiful, romantic love songs; to sex and heartbreak. 

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

PERSISTENCE. Keep pushing.

No one wants what you want more than yourself. Do as much as you can to make your dreams reality; it’s so possible…you just need to work hard and believe in yourself. 

Christmas is approaching. Do you have plans already or will you be busy working?

I was hoping to head over to New York but I think I’ll be occupied working here in London. However, I’m not complaining as I love London around Christmas time…

Winter Wonderland is my jammmm. 

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).

Like a Prayer - Madonna (that’s one of my favourite songs of all time)

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INTERVIEW: Big City Cough

INTERVIEW:

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Big City Cough

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ANOTHER day; another excellent Candian artist…

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to get my teeth into! I have been learning more about Big City Cough and his new track, Before This There was Everything. He discusses the album, Born at Night, and the standout track from that album; how his parents helped bring a touch of the personal to a particular number – and whether there are upcoming tour dates before the end of the year.

I learn more about Big City Cough’s music tastes and the artists he was raised on; why his week has been a particularly busy one – and a few new artists for everyone to investigate.

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Hi, Big City Cough. How are you? How has your week been?

Hey! I’m doing well, thanks.

This week has already been pretty bananas, but I’m sitting outside in twenty-degree-centigrade weather in Toronto in mid-October - so I’m pleased as punch.

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

I’m Sean Beresford; guitar player and lover of all sounds that are weird. I’ve been playing electric as a sideman with many bands for years but recently taught myself finger-style acoustic and some songs appeared in my hands - so Big City Cough was born.

Tell me about the new single, Before This There Was Everything. What is the song about and how did it all come together?

This song was the first one written while I was trying out finger-style acoustic guitar.

It was the seed that started it all. I guess I was going for a sort of meditative vibe that could snap the listener out of all their preoccupations for a bit (this includes myself). I didn’t know it at the time, but that would become the underlying theme for the record.

Born at Night is your debut album. What as the recording process like? How does it feel having the songs out there?

The initial recordings took place by myself in my living room late at night - with a tiny little mobile recording setup and a few decent mics. It was a totally natural process – no clock to watch or anything. Then, I got some of my good friends to play on the songs and they totally killed it. It was a positive experience all around.

Having the songs out there is really gratifying. I’ve been getting feedback from people I haven’t chatted with in ages; so it’s been really special – and a long time coming! It feels like I’ve been making this record forever. Haha.

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Is there a song from the album that stands out as especially personal/striking?

I guess Eventually I’ll Dry Up and You’ll Have to Throw Me Away would fit that criteria.

There was a spot in the song that felt empty to me so I was thinking about what instrument to have in there to sweeten it. Then for some reason, I considered spoken word. Spoken word has never been a go-to for me but I thought I’d give it a chance. Since I’ve never considered myself a lyric-writer, I messaged a friend of mine who is an incredible songwriter and asked her if she would mind penning something. She respectfully declined as she was too busy with her own record. Friends were saying “Why don’t you just write the words yourself?”.

So, one night, I had enjoyed a bottle of wine and put pen to paper and wrote the whole thing in about twenty minutes. It involves two elderly lovers chatting to one another about their mortality because the man is on his death-bed. I got my parents to record the speaking parts and they got pretty choked up doing it; so I figured it was good enough to make it on the record.

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What are the main themes and stories that inspired the album?

Well, again, it’s an instrumental record…but the main theme is quiet, peaceful night-time reflection, I guess. I recorded most of the bed tracks in the middle of the night by myself. I’m a night-owl and my folks told me recently that I was born at night…so was the record.

Is music a career you felt destined towards when you were younger? Who are your idols, in terms of the artists you grew up listening to?

Yeah. I think music was always gonna be it for me. Somehow I’ve made it work! I grew up listening to Rock ‘n’ Roll, thanks to my dad and older brother. I guess I’ve always had a penchant for the unusual because one of the first bands that really stuck for me was Pink Floyd. Once I started playing music, I got into all sorts of genres. Miles Davis is a favourite.

I guess I gravitate to the boundary-pushers.

Do you have a game-plan for 2018? What are your goals for the coming year?

More shows! I’m doing a November residency at a local club to release the record locally. I’ll be putting together some shows elsewhere starting in January and I already have five or six songs started for the next record.

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 IN THIS PHOTO: Ryley Walker

Which new artists do you recommend we check out?

So many…

William Tyler is terrific.

I’ve been getting into Ryley Walker’s stuff recently; local hero Brendan Canning always has something cool going on.

Nightlands is totally awesome (David from The War on Drugs).

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

Every Tuesday in November at the Dakota Tavern here in Toronto, from 6-9 P.M. A different awesome opening act for each one - and a band playing with me.

J anuary dates in parts/elsewhere T.B.A.

Do you have any plans regarding playing the U.K.? Have you ever visited us before?

Haven’t fully hatched the game-plan for 2018 yet...

I have visited the U.K. before. I have roots there so it’s near and dear to my heart - particularly the cask ales.

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

Wow! Tough one.

Let’s start with the earliest influence: Pink Floyd’s - Dark Side of the Moon

I got into that album as a kid, via my dad. I guess I was probably just listening to whatever was fed to me on the radio at the time; so, this one really expanded the universe of possibility for me from a very young age.

Miles Davis - In a Silent Way

I enjoy just about every phase of Miles’ career but the weird fusion stuff is totally from Mars and I love it. This one evokes that peaceful, night-time listening thing I was talking about before; so let’s go with it.

Jim O’Rourke - Bad Timing

This record was a big influence on what I was going for on Born at Night: traditional acoustic guitar melodies with a generous serving of weird. Sublime.

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

Follow your heart…always.

Don’t be swayed into doing anything that doesn’t follow your vision of your art. Don’t give up. This has all been said before, and it sounds corny, but it all comes back to this every time.

Christmas is not too far away. Do you have plans already or will you be busy working?

Visiting family and keeping warm.

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).

How about Highway Anxiety by William Tyler

Thanks!

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INTERVIEW: Jennifer Ann

INTERVIEW:

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 Jennifer Ann

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THE excellent Jennifer Ann is a Minnesota-born…

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artist, now based in London. She discusses her new E.P., Take Me Home (out December), and has released its title-track. I find out about the transition from the U.S. to Britain; why Fantasy (from the E.P.) is a song that struck me – and how she has gone from a Classical artist, when young, to develop the sound she has today.

I hear more about Jennifer Ann's tastes and plans; how she is settling into London life; how her music and lyrics come together – and some advice she would offer new artists.

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

Hello! My week has been really good.

I’ve been busy working on promoting my latest single,  Take Me Home, and have been doing a few demos. for some ad campaigns.

It’s been fun.

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

Yes, definitely. My name is Jennifer Ann. I’m a singer-songwriter/pianist/producer originally from Minnesota, U.S.A. and now London-based. I create music that is an intermesh between contemporary Pop and Classical elements. I come from a Classical background so working with strings, piano; choral and orchestral elements is second nature to me. I also do music for advertising and have created music for brands like Lloyds Bank, Boots; Pampers and Unicef.

Take Me Home is your new song. Tell me a bit about its formation.

Take Me Home was written after a trip back home. I miss home on a regular basis but it’s always harder when I go back to visit and then return to the U.K. I was feeling inspired by memories I’ve had growing up in Minnesota and started writing a lot of the lyrics on the train on the way to a writing session with my friends Nick and Edd. We worked together on it and it just seemed to flow so naturally.

I knew I wanted it to be incredibly evocative as well as emotional. I wanted to make others envision the beauty of Minnesota - as well as feel the intense longing I often have to be there.

It is from the E.P. of the same name – out in December. If you had to define the E.P. and what it is about; what would your response be?

The E.P. is about being human - from the angle of my own personal experiences.

It’s about my life over the last several years: from leaving home in a small suburban town to living in a huge, sometimes lonely city. It’s also about my observations of humanity; how similar we are to each other. We all struggle, we all feel pain; we all just want to love and be loved.

My songs are essentially my diary - I can’t write about something unless it’s personal and relevant to me.

Nick Atkinson and Edd Holloway (and yourself) produced. What was it like working with them?

Nick and Edd are awesome to work with and have been truly supportive of my project from the beginning. I co-wrote both Take Me Home and Fantasy with them. They knew exactly how to help me achieve what I was envisioning and were very patient along the way. Additionally, their creative abilities as writers enabled them to give a lot of their own creative input. We worked together on the production for four of the tracks and Let Me Love You was produced solely by me.

Are there particular tracks that strike your heart – or are they equally important to you?

Take Me Home is definitely the one that tugs at my heart the most, simply, because of how much I miss my friends and family. My husband and I filmed the music video for it at my home where I grew up and in my favorite places of Minnesota back in June this year. Watching the video makes me emotional every time. There’s something about writing a song though that helps you deal with that specific situation or emotion a little bit better.

It’s truly cathartic.

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You are from Minnesota originally. Why move to England? What is it about the nation that attracted you?

There were a few reasons why I moved to England. First off is that my husband is English and lived in London - so that was a big reason. I originally met him when I studied abroad for a term in London during my Bachelor’s degree; fell in love with both him and the city and had to move back when I finished my degree.

I also decided to study for my Masters degree in Music Therapy in London when I moved over and the approach in England is very different than the approach in the U.S.A. Music Therapy practice is much more based in psychodynamics and interpersonal therapy in the U.K. - which I was more interested in than the behavioural approach taught in the U.S.A.

Was it hard to leave Minnesota? Do you plan on going back any day for a visit?

I feel like it wasn’t too hard at first but the longer I’m here the harder it gets - because the longer I go without being able to regularly see my friends and family. I do genuinely love London. It’s an incredible city with so many opportunities and amazing things to see and do. But, I think, for a lot of people, it’s always hard to leave your childhood home and the people you love the most.

I’m quite an outdoorsy person so I also really miss having all the wilderness and space as well as having real seasons! Thankfully, I do go back usually a few times a year to visit and sometimes do a few gigs.

So, that does make it a bit easier on me.

Classical music is where you started out. What was the reason for moving into Pop?

Yes, it is. I come from a classically trained background having studied piano and flute since I was eight - and then achieving my B.A. in Classical Music at university, where I also studied Voice. I started writing both Pop and contemporary Classical music when I was a teenager. Sometimes, it’s easier to express myself through the piano non-verbally and sometimes I prefer to write it all out and sing about it…it really depends. So, it’s not that I’ve moved solely into doing Pop music as I will continue to write and release more piano compositions in future - but that I really felt I needed to also explore and share this other side of me as an artist.

Your music has already gone down a storm on platforms like Spotify. Is it quite humbling knowing it resonates with so many people?

The best part of making music is connecting with other people who I may not have met otherwise and getting to hear their stories and experiences; hearing what my music has evoked in them. The fact that my music has connected with people is an incredibly fulfilling feeling to me. This is the true beauty and power of music - it has this almost mystical ability to bring people of so many different backgrounds together. In a world that feels so divisive at the moment, we need more opportunities to come together and understand each other.

Music can show us that at our core, we are all far more similar than different.

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Fantasy, from the E.P., is a track that mirrors the political songs of your father’s heroes. Is Trump’s election, and the change in the nation, responsible for the song? What do you think about the way things are going in the U.S.?

I wouldn’t necessarily say that Fantasy was intentionally a political song but it did come about after the U.S.A. election happened - and several months after Brexit had already happened. The world felt very uncertain and scary for some time and I, instinctively, felt this pull to protect myself by not thinking about it. It takes a lot of energy and courage, I think, to truly face this kind of uncertainty head-on - and it’s so tempting and easy to just not think about it. That’s kind of what Fantasy ended up being about - this need to hide away and be left alone in my own world. In reality, this isn’t something I could ever allow myself to do because I’ve always been very politically engaged. In general, I’m really sad by how disconnected and divisive people seem to have become.

Unfortunately, it has seemed at times that Trump has fostered some of this divisiveness but it had already been steadily growing - even before he became President: it’s not like this just happened overnight. If there’s any positive out of any of this, it’s that it has inspired more people to become politically engaged than before and I can’t say that’s a bad thing - no matter what your political beliefs are. It’s brought a lot of important issues to the forefront: issues about money in politics, corruption; lobbying, etc. that I think people may not have been as aware of as they were before. I still hold a lot of hope that my country will find a way to grow from these dark times and come together even stronger than before. Sometimes, in order to grow, things have to get worse and fall apart first.

If nothing bad ever happened, we’d never grow and become better people - because we’d have nothing to learn from.

Talking about your dad; how influential was he, and his musical, tastes to you?

My dad has always been a music aficionado and many of the artists he used to play on his big stereo system while I was growing up now serve as some of my greatest inspirations. Artists like Crosby, Stills, & Nash; The Beatles, Simon & Garfunkel.

Crosby, Stills, & Nash are still among my all-time favorite bands - Graham Nash, especially, has been such an inspiration lyrically to me. I read his biography last year and he spoke a lot about how he doesn’t waste time writing about things that aren’t important - he only writes about genuine issues and experiences and in accessible ways that people can relate to.

I feel the same way about writing and find that I often write sad and dark songs - but that’s because life just isn’t always happy and carefree! I feel that my time here is far too short to spend it not being who I am genuinely am. I don’t believe in faking anything. There is so much fake everything out there right now: fake news, fake media.

I think we’re all yearning for something more real to hold onto.

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 IN THIS PHOTO: Aquilo

Who are the new artists you suggest we check out?

Semi-new artists that I’m really into right now are Aquilo, RY X and Woodkid. I’ve also been listening a lot to Rosie Carney whom I’ve just discovered. A lot of her lyrics are about mental health and she’s open about her own struggles.

It’s this darker, more vulnerable side of artists that I seem to connect with and appreciate the most.

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IN THIS PHOTO: Rosie Carney/PHOTO CREDIT: Deborah Sheedy 

Do you have gigs coming up? Where can we come and catch you play?

I do!

I’m playing Liverpool at The Brink on Nov. 17th; Limerick, Ireland at The Stormy Teacup on Nov. 18th - and London at The Bedford on Nov. 28th (where I’ll be playing with a few strings!).

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

This is such a hard one!

Crosby, Stills, & Nash - Crosby, Stills & Nash

Because it’s one of those albums I grew up listening to and, also, because the lyrical and melodic genius is exemplified in so many of these tracks. Probably my favorite album of all time.

Norah Jones - Come Away with Me

Started listening to this one also because of my dad - but genuinely fell in love with it when I was a teenager. Whenever I couldn’t sleep or was feeling anxious, I’d always listen to this album - even now, I still do when I’m feeling stressed. She’s also such a Classic artist and an inspiration to me.

David Lanz – Nightfall

My first inspiration for starting to write music. Leaves on the Seine will tear your heart apart with melancholy. This album reminds me of Sunday afternoons after getting back from church; lounging around the sunny living room with my family. One of the first albums I can remember that made me cry when I was a child without understanding why.

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

1. Be prepared and willing to do a lot more than just make music. The modern music business is all about knowing how to operate independently. This means that you often have to be your own manager, P.R.; accountant, photographer; videographer, producer - and so on - before you might be able to start to afford to take other people on board.

2. Be genuine - people will connect with you more if you show them you’re a real human being like them.

3. Do not underestimate the power of interacting with your fans! At the end of the day, they are the most important part of all of this. They are the ones who will support you. Foster those connections and relationships in a genuine way. I make an effort to try to respond to everyone who comments or messages me. This takes a lot of time but is well worth it, plus I get to have truly fulfilling and meaningful conversations with people whom I may not otherwise have met.

Christmas is approaching. Do you all have plans already or will you be busy working?

Ah man…it’s only October!

I’m still preparing for Halloween. For Christmas, I will be in Liverpool with family - so not working over the holidays! However, as soon as the holidays are over, I’m back in the studio to start recording E.P.-two ….

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).

London Grammar - Oh Woman Oh Man

Their new album is incredible! Hannah’s voice is just other-worldly.

Amazing.

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INTERVIEW: Sonia Leigh

INTERVIEW:

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 Sonia Leigh

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I have been lucky enough to spend some time…

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with Sonia Leigh. The Nashville-based artist talks to me about her new single, Walking in the Moonlight, and the tour dates she has coming up – there are a few U.K. dates she is especially pumped about. I ask about her music tastes and which artists, she feels, have contributed the most to her.

The Country singer-songwriter assesses the state of the U.S. and how she feels the nation is doing; artists she advises we listen to – a bit about how she will be spending Christmas and the remainder of the year.

SONIA LEIGH PHOTOS CREDIT: Anna Webber

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

Hi! I am just getting over the excitement of my first leg of shows in the U.K.!

Had a lot of band rehearsals: getting the band ready for the upcoming tours. Friday night was a blast - it was the first show kicking off my U.K. tour with Country Music Week. I got to headline at the Borderline and we had one hell of a show! The turnout was fantastic and everyone was in high spirits - was a great start! Last night was my first show on the Broken Witt Rebels tour. We kicked that off in Liverpool at Studio2 Parr Street.

Seriously; a smashing night - and it’s just the beginning! 

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

Hi. I’m Sonia Leigh; I live in Nashville, Tennessee. My music is a bit like Bruce Springsteen, Joan Jett; Fleetwood Mac, Johnny Cash - but with a Pop twist. I guess you could say I’m a wildcard in this music industry.

I’d say I’m the Mad Hatter. 

 

Walking in the Moonlight is your new single. What can you tell me about its background?

I began writing and engineering Walking in the Moonlight in my bedroom. I have a fascination with the moon. I crawl onto my roof all the time to look at the moon, drink wine and just think: it’s my happy place. This song has such a sweet, simple and innocent approach to love - it’s cute yet passionate.

It has very poetic lyrics and kind of paints this scenario. It’s probably the most ‘Pop’ song I’ve ever released. I wanted to put this song out as summer comes to an end. The solar eclipse just came and went - and we’ve had some beautiful full moons this year!

It felt appropriate. 

You have written big songs for the likes of Zac Brown Band. You are now a solo artist. Do you prefer stepping out on your own or do you still write for other artists?

I love performing and doing my own thing - but I do still write for other artists; I’ve got a song called Funk in the Country on Big and Rich’s new record! I’m excited about that. I’ve had my songs recorded by other artists, as well (that you will soon hear about). I love writing music: it’s who I have always been and who I am. 

Can we expect an E.P. or album in the coming months?

I’ll release a couple more singles and then my new record, Mad Hatter, which I co-produced and co-engineered. I am hoping to release by the end of this tour. I’ve just launched a Kickstarter campaign. You can get involved and help to support the record release and my U.K. tour. You can reorder the record along with loads of goodies:

https://www.kickstarter.com/projects/sonialeigh/sonia-leigh-is-tryna-make-a-record https://www.kickstarter.chttps://www.kickstarter.com/projects/sonialeigh/sonia-leigh-is-tryna-make-a-record

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The U.S. has seen a lot of turbulence and upset the past few days. How does it make you feel, as a musician, seeing the kind of scenes that have been in the news recently?

I am heartbroken and angered....

I’m embarrassed by (some of) humanity right now: we as PEOPLE should be. This is out of control everywhere - not just in America. However, I refuse to live in fear. I won’t be cornered into a cave. My love goes out to all that are lost every day all over the world due to violence and hatred. All we need is love.

I am sad to say my hope for harmony has taken a hit.

Steering away from that and I am interesting finding out how Country music came to you? Which artists were you exposed to as a child?

I grew up listening to Hank Williams, Willie Nelson; Waylon Jennings, Loretta Lynn; Alabama etc... and as time went on…Hank, Willie and 1990s Country were how I learned to play the guitar. My father played the guitar and I begged him to teach me chords. He taught me G, C and D and, once I got those down, I immediately began writing my own songs. My whole family were musical so I was surrounded by music.

I took the ball and ran with it as soon as I learned how to play the guitar. 

Nashville is where you are based. I guess it is the perfect place for an artist like you. What is the vibe like there?

I moved to Nashville five years ago from Atlanta, Georgia. I have made so many wonderful friends in the music industry there - so much talent in one place. It’s a very tight community. There are certain places the songwriters go after their day of songwriting to unwind. I like knowing we all have the same heartbeat. Nashville has its own heartbeat and its music - and a good night out drinking, of course. L.o.L.!  

Most everyone out there knows each other - because we’ve written songs together at one time or another. You get close to someone real quick in a room writing about some serious subjects, sometimes. It’s kinda like we’ve all seen each other vulnerable.

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Is it easy to put into words what it is about Country music that hits your heart? Why, do you think, the genre resonates inside of you?

All genres resonate with me...

What is great about Country, in particular, is the storytelling; the vulnerability and directness of a lyrics. If you notice the difference between Rock and Country are the poetic elements. If you get too fancy with Country it doesn’t work.

Best to just keep it simple and come right out and tell it like it is.  

I believe you are coming to the U.K. to tour with Katy Hurt and Friends and Broken Witt Rebels. How did that come about and are you looking forward to it?

I met the 'Rebels about a year-and-a-half ago when we were on a bill together for a Time Out magazine event at the Jazz Cafe. We hit it off. When they asked me to be a part of this tour, I jumped and the chance - because I knew it would be a blast and I’m a big fan. Those guys are going all the way. Katy Hurt and the Healers are like a family to me. We had a blast playing shows together this summer so we decided to make it a small tour in between our 'Rebels dates. They will be my band on the 'Rebels tour. We had our first run of shows with these guys and they are just an incredible band and individuals. They’ve treated us like gold. 

We are kicking down ass together on this tour!

Have you been to the U.K, before? Any particular dates you are especially looking forward to?

I have toured the UK quite a bit: it’s kind of become my second home! I am really excited about all of the dates - especially the Broken Witt Rebels...because this is the first time

We’ve gotten to tour together. We are having a blast so far!  I am excited about our Birmingham show and to see where Danny (the lead singer for B.W.R.)  is from. He’s offered to show us around his hometown - so I’m looking forward to that. 

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IN THIS PHOTO: David Borné/PHOTO CREDIT: Jason Lee Denton

Who are the new artists you suggest we check out?

Katy Hurt, David Borné; Jacob Thomas Jr., Jason Martin; Kree Harrison, Priscilla Renea; Shelly Fairchild, Crouss and Paul McDonald.

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IN THIS PHOTO: Jacob Thomas Jr.

There…that should keep you busy for a minute. Ha!

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

Darkness on the Edge of Town - Bruce Springsteen

Because it’s honest it’s raw - and it’s Rock and Roll. I learned a lot from listening to and watching Bruce perform.

Blood on the Tracks - Bob Dylan

It’s one of the greatest, most well-written records ever. I never get tired of it.

All Eyes on Me – 2Pac

I relate to the struggles of 2Pac - plus the production on this record Is dope! 2Pac was a fantastic writer. He was a poet he just wrote about what he saw - and he was brilliant at connecting that with all kinds of audiences. 

These are my go-to records - although, it’s so hard to leave out Fleetwood Mac and Sia etc... just so much great music that inspires me in different ways.

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

 Be you: there is no one else like YOU. Speak Your truth - and don’t apologize for your art.

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Christmas is approaching. Do you have plans already or will you be busy working?

I am planning to go to Lucca, Italy to spend with my friend Carmen Vandenberg and her family! I went the year before last and it was the most relaxing, beautiful time.

I figured it would be the perfect ending to a long tour.

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).

Hurricane - Bob Dylan

It’s one of the most well-crafted songs: it’s a movie in a song. You wanna learn how to write a song?! Study the imagery in Hurricane.

Thank you very much for having me today!

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INTERVIEW: FEHM

INTERVIEW:

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 FEHM

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THE guys of FEHM have been pretty busy…

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which is why Human Age is actually their latest single – Last Breath was out when the questions were pitched. It doesn’t matter as the two songs are part of a double A-side. I get a glimpse into the background and stories of both– and what we can expect before the year is through.

The Leeds-based band talk about important albums and artists; how they have evolved in the past few years; what Leeds’ music scene is like right now – and what to expect from their upcoming L.P.

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

Paul: Aye. We’re all good, ta. Week’s been fine.

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

We're FEHM; a five-piece band in Leeds consisting of Paul, Amy; Ben, Chris and Darren (Denzel).  

Before I go on; can I ask what the inspiration behind ‘FEHM’ is?

I guess our inspiration is connected to bands and musicians coming out, predominantly, around the 1980s - from Post-Punk to Goth; to New-Wave etc.

It's the sound we're most connected to as a whole band.

 

Last Breath is out. What can you reveal about its story and start?

When we became a five-piece; we had a few songs separately. I had a song I'd written - and so did Darren. We changed the key of my song and merged the two together to fit for a verse and chorus. Ben went away and wrote the guitar riff the same night; myself and Amy worked on the vocal melody that week. The overall process of that song was generally extremely easy: it all just happened really quickly. After we had the shell and basis of the song; we started to go over it with a fine comb; the arpeggio intro. on the synth came around then.

We were also very close to recording the song, maybe a day or two, before and Ben had the idea of - after the breakdown - everyone stops and the guitar riff just plays by itself - and everyone kicks back in on the second bar. 

The lyrics I wrote over a period of time: some, when we first started making the song; some later. I work in a hospital and the song is fundamentally about seeing people in a lot of pain during their final days - they're looking for a release but, if they let go, it's the end. 

Human Age is the other side of the single. What was the idea behind a double A-side and is it good to be back after a bit of a break?

There wasn’t any specific idea behind doing a double A-side. When Ben and Denz joined the band, we just wrote these two songs pretty quickly and then recorded them. So, we’ve been sat on them for a while and we wanted something to bridge the gap between the Circadian Life E.P., and then, our album to come - so thought it was perfect.

It’s great to have the songs up and about for people to hear - as we’ve had them for months. 

Your debut L.P. is out later in the year. Can you tell us about the title and songs that will be on it?

We don't have any titles yet: we don't even have song titles.

Last Breath was called 'Merger' because we merged two songs together - right up until about a month ago when it became Last Breath.

Regarding the album; it'll consist of about ten/eleven songs. We've become a lot more Electronic in the past year - which is where our sound is pushing more towards. We have a saying that if the song doesn't feel 'hearty', then we scrap it. We want the songs to connect with you; make you feel how we feel when we write them...we're trying to find a euphoric sound that encapsulates sorrow with joy. 

So far, for the album, we probably have around six-eight songs: some, at the very (very) early stages; some closer to completion.

Darren: We've been concentrating on expanding our sound to write the album and developing ways of introducing new ideas and concepts. We want each song on the album to have a heart so, to achieve this, the chord progressions and melodies are designed to invoke certain feelings and different atmospheres. 

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How does your current material differ from your previous stuff? Have you made any changes since your earliest work?

Paul: Considerable changes...

Our last E.P. was when we were just a three-piece; which was myself, Amy and Chris: one guitar, one bass and drums. Now, with Denzel and Ben joining, we have a whole new arrangement of instruments - we collectively think about the progression and melodies of songs differently, too. 

Leeds is where you hail from. What is the city’s music scene like right now? Is it one of the best places to foster and evolve your music?

The music scene in whole is very good. Regardless of genre, everyone is connected to a few certain places like Wharf Chambers, The Brudenell; Temple of Boom etc. Some places cater a little more to a certain genre but, generally, everyone goes to all the same places - and everyone in Leeds gets behind each other a lot. 

Darren: From one perspective; I sometimes worry Leeds may be losing its industrial aesthetic. With an ever-increasing skyline of sparkly high-end developments and the abandoned 1970s high-rises; old factories almost all demolished - a strong source of inspiration that produced some of the world’s greatest Goth bands will disappear forever. I suppose we've always got the Roger Stevens building for our Ballardian dystopia fix.  

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Can you tell me how the band came together and what those early sessions were like?

Paul: Myself and Chris are brothers and we were in another band many years ago. After it ended, I took some time just writing a load of new music. Me and Amy have been together for around six years so us three decided to start the band around three year ago with a friend of mine. It was very aggressive early on. I used to pace around the stage and shout a lot. It was quite fun for a bit but, when you're writing quite basic music, it becomes tedious rather quickly. We even have a bunch of recorded tracks no one’s even heard before from around that time. I listened to one of them the other day - it's terrible.

My friend left the band and we just became a three-piece - and I went on the guitar. We started thinking more about the arrangements and melodies and spent a lot more time on each individual instrument - which is when we wrote the Circadian Life E.P. 

Funnily enough, even before the Circadian Life E.P., I was asking Ben and Darren to join. I've been asking them for a few years. 

Then, it finally happened: we became a five-piece. 

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PHOTO CREDIT: Francesca Tirpak

Do you all share the same music tastes? Who are the bands and artists you were all raised on?

Darren: I'd say we all have a common interest in music from the 1980s but, maybe, prefer different versions of the 1980s. For instance, I'm really interested in the whole Synth. Britannia movement with bands like Depeche Mode; whereas others may be more inclined to the Post-Punk and avant-garde side of the era.

We've got all the bases covered and there's so much to explore from the decade. 

Paul: We all have a general love of everything 1980s: the style and culture, the way it was; the sound etc. So, we could list a million bands and musicians that we all love like Depeche Mode and New Order etc. - but we also all have different loves too. Some of us are into experimental music; some of us are into Rap music etc. I think if you pigeon-hole yourself into just liking a certain genre you’re subjecting yourself into missing out on something that could potentially be amazing. 

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IN THIS PHOTO: Culture CT/PHOTO CREDIT: Aaron J. Villa

Who are new acts you recommend we check out?

Beta-Blockers; Culture CT; Treeboy & Arc; The Boxing.

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IN THIS PHOTO: Treeboy & Arc

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

I’m afraid we just can’t do an album each…it’s too hard. This is a list of bands and artists that mean a lot to us; either collectively or singular.:

Lowlife, Sisters of Mercy; Cocteau Twins, Radiohead; The Cure, New Order; Depeche Mode, Protomartyr; The Horrors, The Sound; David Bowie; Siouxsie and the Banshees. 

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PHOTO CREDIT: Francesca Tirpak

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

28th Oct - Wharf Chambers – Leeds

5th Nov - The Brudenell - Leeds (w/Autobahn)

10th Nov - Off the Record – Manchester

19th Nov - The Brudenell - Leeds (w/Protomaytr)

22nd Nov - Broadcast - Glasgow (w/Autobahn).

Does the band have any time off scheduled for this year? Do you get a chance to disconnect from music?

We don’t really take time off, per se. We’ve shared a practice room at Temple of Boom in Leeds with Eagulls for a few years as we’re all mates - but we’ve just recently got our own room due to us writing an album and them writing their new album. We go down a few times a week as a band and we also go down in pairs or by ourselves - to work on certain parts etc.; so it’s pretty full-on in that sense. I wouldn’t say we get the chance to disconnect - but I don’t feel any of us want to do that either.

It’s just a part of who we are. 

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PHOTO CREDIT: Luke Hallett Photography

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

Listen to each other.

You could have the best guitarist in the world but, if you’re not gelling with everyone else, then what’s the point?! Be open: multiple minds are better than one. Don’t be too precious over something you’ve written. Don’t be afraid of letting someone else take it to somewhere you couldn’t think of.

Experiment and try new things. 

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).

Darren: O. Children – Heels

Paul: Lowlife - From Side to Side

Amy: The Sound - I Can’t Escape Myself

Ben: Cocteau Twins - A Kissed Out Red Floatboat

Chris: Vitas - 7th Element 2002

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INTERVIEW: Adria

INTERVIEW:

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 Adria

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I am envious Adria has the experience of Australia’s…

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Gold Coast under her belt. She talks to me about moving from there to the U.K. and how life differs here. I ask her about the stunning new single, Gold Water, and her attachment to the ocean – her name derives from the Adriatic Sea. Gold Water is the hotly-anticipated follow-up to (2015’s) debut E.P., Shell. Adria discusses her musical rise and how much affected her from a young age.

I was curious to find out what the next step is and, in looking forward, a nod back to those artists that helped shape who she is.

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

Hey! It’s been great, thank you.

I am so happy to be able to finally release Gold Water into the world!

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

I’m a singer-songwriter from Australia - but I now live in London. I’m not quite sure what genre I fit into; so I’m just going to say ‘I write honest music’. Everything I write about is from personal experience. I’ve been writing music since I was super-young and I suppose that’s naturally evolved to who I am today and what I do.

Gold Water is your new single. Can you tell me about the song and how it came together?

The song was written in Sweden with music producers who I absolutely adore and are collectively known as Jane Rain. It started off as a beat and I just layered vocal ideas and melodies from until it felt right. The bones of the song were written quite quickly.

That usually happens with tracks I like the most.

The song follows a two-year break from music. What is the reason for the gap?

Life happened, I suppose.

I moved to London (from Australia) and went into hiding for a bit to travel; meet new people and experience new things.

I definitely got all that.

Was it natural returning to music or was it quite a long process putting Gold Water together?

No, it was very natural. Writing music is where I most feel like myself.

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Your name, ‘Adria’, is taken from the Adriatic Sea – your new song is about water. Do you have a connection to water/the sea? What is it about that setting that speaks to you?!

I’ve always had a deep connection with the ocean/the sea. I am unsure why that is the case, though. I was born in Perth, Australia - which is a coastal city - so I’ve always felt calm and at-peace whenever I’m surrounded by water.

My parents named me after the Adriatic Sea - which is probably quite fitting.

Even though you are based here; you were born in Australia. Why did you relocate over here?

I relocated for a change...

I don’t like to let myself get too comfortable or content - and I wanted new things to write about. 

As a teenager; you moved around a lot and spent time in various areas. Was music the solace and constant focus for you during this time?

Music has always, and will always be, my safe space and constant: it’s the one thing I know I can rely on no matter what is going on.

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Tell me which musicians are most important to you? Who do you look up to in terms of the impact they have made in music?

Natasha Khan (Bat for Lashes).

I think I listened to Two Suns on-repeat for a year; maybe, even two. She really taught me to have no boundaries and be a fearless and honest writer. I never knew that Pop music could truly be so creative and push the boundaries in the way that she did it. I love how involved she is in the writing process of her music and artistry.

That’s really important to me.

Is there going to be an E.P. next year, perhaps?

I hope so!

Which new artists do you recommend we check out?

I’m loving a rapper that goes by the name 6LACK.

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IN THIS PHOTO: 6LACK

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

Bat for Lashes – Two Suns

Mariah Carey – Music Box

I had this album on-repeat for years when I was only just a child - so I could learn how to sing.

Amy Winehouse – Back to Black

Her music was really something special. The honesty in her lyrics gets me every time.

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

Keep doing what you love.

Christmas is approaching. Do you all have plans already or will you be busy working?

I will, most likely, be working!

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).

Amy Winehouse – Love Is a Losing Game

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INTERVIEW: NATHASSIA

INTERVIEW:

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NATHASSIA

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SHE commands a huge fanbase and makes music that…

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gets people together and moving. I talk to NATHASSIA about her current single, Light of the World, and whether there will be new material soon. She reveals her musical tastes and how it feels being compared to Kate Bush; what the music scene is like in the Netherlands (where she originally is from) – and when music first came into her life.

I ask Nathassia to name albums that have been influential for her; whether the music industry lacks any real spark – and any other musician she recommends we check out.

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

Hi!

A bit hectic as I had a live show in Hull!

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

I like to transgress borders and mindsets with my music - by infusing traditional World music instruments with electronic sounds.

Can you reveal the story behind your new single, Light of the World? 

You've probably heard about A.I. and robotics. The song is about our future: when love merges with technology.

The video is quite trippy but features recorded street footage. Can you tell me more about how the video came together and what we are watching?

The street dancing was at Notting Hill Carnival - which was great fun. I chose that because it celebrates multiculturalism.

You self-produced your debut album alongside leading producers. Was it quite a challenging process – or did you learn a lot along the way?

It was actually a very enjoyable process - because I worked with producers I know well.

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Will there be more songs coming before next year?

Not this year: I've got a new album coming early-2018.

Your voice has garnered comparisons to the likes of Kate Bush. Is she someone you grew up with? What is it about her that appeals to so many singer-songwriters?

I have a memory, when I was a young child, when I saw the video for Wuthering Heights for the first time and was impressed and mesmerised by the way she was dancing - and loved the way she was singing.

I thought she sounded like a cat! (But I do love cats!)

Netherlands is where you were born. Did the country provide a lot of musical inspiration and what motivated the move to the U.K.?

Because of my mixed background; I grew up listening to classical Indian sounds and exotic South American music - whilst the Netherlands was a hub for Electronic music. I first moved to London for work experience for my studies (International Music Management).

After I completed that, I moved to London permanently to set up a recording studio and work on my album.

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Can you tell me how music first came into your life and which artists you grew up listening to?

I did my first show when I was three-years-old with a microphone from an old lorry that my dad brought home for me to play with - singing along to Gloria Estefan, Madonna; Bob Marley, UB40 and classical Indian singer Lata Mangeshkar (and Dutch artist Herman Brood).

Your music mixes Electronica and Pop (with other genres). It is fun and energetic. Do you think music lacks a certain spark and sense of fun right now?

Thanks! I don't think current music misses spark and fun - but I do feel that there aren't so many risks taken anymore.

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IN THIS PHOTO: San Holo

Who are the new artists you suggest we check out?

Lost Horizons, San Holo and Satori.

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

Kraftwerk – Radioactivity

Gloria Estefan - Alma Caribeña 

Nitin Sawhney - Beyond Skin

I (just) simply love all three and have played them a million times!

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

Find local fans and work your social media incredibly hard.

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Do you have gigs coming up? Where can we come and catch you play?

The last two shows, as part of my Feel the Future Now U.K. tour, are in Brighton and Southampton.

In 2018, I will start my world tour.

Christmas is approaching. Do you all have plans already or will you be busy working?

I have plans to shoot a video in Spain for the next album.

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

I'm very much into Progressive-House. My current favourite track is Emi Galvan - Memo

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Follow NATHASSIA

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INTERVIEW: L.A.D

INTERVIEW:

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 L.A.D

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MANY are claiming there is a revival of 1980s music happening right now.

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This is an assertion backed by the Reading-based trio, L.A.D. The lyric-video for Dance Floor has just been unveiled so I ask Natalie, Jack and Luke about the song and how it came together. They talk about their formation and where their loves of the 1980s’ sounds and sensations stem from. I ask about their influences and what the chemistry is like in the group.

The trio discusses future material and what the music scene is like in Reading; the new artists they recommend we get involved with – and how Natalie, a solo artist before she helped form the trio, has transitioned from lone performance to life with L.A.D.

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

Hey! Been great, thanks!

Very productive over at L.A.D. We had a writing session at the start of the week; then, a photoshoot on Thursday! 

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

We are L.A.D. - and that's Natalie, Jack and Luke. We are a band making 1980s-inspired music and are about to take over the world...standard. 

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Tell me about the band-name, ‘L.A.D.’ and the meaning behind that. Do the words ‘Live After Dark’ hold special significance?!

L.A.D can mean whatever you want it to…

It has a meaning to each of us, individually, but we are kinda leaving it up to interpretation. It could mean ‘Luke And Dinosaurs’; ‘Lobsters Are Downstairs’...

...whatever you want!  

How did you all get together? Have you known each other for a while or is L.A.D. a pretty spontaneous creation?

We've known each other a long time just from being from Reading and going to house parties (and messy nights at the Purple Turtle!). We've written together for the past eighteen months just to stay creative - and L.A.D just developed naturally! 

Dance Floor is the new single. Can you tell me about its origins and how it felt hearing it back from the first time?

Well...doesn't everyone just love those timeless tunes from the 1980s that just makes you get up and dance; to not care what people think and what you look like?! So, when writing Dance Floor; we tried to capture that!

Then, we fired up the drum machine; put synths on turbo - and threw the ginge in the booth to make silly noises until it created a song!

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An album will follow. What themes and ideas are explored on the record?

Lots of upbeat tunes to get you dancing but, also, some drowning-in-synths sci. fi. moments. Our own version of the 1980s power-ballad is absolutely on the cards!

Your music celebrates the best of the 1980s and the glory of dance! Is it a decade you are all fond of - and what is it about the 1980s that attracts you all?

We were all bought up on 1980s music and it's a decade that has heavily influenced all of us in style, music and fashion! It was just a time where music really pushed boundaries: a decade full of colour and fun - and a lot of leg warmers and big hair! 

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It is rare finding artists who marry the 1980s and modern sounds. Do you feel modern music lacks invention and colour?

There's actually a revival of 1980s sounds and music going on which we are very much enjoying!

But, also, there's never been a more diverse time in music than right now! Although we love our genre and are ready to bounce in the gap in the industry; we also have a lot of respect for many artists out there!

End of the day: if you're creating music and embracing your talent, we are fans! 

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Natalie. I have known you (and your music) for a long time. How does it feel transitioning from a solo artist to a trio? What are the main differences?

To be honest, the main difference is the amount of sarcasm and rude jokes I hear on a daily basis! Joking aside; after writing with these guys for over eighteen months and, after releasing Live in Love, it just felt like a natural transition. We all have a really good giggle during sessions/gigs and I love working with them both.

It's also great to have two other people's opinions and be able to bounce ideas off each other! 

What is an area like Reading like for a new act? Do you rely a lot on London and its venues – or is there an active local scene?

Reading is a great place for acts starting up.

We have a lot of local music venues/events that really support local bands. We also have a strong BBC introducing presence – and, of course...the amazing Reading Festival! 

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IN THIS PHOTO: Tiny Giant

Which new artists do you recommend we check out?

Well…apart from L.A.D?!

Tiny Giant; NINA and The Romances are great new artists!

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IN THIS PHOTO: NINA

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

Well. Currently, we're focused on working on the album; perfecting things and (just) making music.

There are a lot of announcements coming soon in regards to gigs...

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

Jack: Whatcha Gonna Do for Me - Chaka Khan

Amazing combination of musicianship and, at the time, revolutionary synth. work and production. 

Natalie: That's so hard! Either Immaculate by Madonna or Whitney Houston (by Whitney Houston)

Both these albums were massive influences on me growing up - as a singer as well as becoming an artist. I could, literally, listen to both of these albums on-repeat all-day, every day! Both are strong artists who were never afraid to be themselves. 

Luke: Justice - Cross

The first fully-Electronic album I ever loved. It really was a game-changer in regards to musical direction! 

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

It sounds cheesy but (just) make the music you love. Be true to yourselves as artists and, as long as the music is making you happy, then keep doing it!

Never take ‘no’ for an answer! 

Christmas is approaching. Do you all have plans already or will you be busy working?

Working on the ultimate Christmas 1980s classic....obviously. Haha

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).

Object of My Desire – Starpoint

How Will I Know - Whitney Houston 

Peter Gabriel - Big Time (it's a banger)

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INTERVIEW: Jasper Wilde

INTERVIEW:

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 Jasper Wilde

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IT is interesting learning more about Jasper Wilde…

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PHOTO CREDIT: Ariel Majtas

and how he arrived in London. The Cannes-born musician discusses his charity work with Key Changes and his involvement with Salute – how they are impacting him and providing nourishment. I ask him about his upbringing and the artists that have inspired him; whether he is working on anything new – and why he is flying to Miami in November.

Wilde reveals his route into music and whether he fancies time in the U.S.; how his week has been – and those crucial records that have settled deep in his heart.

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

I’m very good.

My week has been full-on with photoshoots, planning and producing music over at the charity, Key Changes - a music recovery service working for people with mental health problems.

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

My name is Jasper. I’m a twenty-four-year-old Frenchman from Cannes. I’m a multi-instrumentalist, artist-producer…

I’d say that my main instrument is guitar - but I realise that bass and keys are the ones I use a lot right now.

I also play talk box.

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What are you working on at the moment? Can we expect any new material before the end of the year?

I’ve just finished a song with a spoken-word/rapper from Brixton that I met through the charity work that I do.

It’s coming out in November - so lots more photos to be taken.

Talk to me about Salute and your involvement with that?

I heard about the competition from a friend.

The prize-money is incredible and as it’s so hard, money-wise, in the early stages of being a musician; it could make a huge difference to my life - it’s great to see a company doing so much work and promotion of new artists like this.

I think the website and app. are really cool and the standard is really high…I just hope I can win!

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You’re based in London but come from Cannes. Why did you move from France and what are the differences in terms of the music and people?

Yes, I am. I did a year in Medicine at the Université Nice Sophia Antipolis but realised music was the only thing that mattered to me. So, I moved to London to improve my English and dedicate 100% of my life and time to music.

French music is great but it is in French - I love my country and my roots but feel that English sounds better sang (than French). I also want the whole world to connect with me as an artist - which makes it a lot easier singing in English.

In France, there’s not a lot of space for international artists (or French artists singing in English), unless you’re Beyoncé. So, when you’re starting up, it’s not the easiest process and everyone wants you to sing in French (as we know French radio plays, mostly, French artists).

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As an artist; you play all the instruments and produce. When did you first pick an instrument up and do you prefer having musical autonomy?

I couldn’t, obviously, remember as I was two-and-a-half-years-old - but there’s footage of me with my grandpa playing nursery rhymes on the piano. I, then, saw my uncle playing electric guitar for my birthday - when I was ten - and was blown away; so I really got into it then. I started copying him on an old crusty upside-down guitar - as I’m left-handed - and, shortly after that, my parents bought an electric guitar.

I think learning as much as you can is really important – it doesn’t mean you have to do everything. But, knowing what you can and cannot do is key to me.

I did prefer having musical autonomy but, now that I practised so much and know what I can do, I feel confident and comfortable having someone else involved in the process

I believe Jimmy Douglas has invited you over to Miami. How did it feel getting the news and what will you two be doing?!

I was just over-excited!

Speaking to him on the phone was just weird and so cool at the same time. He’s so chilled as well. We, first, are going to meet, for real, in November, in Miami; then, do some writing and see where the music takes us. Just being in a room with him will teach me so much: it’s a process that you can’t predict, though - but there’s definitely something bubbling...

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Have you been to the U.S.? Is that a market you want to get into?

Yes, I have. I went to L.A. for three months last year...well, who wouldn’t want to get successful in the U.S.?!

That’s also where the music I love is coming from…

I want to know more about the charity, Key Changes. How did you come to work for them and why is it so important being involved with them?

Key Changes is a charity that provides one-on-one professional studio sessions for people who are mentally ill (from hospitals and prisons). I got introduced to it by the person I work with every day as she is one of the trustees.

It completely changed my life. It is important to me as it’s another way of learning - you have to be fast, creative and make them feel comfortable by doing what they want; not what I want. It’s nice to not think about yourself every now and then, as we know, doing what we do as artists can be lonely and very stressful. It opened up my mind.

At some point, I felt like a horse with blinkers - which you have to be, I think, when learning your craft; like a geek in a way. Now - since I’m doing this charity work - I see in 3-D…and more opportunities come along.

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It’s so great, as well, seeing those who have had a pretty rough journey open up and express themselves - and their experiences with their lyrics and music is an incredibly healing gift.

In terms of the music you were brought up on; which artists stick in your mind from the early years?

Michael Jackson, Prince (and) Kool & The Gang at every house-party my parents were putting on.

It was almost the rule! Haha.

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IN THIS PHOTO: Charlie Puth

Which new artists do you recommend we check out?

One of my favourite new artists is Charlie Puth. I completely connect with him as he produces, writes and play on most of his songs.

I feel like our parents played us the same music.

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

Not at the moment - been busy writing new material.

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

Michael Jackson – Thriller

I, basically, learned most about my own producing from this album. I watched so many videos and interviews about the whole process - It’s just incredible. Quincy Jones, Rod Temperton and Michael Jackson had such a big impact on my production and way of writing music. I actually met Rod Temperton, once, at the Jazz Café and we had a chat.

It was weird talking about ‘Michael’, as he would say, and talked about a couple of the songs that weren’t released and why. Too weird. Haha

Justin Timberlake – Justify

It’s the perfect follow-up from Thriller, for me, to learn production (which is why meeting Jimmy Douglas and working with him soon is so exciting). Every second of this album is amazing: I've probably listened to it 10,000,000,000 times. It doesn’t even sound dated - and it’s sixteen-years-old.

I just love it.

AC/DC - Back in Black

I started to learn guitar from this album. Angus Young was my hero at the time. It’s Hard-Rock - but they still add a bit of groove to it.

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

Determination, self-belief; resilience: you get eaten up, otherwise. Also; find out who you are: authentic artists are the ones the public like the most...

So; BE YOU!

Christmas is approaching. Do you all have plans already or will you be busy working?

I will be working until Christmas week, where I’ll go back home down in the South of France for a bit, celebrating with the family.

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).

Hmmm…

It’s hard...but I’d say Don’t Stop 'Til You Get Enough by Michael Jackson  

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Follow Jasper Wilde

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INTERVIEW: Skye Wallace

INTERVIEW:

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PHOTO CREDIT: James Burrows

 Skye Wallace

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A lot of my time is being spent documenting and…

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ART CREDIT: Greg Maxwell

featuring great Canadian artists. I am not sure why I am popular there – never good questioning or speculating – but I am very glad Skye Wallace has come to my attention. She talks about her awesome new single, Scarlet Fever, and what comes next; the advice she would offer new artists - and whether we can see her in the U.K.

I ask Wallace about her musical background the artists she followed; when music came into her life – and the three albums that mean the most to her.

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

Pretty good! 

We're on the road right now - playing in Montreal tonight!

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

My name is Skye Wallace; I'm a Toronto-based artist who does a Folk-Rock-tinged-with-Punk style of music.

Scarlet Fever is the new single. Is there a story behind it? Tell me more about the song…

The song is (about) a love story set in the Yukon.

After a winter apart; Scarlet is arriving in the Dawson City harbour by boat and her lover awaits on land - petrified with uncertainty over the state of their devotion. It's based on a true story - I tried to evoke the messy turmoil of love and lust with the energy of the song.

The song is quite energised and high-octane. Was it an easy song to get down on tape or did it go through various stages?!

Well, this particular version happened very organically.

I had great players, a great space and a relatively clear idea with room to play. However, this isn't the first version. We first recorded Scarlet Fever as quite a different song that was released as a bonus track on my 2014 release, Living Parts. Check it out, if you're so inclined! 

I always love hearing the processes of creative projects.

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PHOTO CREDIT: Nelson Mouëllic

Is there going to be any more music coming this year? What else do you have planned for 2017?

I'll be releasing another single in early 2018 along with a full album later in 2018 - which I'm really excited about.

The remainder of 2017 is finishing up this tour then touring the East Coast of Canada for November; then seeing some West Coast action in December.

Then, it's down to more recording!

Do you remember when music came into your life? Can you remember the first song you heard?

I was pretty obsessed with Randy Travis when I was three or four. I carried around the tape everywhere: I went and knew all the words (phonetically at least). Everyone in my household had a great love of music, especially, my mom's side of the family - being from Newfoundland.

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PHOTO CREDIT: Steven

Who are the musicians you followed and were captivated by as a youngster?

I was obsessed with a bunch of different artists but the standouts I can think of now are Neil Young, The Weakerthans; Against Me, Patti Smith; Brand New and Tom Waits.

Looking back on the year (so far); what has been your fondest memory so far?

The tour I did of Italy and Germany (in May) was full of good times and crazy moments; beautiful sights and dope shows. The only bad thing that happened was an old Italian man likened my super-pasty legs to mozzarella. 

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PHOTO CREDIT: Jenny Ramone

Which new artists do you recommend we check out?

I'm on a huge Big Thief kick at the moment. Definitely, check them out.

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

We're in Montreal tonight at The BOG then Toronto, tomorrow, at The Cameron House back-room. We'll be announcing the East Coast tour dates early next week - so keep tabs on the socials! 

I'll be posting soon! 

Do you have any plans coming to the U.K.? Have you performed over here at all?

I haven't yet but, with the new album coming out, I'm working on coming over at least once….it's always been a dream. 

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PHOTO CREDIT: Nelson Mouëllic

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

Brand New - Deja Entendu

Brand New really changed me when I was in high-school. This one is everything I want out of an album...

The Weakerthans - Left and Leaving

The Weakerthans are my all-time favourite band and this record was the first I heard. I remember being extremely affected, emotionally and creatively, when I discovered this.

Tom Waits - Rain Dogs

My mom sat my brother and I down in the car one day and told us we had to listen to Rain Dogs. It started with Singapore, and we were like: "Mom, what the heck is this? He sounds like Satan." She told us we'd learn to love it - and we did.

It was a huge inspiration for me when I first started experimenting with writing my own music.

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

Just keep going.

Sometimes, it seems like you're just treading water and not making any headway. Stick to your own thing you're doing - there's no point in trying to fit the confines of what already exists. In order to do make your thing happen, it often takes time…a lot of time.

You just need to keep going and keep believing in your art.

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PHOTO CREDIT: Nelson Mouëllic

Christmas is not too far away. Do you all have plans already - or will you be busy working?

I'll be hanging out in Vancouver; playing shows in the area - but also doing some chilling with family and friends!

Are there chances for you to detach from music? Do you have any hobbies outside of music?

I have plans to get back into curling this winter.

I curled for eight or nine years and love that sport. I grew up behind a curling club because my grandfather ran the club and made the ice - so it's near and dear to my heart.

Stoked to get back into it.

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Follow Skye Wallace

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FEATURE: London Grammar: Capital Letters and Punctuation

FEATURE:

 

London Grammar:

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 Capital Letters and Punctuation

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YESTERDAY, I wrote a feature about King Gizzard & The Lizard Wizard…

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for a couple of reasons. The first (reason) is because they are an Australian band who deserve a much larger following – they are still under-the-radar here and seen as a quirky option. More than that; I wanted to examine the way the seven-piece band reinvent themselves on each album. Whether they are coming up with time-related concepts and acoustic patterns; microtuning and infinite loops – an album where the final track led straight to the opening one (thus, creating a never-ending record!). I hope more people do tune into King Gizzard & The Wizard Lizard’s wavelength and discover what they are all about. The second piece is concerned with London Grammar. They are a trio I have been following since their debut and noticed a change in them. I will look at both of the Nottingham-formed band’s albums and what impact they have made on music. I want to feature Hannah Reid’s voice which is a thing of rare beauty. The main reason for writing this piece is to highlight a group who were put in the spotlight from the off; the relentless touring meant the trio almost split; the critics were expecting a quick follow-up album – putting a strain on the ranks. Hannah Reid, the lead and alluring siren, is at the centre and the focal point of London Grammar.

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For anyone who was unsure whether successful and ambitious artists felt strain the pressure of music – they could do well to the listen to the words of Hannah Reid. I will source a couple of interviews she has recently conducted that show what a transformation London Grammar underwent between albums. Back in August; Reid spoke with the Sydney Morning Herald about the band’s crisis-point. She spoke about touring Australia and Japan and the moment she decided things were getting too tough:

"We were going to Australia and Japan, and the trip was we had two days at home and we were meant to fly to Japan, go and do a show, turn around and get straight back on a plane and fly to Australia," she says. "And I was so exhausted by then, I didn't even turn up at the airport. I was like, 'I just can't. I can't. I actually cannot get out of bed.' "

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The interview looked at the critical success of their first album, If You Wait, and how big the trio got. Asking Reid how they coped with that – and whether it was expected – she provided her opinions:

"You can't ever anticipate what's going to happen, but we were just so young at the time," Reid says. "I think it happens a lot: you're kids when you start out and you make something really special. It was amazing, but we did need a bit of time at home afterwards, for sure”.

That period (following the debut album) saw continuous touring and strain. It would be hard for established and experienced acts to cope with that demand but for London Grammar – new kids off the block – it was a real eye-opening experience:

"It took us about 18 months and it was really hard," Reid admits. "There was a lot of pressure – I think naturally there always is, for a lot of artists that have successful first albums and want to make a second. But it's probably another learning curve; by the end of it we realised, 'You know what? You can't think about it or you're not going to do your best work.' And I think that's another lesson to take forward!" she laughs.

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"I think I both grew as a writer and also shrunk away. I think there are some amazing songs on the second album that I really love, but I view this second album as the stepping stone to our third one. We wanted to find a new sound and there is a new sound in it, but it has the potential to be really, really amazing but it's not quite there yet. That's how I view it."

The debut album was released in 2013 and, until this point, the trio had been airing the material and preparing the bones of their second album, Truth Is a Beautiful Thing. Not only can the physical demands put a strain on the personal relationships of the band but something more precious was compromised: Hannah Reid’s voice.

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That might sound glib but Reid’s singing voice was there before she met Dot Major and Dan Rothman: it will be there after the trio, years down the line, go their separate ways. It is the beating heart of the music and leads everything. It is obvious so many gigs would compromise the structure and safety of the voice. For Reid, who was already suffering anxiety and fatigue, that physical weakness would add pressure to an overworked voice. London Grammar are a perfect example of a popular group pushed to the point of breaking, Reid, in the same interview, explained how the level of expectation meant she carried on singing without a thought – not wanting to disappoint the fans:

"I had really bad muscular problems – surviving through that was difficult, because I was really worried about the damage I was doing," she says. "And you don't want to let down fans and to have people who want to listen to your music and have bought tickets – you want to do it and you want to do it to the best of your ability. And that's the mistake we made ... You know Sam Smith, he haemorrhaged a vocal cord; it's happened to a lot of singers.

"It's difficult to be a good singer and also be on the road."

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A few interviews surfaced around the time of the second album’s announcement/promotion. The trio were discussing how they had changed since the debut and the reason they had taken such a long time to complete their second album. Speaking with The Guardian; the guys talked about the strains and adventures when London Grammar were on the road:

“It was a whirlwind. You’re just holding on for dear life, really,” says Rothman, a chatty, trainer-addicted north Londoner, before recalling the time their tour bus broke down during a 12-hour journey from Toronto to New York to appear on the David Letterman show. A local taxi driver got them to the studio with seconds to spare: “She was like the Wolf in Pulp Fiction – she knew exactly when the traffic lights would change,” he laughs.

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Hannah Reid talked about her stage fright and how the fatigue really got to her:

“The exhaustion really kicked in for me after a year,” says Reid, a friendly but unshowy frontwoman. Her battle with stage fright has been widely reported, but the effects of success were physical as well as mental. “I spent the second year pretty much just hanging by a thread – I didn’t really know what was wrong with me. Then I just got used to feeling that way and I was like: ‘I must have some kind of illness, I must have chronic fatigue syndrome.’ I got tested for a whole bunch of stuff, it got kind of weird. My liver wasn’t working properly even though I was completely teetotal.”

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The idea of control and creative expression was discussed. The group looked at how much of a say they had when it came to touring; days off and the limits they go to in order to satisfy the fans:

“The thing about touring is that young artists don’t always have much say or control,” Reid says. “You’re quite naive. You say: ‘Yeah, I want to do everything.’ And you want to please everyone. You’re so grateful, but you get sick at some point because everyone does. You have to cancel stuff, and then that has to get rescheduled. It can very quickly go from being manageable to snowballing into the kind of schedule that can end up wrecking your voice. The worst thing about it is disappointing the fans,” she pauses. “We’re going to do things differently this time.”

It is understandable there was a great weight of expectation and love following London Grammar’s debut album. If You Wait sat in a music world, in 2013, when there was a need for dreamy Pop and soulful blends. Many noted, when the album arrived, the comparisons to The xx and Florence and The Machine. After the band signed with Ministry of Sounds and Big Life Management; the album’s first sessions began in 2012 with Cam Blackwood. Tim Bran and Roy Kerr replaced Blackwood and the trio, assessing the switch, felt it was a natural and ‘right’ unity.

Many sources saw If I Wait as a quarter-life-crisis album because Reid, in her early-twenties, was looking at failed relationships and assessing her lot. The idea of self-assessment and introspection is not a new thing: the power and extraordinary beauty in Reid’s voice elevated the songs into near-operatic and mesmeric things. It was interesting reading the composition/lyrics breakdown on the album. Reid wrote the lyrics for most of the songs: the trio collaborated on the music for most of the tracks (Reid tackled a few on her own; Rothman co-wrote the lyrics for Flickers; the trio brought in one or two others for some tracks). Crepuscular, after-the-bar-closes mystique and moodiness crackles with tense beats and haunting electronics.

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Rothman and Major bring atmosphere and incredible scores: Reid provides husky, otherworldly vocals. It is hard to describe the potential, soul and limits of Reid’s voice. It seems mystical and goddess-like; it rises and swoons. It must have taken years to hone but on London Grammar’s debut, it was laid out on songs that talked of wasting youth and unsure love. Even when talking of love; London Grammar managed to bring to elevate it into something divine and spiritual. The album entered the U.K charts at number-two and made them an instant success. It was invariable touring and demands would follow a blockbuster of an album. Whether you see Reid’s voice as the star – or the combinations of all three – one could not deny the chemistry and friendship of the trio. That was almost broken (it was certainly tested) given the popularity following If You Wait.

Many, myself included, asked where London Grammar had gone after their debut. It took four years before they announced a new record. That is a hell of a long time for an act to follow up on a debut. Many could have gone elsewhere but it was what was happening behind the scenes that affected the timing scheduled. They were thinking of new material but were so busy touring their introductory album. Rooting for You was the first single from Truth Is a Beautiful Thing. Released in January; it charted but was not a big success. Big Picture followed a month later and was a minor success. Subsequent singles were unveiled but none reached a high position in the charts. London Grammar’s second album features ten producers in total and there are quite a few bodies in the mix.

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Happily, the trio takes to writing the material themselves (aside from the odd co-write) and step away from the Pop of their debut and bring in new elements. Compare reviews of both albums from a common source, AllMusic:

“Once again, vocalist Hannah Reid takes center stage with her powerful, angelic instrument, which can stir the soul at the smokiest depths before jolting everything to the heavens in a fashion much like Florence Welch or Annie Lennox. Dan Rothman and Dominic Major provide lush accompaniment to Reid's voice, creating a gorgeous cinematic landscape that ranges from dreamlike wisps to fully enveloping grandeur. The first half of the album takes time to pick up, as Reid slowly eases listeners into "Wild Eyed," an expansive moment that recalls 2013's "Hey Now." The thumping heartbeat of "Oh Woman, Oh Man" gives the band equal time to shine. Other highlights include the throbbing "Non Believer," the uplifting Florence-esque "Bones of Ribbon," and the sweeping "Leave the War with Me." These tracks provide a much-needed jolt of energy to balance the album's other quieter moments, which tend to lull the listener into a dreamlike haze. While it's an overall relaxing experience, Truth Is a Beautiful Thing is never boring; it's a comforting and often heartbreaking listen that really gets under the skin, especially with Reid's emotive delivery”.

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PHOTO CREDIT: Mads Perch

That was the assessment of Truth Is a Beautiful Thing by Neil Z. Yeung. Look at Scott Kerr’s review of If You Wait - and some similarities come in:

“With obvious nods to the unfussy, reverbed guitar motifs of the xx, alongside Hannah Reid's beautiful, emotive vocal ability -- which rises and falls with an alarmingly disarming effect -- the album is a practice in refrain, where each song is pushed to the brink of an inevitable climax and achingly, no further. The percussive production, synths, and basslines provided by multi-instrumentalist Dot Major, build on this sense of drama and urgency and are displayed perfectly in one of the highlights of the record, "Wasting My Young Years."

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Its throbbing chorus is chastened by the slow-burning synths and guitars that come together with stunning results when coupled with Reid's vocal delivery. The obvious confidence Reid has in her own voice belies the apparent vulnerability in the words she sings throughout, and the piano ballad "Strong" is testament to the loneliness and heartbreak that encapsulates the brooding feel of the album, which conflicts with the almost upbeat, danceable moments scattered amongst "Flickers" and "Stay Awake." They pay homage to their electronic influences mid-album with a rework of Kavinsky's "Nightcall" that unfolds gently into one of the most boisterous cuts on the record. It's no surprise that Reid's strong vocals are at the forefront of London Grammar's sound, and her voice dominates their music in much the same way as Florence Welch's does in Florence + the Machine”.

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Consequence of Sound, when Zander Porter reviewed If You Wait, had this to say:

“Although The xx parallels are undeniably forthcoming, London Grammar’s innovative combinations of vocal and instrumentation are a unique, necessary progression. Though maturity may not be on the trio’s side, If You Wait argues that staying tuned is vital and that patience is a virtue, and one that seemingly will pay off for Reid and those anticipating what comes next from London Grammar”.

It was the sense of déjà vu and familiarity that crept into reviews of Truth Is a Beautiful Thing. Andy Gill, writing for the Independent, highlighted some concerns:

“Though by no means worthless, Truth Is A Beautiful Thing offers such negligible advances over London Grammar’s debut If You Wait that it’s hard to imagine what they’ve spent the intervening four years doing, besides shovelling cash into bulging accounts...

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...They’re effectively the Sade of their day, mining a tightly-circumscribed format built around a distinctive, elegant vocal centre, to repeatedly similar effect. Despite the clarity of her contralto and the folksy elisions evoking echoes of Sandy Denny, Hannah Reid seems forever emotionally distant, even when keening and whooping through “Wild Eyed”; and the spartan arrangements created by her bandmates only occasionally develop persuasive emotional momentum, as on the string-laced anthem “Hell To The Liars”. Likewise, the lyrical themes of romantic regret and existential uncertainty – epitomised in the line “I’m scared of loneliness when I’m alone with you” – merely reprise the concerns of If You Wait. It’s pleasant enough, though listeners may experience a twinge or two of déjà vu”.

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Personally, I prefer the debut but find much to enjoy in the trio’s second album. I feel they have many albums ahead of them and will continue to evolve and grow as their careers continue. Maybe there has been too much pressure on them: following their debut; they were set on the road and were keen to please demands and do as much as they could. Whilst their second album is exciting; it does not quite have the same magic and potency of their debut. Reid’s voice is as majestic as ever but it deserves a wider range of material and room to manoeuvre. Maybe there is a commercial demand to have the trio repeat the debut and not stray too far from the path. I feel London Grammar will produce a career-best third album but I wanted to highlight them as an act that suffered from the brightness of the spotlight and the demands from the label.  

I will finish shortly but wanted to bring in an interview the group conducted with NME back in March. They were asked about touring and how the sounds differ on their latest album:

“Turning to the ‘sound’ of the new album, Dan says fans can expect it to be ‘less moody than the first record’. “It’s maybe less ‘samey’,” he admits. “We’ve tried to provide more variety.”

“We’ve expanded on the filmic, cinematic aspect,” says Dot. “That’s maybe something that’s consistent throughout the new album, but in terms of what’s going on in different songs it definitely varies a bit more.

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 “The live experience should always feel slightly different to an album in general. The only thing that is different if that we’ve been informed by the experience of actually doing it. Sometimes it would feel so mad to have a section like that at the end of ‘Metal & Dust’, where we were worried that it might have been too far removed from what we actually are as a band. Having experienced that live, it slightly relaxes the band.”

I worry, given Reid’s vocal/muscular issues and stress/anxiety – not forgetting her stage fright – there is still too much pressure being put on the group. The trio’s friendship almost broke when they had to cancel gigs (owing to Reid’s fatigue) and the frontwoman has been put under immense strain since the debut. It seems like they are on a more solid footing and have less stress in their life – one hopes that will not reverse when they tour their current album internationally.

They have a huge following in Australia and, although that has created a huge fanbase and airplay, it means long flights are inevitable. I hope the trio manage to stabilise and in a calmer headspace; that things get on a level footing and they are able to produce and tour music on their own terms. The tale of their first album – and the madness and fracture that occurred afterwards – should act as a warning sign for any label/artist put in a similar position. It is still early days for London Grammar but, if they are able to find a perfect work-private life balance, then they could well be one of the most successful and inspiring acts…

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WE have heard in years.

ALL PHOTOS: Press/Getty Images/London Grammar (unless stated otherwise)

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

FEATURE:

 

Globetrotting (Part Four):

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 IN THIS PHOTO: Miss June 

Thirteen Artists to Watch

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THE penultimate edition of Globetrotting…

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IN THIS PHOTO: Janie Bay

takes in talent from nations like Italy, South African and Israel. There are a couple of British acts and artists from the U.S., Canada and Australia; New Zealand, too – and fantastic act from Stockholm included in the mix! It is another packed edition and one that should give you food for thought. Among the sounds are tribal/African beats and fresh Pop; incredible Punk and some enticing Rap. It is a weird and wonderful blend but it shows the breadth and depth of talent around the world.

Let’s hope there is something you like and can get your teeth into…

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Pikachunes

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PHOTO CREDIT: Coco Campbel

Location: Melbourne, Australia

Genre: Pop

Essential Song: You Are

Follow: http://pikachunes.com/

Phoebe Hunt & The Gatherers

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Location: Austin, U.S.A.

Genre: Country

Essential Song: New York

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 PHOTO CREDIT: @mashbit

Location: Toronto, Canada

Genre: Yaya

Essential Song: Bedroom Fall

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Location: Pretoria, South Africa

Genres: Folk; Pop

Essential Song: The Way It Should Be

Follow: http://www.janiebay.com/

Jade Lathan

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Location: Detroit, U.S.A.

Genres: R&B; Soul; Electronica; Pop

Essential Song: Guala

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

Steve Buscemi’s Dreamy Eyes

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PHOTO CREDIT: Ola Lewitschnik

Location: Stockholm, Sweden

Genres: Dream-Pop; Indie

Essential Song: Call Out

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Location: Forster, Australia

Genres: Folk; Pop; Electro

Essential Song: Fool’s Gold

Follow: http://www.jackrivermusic.com/

Monowhales

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Location: Toronto, Canada

Genres: Indie; Pop

Essential Song: Take It Back

Follow: https://www.monowhales.com/

Liberty Ship

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Location: Sheffield, U.K.

Genres: Rock and Roll; Alternative

Essential Song: Cast Away

Follow: http://www.libertyshipband.com/

Fabri Fibra

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Location: Milan, Italy

Genres: Rap; Hip-Hop

Essential Song: Fenomeno

Follow: http://www.fabrifibra.it/

Quarter to Africa

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PHOTO CREDIT: Amit Ofek, Boaz Samurai; Guy Trefler, Ariel Efron and Haim Yafim Barblat

Location: Tel Aviv, Israel

Genre: Afro-Arab Funk 

Essential Song: Connect

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Location: New Zealand

Genre: Punk

Essential Song: I Don’t Wanna Be Your Dog

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

Desperate Journalist

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Location: London, U.K.

Genres: Alternative; Pop

Essential Song: Be Kind

INTERVIEW: Titus Makin

INTERVIEW:

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 PHOTO CREDIT: Michael Morgan 

Titus Makin

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HE is based in Los Angeles…

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 PHOTO CREDIT: Michael Morgan

but has links to Georgia and Arizona. I talk to the U.S. star Titus Makin about his new single, Ropes - and shooting its incredible video. He discusses his connection with God and how faith connects with his music; whether there are going to be more songs in the approaching months – and the artists that have inspired him already.

I ask about touring and if we can expect him in the U.K.; how he balances his acting career – he appeared on shows like Glee – with the demands of music; what advice he would offer anyone starting out – and whether he has plans for Christmas.

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

Mine has been great! Hope yours has been as well!

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

I’m Titus Makin; a Pop artist and actor. If you like Pop music with Soul undertones, I'm your man! L.o.L.

Ropes is the new single. Tell me about its story and how it came together?

I was honestly just with my producer/co-writer (Jake Scott). We heard a Maroon 5 song and wanted to write something in that tempo. Then, I started sharing with him how difficult it can be to not fall back into old habits and sharing how much it means for me to stay near to God - "Keeping me on his ropes" (not letting me stray away due to my own selfishness) 

The video looks like it was an interesting experience. What was the shoot like and do you enjoy filming videos?

The shoot was a blast!

I love the creative process of doing a music video. It was my first time having backup dancers - which added a beautiful energy to the song and final picture.

Will there be an E.P. or more material coming soon?

YES. I’m working on an upcoming E.P. - now titled LEAN - which will also feature Ropes and an upcoming single, Good Love.

You are an artist from Arizona. What is the music scene like there and were there any local artists that inspired you when you were younger?

Due to me being a military brat; I'm not too versed on the music scene in AZ; but throughout high-school, I definitely met some phenomenally talented vocalist.

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 PHOTO CREDIT: Michael Morgan 

How important was your time at the New York Conservatory for Dramatic Arts? What are the most important lessons/things you learned whilst there?

It was very important for me, personally.

I started going to school there very young so I had a lot of maturing to do before I could get out on the battlefield of entertainment. By the time I graduated, I was well equipt with the technical and historical side of acting. I also learned not to drink too much while I was there: it can have pretty intense, damaging effects. 

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PHOTO CREDIT: @chrislabadie

In addition to music, you have starred in shows like Glee. Has time in T.V. shows like Pretty Little Liars helped your music - and is there a connection between acting and music?

Acting has definitely helped my music by me being able/willing to be more vulnerable (in writing session and just connecting to my music as a whole). Also; just comfort in front of the camera in general.

Will we be able to catch you on any other shows this year? Is it hard balancing music and acting?

Yes. I'm currently filming a show - that I have been blessed to be a part of - called The Path (on Hulu). I play a character named Caleb Matthews. Season three will start airing early-2018.

Talk to me about your musical heroes. Who are the artists that mean most to you?

I get so inspired by Lenny Kravitz, Pharrell Williams; Adam Levine and CeeLo Green. All of these gentlemen really showed how going against the grain of what the industry may have wanted from them can be beneficial - if you believe in your artistry and what you have to say.

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 PHOTO CREDIT: Michael Morgan

Which new artists do you recommend we check out?

A good friend of mine, Davie, is a new artist with some FANTASTIC music.

What tour dates do you have coming up? Any U.K. dates coming up?  

I wish! Show dates to be announced soon.

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

Usher - 8701

Because it was the real first album I owned and memorized.

Imagine Dragons - Smoke + Mirrors

Because it was my anthem and mood/energy boost for countless days once it was released.

Glee: The Music (all volumes)

Just because a lot happened during that time of my life (being on Glee) - so many songs have tons of amazing memories attached to them.

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

Believe you're able, believe you're enough; believe in God. Don’t let anyone make you inferior about the talent you have to offer.

Christmas is approaching. Do you all have plans already or will you be busy working?

Thankfully, a lot of the industry shuts down during the holidays; so my plan is to head back to either Arizona or Georgia to be with family.

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

I’m currently obsessed with Thunder by Imagine Dragons

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Follow Titus Makin

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FEATURE: Natural Selection: Why Music from Our Childhood Stay with Us

FEATURE:

 

Natural Selection: 

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PHOTO CREDIT: iStock 

Why Music from Our Childhood Stay with Us

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I could have named this piece 'Teenage Kicks' but that…

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IN THIS PHOTO: Cerys Matthews/PHOTO CREDIT: BBC Radio 6 Music

might have, either, made you think of The Undertones or masturbation – neither are what I am aiming for here! It is said – by psychologists and the consensus – that we cannot remember anything older than the age of two. My memory is shocking and, lumbered with depression, my recollections are near-senile-levels of uselessness. I can see a person walk into a room and, seconds after they leave, not remember the colour of the top they were wearing – or what they said and most of the conversation. Some people have extraordinary memories but most of us will be in a similar situation. We only recall brief details from interactions and none of us will have any clear memories when we were a toddler. My first-ever memory was musical – I will talk about that, soon – but, in terms of clear and vivid recollections; most of mine are from childhood/early-teens. Psychologists can recondition memories regarding those who suffer trauma or P.T.S.D. – adapts the harshest images and removes the negative kernel. You do not strip the reality but modify the apex of fear and disgust; so that it is less traumatic when thinking back. Social media has changed the way we think and remember. We have search engines and get our ‘facts’ from the Internet. It changes the way we remember our lives and means now, in an ultra-high-tech age, we do not really need to retain facts and figures – we have a handy knowledge bank that means we have no need for intellectual retention.

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It is interesting and, as I type this, there is a fascinating show on BBC Radio 6 Music with Cerys Matthews. Check the website and you will hear her talk to guests and artists about music and memories. It is what compelled this spark and got me thinking about music’s power and endurance. Matthews’ show is in conjunction with a BBC Radio 3 who feature neuropsychologist Dr. Catherine Loveday; who explains the psychology that connects us with the music from the past – it is an experiment being tested at the University of Westminster and BBC Radio 3 listeners. In the piece, she provides some fascinating insights:

“The brain’s memory systems are at their most efficient during late adolescence and early adulthood. We also experience many things then for the first time, which makes them particularly memorable. But the key reason that we return to songs and anecdotes from this period of our lives is that they remind us who we are. It is during these formative years that we make many crucial life-changing decisions, initiate significant long-term relationships and establish the cultural and political beliefs which form our identity.

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 IN THIS PHOTO: Dr. Catherine Loveday

When people are asked about music that is important to them, they often favour songs that are associated with influential times, places and people – maybe their first holiday away from parents, a pivotal encounter with their future spouse, or a moment of self-discovery. One music producer I know, for example, chose Two Tribes by Frankie Goes to Hollywood, citing it as the sole reason that he decided to become a sound engineer. Songs connected to weddings, births and funerals are also very common, as are cultural references.

One possible reason for the strength of the musical reminiscence bump is that people tend to listen to more music during this period of their lives. Music has an intrinsic capacity to regulate emotions: what better way to manage the emotional rollercoaster of puberty than to wallow in Leonard Cohen, dance to Michael Jackson or chill out to The Orb?

These songs naturally become embedded in our important memories, both positive and negative. In our experiments, people regularly choose songs that they have listened to during sad and difficult times, as well as those linked with better experiences. These tunes seem to offer an important reminder of the emotional light and shade that give life meaning.

Music also plays a fundamental bonding role in many adolescent relationships, whether with family, lovers or friends. In our analysis of Desert Island Discs, we found that one of the most frequent reasons for a guest’s record choice was that it reminded them of a specific person, often a parent or a partner.

It has even been suggested that there may be a “cascading reminiscence bump”. The music psychologist Carol Krumhansl has shown that teenagers have superior recognition for songs that come from their parents’ and grandparents’ reminiscence periods. So maybe my son’s love of The Beatles reflects my own fondness of the Fab Four, which in turn stems from my parents”.

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Every one of us has different perspectives and recollections of music; how it affects us and why we retain certain memories. Does Classical music stay in the mind because it is more epic, fluid and grand?! There are no vocals – unless it is an Opera piece – and it is easier to bond with the elements and complexities. The fact the music has already survived hundreds of years means it has gravitas and potency. Is this why a lot of modern Pop escapes our mind – many design music that is instant but has no long-lasting effects? I feel too much of today’s music is concerned with a quick-fix and making that initial impression: many are not concerned with after-care and the longevity of what they create. Many of us remember what we choose to and dispense with everything else. I feel there is more to things that discarding the second-hand junk and treasuring the gold. I feel place and situation, mixed with quality, is responsible for the songs/artists that remain in the brain. I have written about this subject before – the music from my childhood more important than the music I hear now – and why memory and music are so intrinsic and complex. There is simplicity to be found: the best music and that which ties us to fonder times will always stay in the brain. I am listening to music (on BBC Radio 6 Music) and, whilst I am not a huge fan of the song itself, it instantly takes me to a particular time.

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IMAGE CREDIT: Getty Images

I have not heard Moondog’s Bird’s Lament for a long time but, when listening to it, I can visualise when I last heard it – the effect it has and all the sounds/smells present in that setting. As Matthews speaks from the Wellcome Collection; I am listening to the song that has just been played and how it has been translated and adapted through time. Moondog’s song was sampled by Mr. Scruff and has been sampled by others. The way new musicians preserve and evolve older recordings means classical favourites are making their way to younger generations – who will create their own memories of that song and, in a way, have a connection with the original. None of my musical memories centre on Classical music but it is a genre important to me. I am more drawn to the contemporary and modern sounds I grew up with and my musical memories start from about aged two. The main focus on this feature is the teenage years but my first recollection of music, and life, is hearing Tears for Fears’ Everybody Wants to Rule the World. I was a toddler and heard the shimmering introduction and powerful chorus emanate from the family kitchen. I am not sure why it is that particular song that made its way into my memory first but there was something about the production and sound that made it impactful.

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IN THIS PHOTO: Hannah Peel (who took part in the BBC Radio 3/BBC Radio 6 Music morning that looked at music and memory)

Other music memories formed but that was the beginning of it all. Childhood, in fact, was a pivotal time because of when I grew up. I was born in 1983 and lived in a very musical household – in the sense music was being played all the time. Being born in that year meant artists like Duran Duran and Michael Jackson would have been on the radio – although, I would not necessarily have remembered them that first time around. It was the exposure to my parents’ music that forged and started that love of recorded sound. I was brought up on The Beatles, T. Rex and Steely Dan – Kate Bush, The Bangles and The Rolling Stones were all in there. I think I can bond with the school of thought that suggests prolificacy and experiences cement certain times/sounds into the mind. I was exposed to so much music when I was growing up so it is only natural many of those artists remain in my mind – and that, in turn, compelled me to get more involved in music and listening. If the household were relatively mute then I do not think music would have played such a huge role this many years down the line – I would have moved to something else and might be a different person. When I was at school, those were the first real signs of independence and life. You do not have to take full responsibility for yourself but no longer are you the naïve toddler bumbling around without a care in the world.

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PHOTO CREDIT: Semonegna

It is a stressful and strange time where you meet new people and face the challenges of the educational system. Music was vital because it helped those harder moments but, in my view, was much stronger. The quality of sounds coming out in the late-1980s and 1990s was extraordinary. Then, we were not in the Internet age and exposed to so much music all the time. My experience with music was through radio and playground chatter. We had cassette players and would share tapes: a very different time where music and remembrance was more communicative and sociable. Kate Bush, I think, was the first icon to really stick in the mind. It was her unique edge and quality that got into the brain; the oddity and beauty of her music. The expressions and potency imbued within her music resonated and many other artists (of the time) did. I feel the music I remember from childhood is the very best we have ever heard. I remember little of the lesser chart acts and insignificant albums: all of my memories are of great and inspiring sounds of the day. We all have ‘trigger tracks’ that takes us back to specific times. Songs like A Good Heart (Fergal Sharkey’s version) and Super Trouper remind me of my late aunt; the Dance music of the ealry-1990s of middle-school and friendships. I feel circumstance and situation are more powerful than quality – when it comes to the songs we remember. I had a relatively happy childhood and school was not especially traumatic. The lessons and curriculum have faded – in the sense I have assimilated those lessons into my head and they have surpassed their practicality – but the music has not evaded me.

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IMAGE CREDIT: Getty Images

I can associate certain songs with very clear memories. One that comes to mind is a classmate getting on a chair (might have been 1992) and playing The Shamen’s Ebenezer Goode. It was a bold moment but one we all responded to with tribal dancing and chorus singalong. I have countless memories like that because it was a transformative and challenging time. Children have to take a lot in and it is a tough time: the first experience of stepping out of the household and interacting with other humans. There was, unfortunately, a lot of bullying in my early years. This is especially true of high school where I was subjected to physical and verbal torment. The perpetrators have all forgotten the times, I assume, but they are scorched in my mind. It was hard explaining and revealing the torture to my parents – the scars made dialogue inevitable – so music was a form of escape and comfort. The paternality and soothe of the music meant I could channel the fears, pain and upset of the bullying into music. I became more immersed and engrossed in music because it was a confession booth and silent friend. Many of us forget what we did this morning but can remember why we listened to The Beatles as a youngster. The longer-term memories migrate to a different part of the brain; musical memories are distinct and (evidentially) are kept in a part of the brain immune to the worst effects of ageing and dementia, let’s say. We discard the triviality of the ordinary day because most of what we experience is inane and insignificant. We remember the most harrowing and day-altering events but most of it is forgotten. Most of the music we grew up with gets lost but we instantly tie songs and artists to particular times.

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IN THIS PHOTO: The Beatles/PHOTO CREDIT: Hulton-Deutsch Collection/CORBIS/Corbis via Getty Images

There is a plurality inherent in music whereby we tie particular songs to memories – rather than people and conversation. I want to finish up by talking about the teenage years and the period from high school to university. It is beguiling when we listen to single notes and why certain songs come to mind quicker. We can hear a single second of one song and it instantly springs to mind: others, it takes other songs longer before they are identifiable. There might be something in the sonic make-up or the popularity of that song. One could spend hours debating music robustness and whether certain genres and styles make a bigger imprint. To me, all of my musical passion and strongest memories come from the time when I was a teenager. This is the period in our life when we take a more active role in music and start discovering it on our own – not as beholden to our parents’ tastes and hand-downs. I guess school and going from one to another is more memorable than other periods of our lives. These are the times where we all experience dislocation and new challenges. Music is the constant that follows us and is that universal bonding tool. Because I was older – and knew about school and how difficult it is to adapt to a new setting – it was especially hard going to high school. Although it was a mile from where I lived; it felt like another world. It was much more grown up and I feel, the closer one gets to adulthood and job responsibility, the more pressure you have at school.

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IN THIS PHOTO: My old high-school, Glebelands

My peers felt that pressure and, rather than sublimate it, we expressed that through discussion. Invariably, that turned to music and the best songs at the time. I entered high school in 1994 and right in the middle of the Britpop explosion. Acts like Blur and Oasis tussled for chart glory; Pulp were the intellectual outsiders – brilliant chart music at the time got into the mind, Dance and Electronic music meant the likes of The Prodigy and Chemical Brothers were synonymous. Throw in the last throes of Grunge and the rise of U.S. guitar music and it was a wonderful time. The fact the finest music of all time (in my mind) coincided with the most stressful period of my life means the sounds of the time have a larger portion of my memory and fondness. Maybe it is the fact so much of the 1990s music is played now – less so with the 1980s – that this period sticks in the mind. One can tie that to quality but, to me, the connections to the people I went to school with is much more enduring than the popularity of the music. The songs of the 1990s helped me through tough days and soundtracked some of the fondest memories from the period. Friendships were cemented, great achievements occurred and priceless times imprinted in the mind – all backed by some tremendous music. I listen to certain songs and can remember people and particular conversations. I feel music’s true power is when it connects one to their past and the way music guided and supported them. I survived high school and one of the reasons I was keen to continue studying was the power of music and the fact it was a constant companion. Of course; that love continues to this day and it is questionable whether I would write about music were it not for the role it played all those years back. Such a fascinating one that deserves more exposure but, for now, it has got me thinking about songs from childhood – a chance to revisit them now. Think about music and the role it plays in your life; why it is so important and the wonderful….

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PHOTO CREDIT: Future Music Magazine/Future

MEMORIES it provokes.

TRACK REVIEW: L.A.D - Dance Floor

TRACK REVIEW:

 

L.A.D

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Dance Floor

 

9.5/10

 

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 Dance Floor In is available via:

https://open.spotify.com/album/4D75P7kIvePVSofcVUe9AN

GENRE:

Pop

ORIGIN:

Reading, U.K.

RELEASE DATE:

September 2017

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MY review schedule has changed a bit…

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so I am fitting L.A.D ahead of other choices I had in the diary. It is a shrewd move because, listening to their debut single, and it gives me much to talk about. I want to look at the 1980s and artists whose legacy we should carry on; singles that gets you dancing and lift the mood; artists that are making their first moves – a little bit about unsigned artists and those important early days. I knew L.A.D were going to form because I have followed Natalie Gray. The striking red-head is someone who has been on my radar – I have reviewed her music and was struck by its unique sound and compelling energy. Live in Love was the song I got to grips with and, listening to L.A.D’s new track, there are some similarities. L.A.D are an exciting new force; a trio that seems fully-formed and primed for big things. Gray has come from the solo arena and got together with two guys who are on the same page and wavelength. The band’s acronym is a secret but their music is for everyone. In fact; the solo single, Live in Love, was made as L.A.D – except it was named as a Natalie Gray song. It seemed natural the guys would all go into music as an official force and record more music. It all started after a successful set at Pride in the Park and, given the big reception they were afforded, many were excited to see what would come from them, next. I have been following Gray for a while and know she is a special talent. The trio (Natalie, Luke and Jack) is a hard combination to get right and can often be seen as risky. With a duo; there is a harmony and the two need to have a really solid bond and understanding. Bands are a little risky, too, but there are enough members to hide any real problems. It is easy for a trio to have a bit of imbalance – one of the members seen as a third wheel, perhaps.

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That sounds harsh but I have seen a few trios that have broken up because it hasn’t quite worked out. One does not really know why certain acts break up but it impresses me when trios do succeed and thrive. I think that will happen for L.A.D because they are great friends and have been jamming for a while. It is a democracy and never subject to any power struggles or disagreements. I swore, yesterday, I would not go back to London to review for a while but, seeing as I am waiting on a few acts to get back to me – I have bumped L.A.D up the list and reviewing them at the moment. In fact; the trio are actually based out of London. Reading is their base and they are quite content and happy being there. I want to discuss areas outside London because, in previous reviews, I have said how anyone within a certain radius of the city is classed as a ‘London band’. That is seen as commercial and, if you say you are from elsewhere, people might not know where that is – maybe unwilling to see a band who are from outside the city. I shall not get back into the North-South divide in music but I feel artists outside of London should not be classed as anything other than who they are – and where they come from. I live just outside London and am not proud of where I come from. It may be ironic me classing myself as London-based but people care less if you are a journalist (I do not travel to meet artists or get featured by anyone else) but musicians are a different story. Reading is a place many might not be familiar with but it does have an active music scene. Whilst I think The Amazons are a bit disappointing: they are from Reading and putting the town on the map. Artists like Does It Offend You, Yeah?, Laura Marling and Slowdive either come from – or have spent a lot of time in – Reading. It is close to London but one does not have to live there to reap the rewards.

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I am pleased L.A.D are where they are but I can see them relocating to London shortly. They are close enough, now, but Reading has a few great venues L.A.D could play. The Purple Turtle, Sub89 and Oakford Social Club are a few options for them. Reading is quite varied when it comes to music and venues but there are local options for the trio. I feel the guys are more drawn to London because it has a huge variety of areas – and some like-minded artists they can feed off. I am not sure what the scene is like in Reading, sound-wise, but I cannot imagine there are many quite like L.A.D around there. I know there are great Rock bands coming through but, in terms of 1980s-influenced, Pop…perhaps not so much so. The capital gains of London are clear and that is what is drawing many artists in. L.A.D are a fresh force but they have some gigs lined up. Their single has just been played on Shoreditch Radio – as part of their Shoreditch Unsigned selection. That combination of words is ultra-hip and as London-like as you can get. The trio are not snobbish or elitist but their music does beckon the cool and trendy in. Reading is hospitable and popular but areas like Shoreditch/East London are much more suited to the sounds of L.A.D; the vivaciousness and energy of the trio and where they want to head. Before I move onto the next point; I want to urge the guys to get more of their images out there. I am interviewing the guys very soon and have some press images in my inbox. They have been sent through Google Drive and I am unable to copy them into the blog – there are a few good images among the pack. I shall get it sorted before the interview comes back – get Cannonball PR to resend via DropBox – but it would be nice to have them on the social media sites. The trio have a great friendship and that reflects in the images they have.

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It would be great seeing those pictures on Facebook as it would give the public a greater insight into their world – maybe they are holding them back for press at the moment. Pictures/lack of is one of my main gripes when it comes to artists but I feel that is something L.A.D will sort out very soon. Maybe an official website will come, too? I am not sure whether they have one (and I’m not looking hard enough) but, when more songs come, it will follow. Things are starting to hot up for L.A.D so there are a few suggestions. I would not recommend changes if I did not think the artist was unworthy. L.A.D have a clear future so some great shots and more information would be a good start. I would like to know where they come from and how they all formed; how each member came to know one another and details behind their music. Seeing as they are so new; it would be harsh to expect too much but, as I said, that will all follow. I want to look at unsigned artists and the benefits of remaining detached. I mentioned how L.A.D were featured on Shoreditch Radio’s unsigned show but maybe there is some ambiguity there. The broadcast, I guess, is meant to feature artists who are really good but have no record contract. It might be the case (the show) looks to boast and showcase great artists who are so good but have no recording deal. Anyway; I feel the trio should not race to get a record deal because they have a sound and hunger that is all their own. Many feel a record deal is the be-all-and-end-all but, in reality, it isn’t. Labels can direct artists too much and exert strong influence – that means their music is not really theirs and they do not get much of a say. L.A.D have a fairly glossy and big sound so they might be looking for a label to help bring that to the masses.

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I hope, if they do get a deal, they are smart with their signature. There are sharks out there and, although L.A.D will want a bit of commercial success, fitting into the charts and the masses is not everything. The guys can forge a career on their own merits and, if they do want to spread their music across the waters, they can do so with a P.R. company. That is down to them but I feel radio shows that feature unsigned acts might steer artists the way of greedy and uncaring record labels. I choose to believe the shows are a way of promoting artists doing things by themselves – those who do not need big money and labels to make their music sound incredible. The early days are the most important for any act so ensuring you create an impact is paramount. One can look at L.A.D and feel there are many out there like them. Look closely and the D.N.A. of L.A.D is very distinct. Their track, Dance Floor, is bold and brash and takes every opportunity it can to get into the head. I follow many artists who are starting out and it can be quite nervous seeing where they head – if they have the passion and stamina to cope with the realities of music. The players in L.A.D are not naïve and they know what is required of them. I have seen a few 1980s-inspired artists come through (Shura among them) and feel there needs to be greater exposure. Most new artists take familiar sounds and create music that does not stray too far from everything else out there. You do get some original acts but quite a few are keen to play it safe and ensure they survive. Who knows how far L.A.D can go but, on the evidence of their first song, they have a glorious sound that rings in the mind.

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One of the reasons I know the trio will grow and succeed is the sound they have at their disposal. It is a hard time for everyone right now so we need to embrace songs/styles that elevate the senses and get the mood lifted. The spirit of Madonna, Chaka Khan and Prince comes out in Dance Floor. The 1980s might not seem like an obvious decade for inspiration. If you are looking around for guidance; it seems the likes of the 1990s and 1970s might be more obvious. Many have a negative view of the 1980s and think it will be all cheesy Pop and tinny Dance music. I think we get a false impression of the 1980s because of compilation C.D.s and the music played on stations. If you look closely, the decade gave us the likes of Pixies, The Smiths and Talking Heads – artists that hit their stride and created some of the best music of the time. So many assume it is all naff stuff and forget what quality there was during that time. If one thinks about the amazing Soul, Pop and Dance of the time: can we really say the likes of Madonna are not strong enough to define the decade?! I have written a feature on her – you can dig it out if needs be – but I feel she is someone with enormous influence. An icon who continues to compel new artists coming through – she is as synonymous with the 1980s as anyone else. Forget all the crap Pop that existed at the time and remember we experienced legends like Madonna. Her music translates through the years – even though she is still recording – and I know there are a lot of artists who count her as their focal point. Why I wanted to raise the point is because of the sense of fun and frivolity you get from artists like Madonna. She created serious and wonderfully deep music but it is the colours and captivation that gets to me.

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Hear a song like Material Girl and Papa Don’t Preach and, although there are serious issues discussed on both songs, there are big choruses and fantastic vocal performances. Madonna was capable of addressing subjects like feminism, abortion and sex without preaching or making it sound insincere. Sometimes, her music had an air of sadness: other times, it was sparkling and fantastically bright. Her career evolved as she headed into the 1990s and 2000s but it is her 1980s heydey that has inspired so many. I have mentioned Prince and Chaka Khan and, although these are artists L.A.D are influenced by; it is the Madonna link that seems strongest. Put all those names together and you have a rich and vibrant brew that few other acts are displaying. The 1980s should not be reduced to the chart acts of the day and the slight music – there is epic strength and some legends from that time. Because of this; I feel more artists need to dip into the treasure chest of the decade and see what there is on offer. L.A.D have already recorded other songs so I am keen to see what form they take and whether they will have the same make-up and ethos as Dance Floor. Their current jam is something that gets you onto the dancefloor and makes the people move. I stated how times are changing and we are in a pretty bad place right now. Few can deny we are stable and together so, because of this, music has an important role to play. Anyone who wants to get away from all the stress and strain of the average day could do a lot worse than dive into L.A.D. The trio creates sounds that overflow with force, fun and the fantastic. They are not tackling anything more profound than the need to get onto the floor and move your cares away. There are side-issues and nuances one can pick up but, at its core, the song is determined to get everyone together and lose themselves in the music.

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That is what happens on Dance Floor and I am so glad the guys have released the song now. It is a bad time so we need that escapism and blast of energy. It takes from the best sides of Madonna and Chaka Khan and fuses Disco undertones with a Pop heart. L.A.D are uncompromising and could have crafted something ready for the mainstream and shallow – an easy song that relies on overproduction and clichés. The Reading trio would never do this so I am excited to see where they go. Before I get to the song itself; it is worth noting how keen they are to update their social media and being new fans in. A lot of artists overlook this importance and do not inform the followers. It can be hard getting on top of everything but it is easy enough to do some semi-regular updates. If you do not tell people what is happening, they will look elsewhere and get a bit bored. L.A.D have been giving us information about their single and the dates they have coming up. There are photos – more will come, as I suggested – and I am looking forward to seeing a possible video for Dance Floor. Whether that arrives before the end of the year, I am not sure, but you can be sure the trio will inform us before too long. The best and most enduring musicians are those who manage to create great music and please the fans. It is not business-like being active on social media: it is the way many communicate so one cannot underestimate its importance. A few blasts of Dance Floor and you are hooked onto L.A.D and keen to follow them whether they go. I suspect their fanbase will expand as the months go by but, right now, they have struck a vein of gold.

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Luminous electronics and punchy beats open up Dance Floor. The percussion has that clear debt to the 1980s and is quite compressed and intense. Glittery, starlight electronics twinkle into view and bond with the gruff and austere beats. It is a potent combination and gets the songs off to a flyer. The trio feels no need to rush in with the big rush and vocals – they infuse the song with plenty of intrigue and spirit. One half-expects, a few seconds in, for Madonna to come to the microphone. There is a bit of the taut Funk Prince was synonymous with but, in the early phases, I get scents of True Blue, Like a Virgin and Like a Prayer – the extraordinary trio of albums Madonna crafted in the 1980s. The Like a Virgin suggestion of the introduction fuse and explode into the slam of I Feel for You (Chaka Khan). The trio have a fondness for these songs but never replicate them. From the tender and teasing seconds comes that rush and step-up. Instantly, the listener is jolted and compelled to follow the song wherever it goes. The giddiness and head-fuse of Dance Floor kick in and it is impossible not to feel a physical connection to the sounds. Some cut-and-paste/vibrating vocal echoes weave in the shadows as, in the light, the composition gets hotter and heavier. In fact, if we are weaving in 1980s icons – and a name I forgot to mention earlier – there are flavours of Michael Jackson’s Thriller and Bad. I get embers of Bad’s Just Good Friends and Thriller’s Human Nature. It is wonderful hearing suggestions of these artists – the trio never exploits this but make the music their own. Despite the rouse and rush of the song; there are some weighted words at the heart. The heroine is talking to a sweetheart and someone who is talking about her. In fact, I was wondering whether the issues of gossip and deceit were levelled at a boyfriend or a friend – someone who has been spreading rumours and falsehoods.

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Our girl is waiting for them to act and seem exhausted by games that are played – the need to be alert and aware all the time. This does not matter when she hits the dancefloor. Perhaps there is that suggestion of short-term romance and complex emotions. The desire to forget all of that and embrace something simpler is infectious. The heroine dispenses with all the chat and fights and embraces the allure and theatre of Dance. “We’re all the same when the lights go down” it is said and one cannot help think, when listening to that line, there is a nod back to the 1980s. I associate modern dancefloors with sweaty clubs and all the infection and drunkenness associated with that. On Dance Floor; things are more innocent, sweet and tolerable. In fact; there is a definite evocation of simpler days when one could go to a club and dance – not crowded by drunken idiots and pummelled by inane and ultra-loud music. The song is never simple and predictable. The beats and electronics pause whilst Gray’s voice goes through different motions. There is growl and intensity one moment: it then transcends to something rapturous and operatic. Syncopated and unexpected; there is a sense of progression and development as the song goes on. The heroine urges (the man) to stick to her and cling to her body – one of the sweatier moments on the song – as they can “go all night”. One definitely senses impending ‘climax’ but the song is not about sex and getting your rocks off. It is definitely about the dance and surrendering to the power of music. Modern Dance/Pop songs seem too concerned with sex and relationships but here they play a minor role to the prowess and potency of music itself. Even if the friends/lovers have things to hide: by the time they get onto the dancefloor, they have so much to give. “It doesn’t matter on the dancefloor (Dance Floor)” is the coda and theme that links everything together.

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Our girl does not expect a call or the name (of the guy). She is in the club to get high on the music and not really concerned with anything long-term. Maybe that seems shallow but guys get it into their heads that a girl wants to be with them forever – that arrogance and clinginess put many off. Here, one gets a real sense of independence and pride. The girl is stepping onto the floor and making people move. L.A.D combine superbly throughout and meet the intoxicating and vibrant vocal with incredible music. The electronics stutter and jar; they swell and punch whilst the beats are consistent and blood-rushing. All of this comes together in a song that ingrains itself into the memory. One hears shades of the 1980s legends but plenty of modern-day inputs. L.A.D are not your average act who lazily duplicate what has gone before. Few can resist their charms and powers. Dance Floor is a teasing and alluring bomb from the Reading trio and suggests they have plenty of life in them. Nobody who hears the song will walk away unaffected. I have been a bit sceptical about the power of Pop and whether it has relevance today. A lot of that stems from the rather bland and commercial nature of the music. Here; we get a trio that are determined to inspire and craft their own empire. An extraordinary opening gambit from an act that are going to be in the music business for a very long time to come!

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I will finish things soon but wanted to look ahead and see where L.A.D will go. Dance Floor has been given a lot of focus on social media and some great reviews. I know the trio will want to build on that and get their names to the world. At the moment, they are cementing a core in London and surrounding areas. I am already keen for new music from them. That is not a reflection on their debut single but the addictive sound and quality of the music. Dance Floor is what we need right now: something that gets into the brain and compels the body to move. I am sure the guys have dates in London but they will want to get their music to the wider population. I have stated how London grabs so much focus but, when it comes to L.A.D, they will want to go beyond and travel throughout the U.K. Maybe it will take a few more songs before they get international requests but I would not put a mini-tour of Britain out of the question. London is a popular base and somewhere L.A.D will explore in depth. Getting people talking in the capital is as important as anything – it is where the labels and big stations are. When new music does arrive (indication is it will be soon); the radio stations will be looking out and keen to feature the trio. Right now, many might assume it is the Pop-driven stations like Kiss that will be interested in L.A.D. In reality, one need only listen once and realise the song is capable of getting love from the likes of BBC Radio 2 and BBC Radio 6 Music. Making your music as adaptable and wide-reaching as possible is a great way of ensuring popularity and longevity. I think L.A.D will go onto big things and many people will call for an E.P. Not many can deny the extraordinary sounds of Dance Floor; so there will be an eagerness for new material and continuation.

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I have mentioned the importance of the 1980s and how few artists are exploring the decade with any real intent. A lot of new music is too serious and intense so I find myself looking around for something that is more fun and uplifting. It is easy to understand why some artists decide to talk about love and its heartache – concentrating on that too much can be depressing and predictable. Not many songs look away from relationships and make songs for the masses. This is why L.A.D should be commended and proffered. They will look at love down the line but there is passion and intensity in Dance Floor. I will end this now but wanted to single L.A.D out and how good they are. Not many have the same chemistry and components as them. A trio with a great friendship and an understanding of where they can head; it is going to be an exciting 2018 for the Reading purveyors. Who knows how far they will go but I feel there are many years ahead for them. Dance Floor is a confident, busy and fizzling banger that has a visceral sense of colour and fun. This is something we need to breed and spread throughout music. L.A.D are not responsible for reinventing and rejuvenating music but they have an important role to play. I would suggest they forget about record deals and not put that at the centre of their world. Maybe they are keen to be independent and I think this would be best, right now, for their music – in time; getting a good and trustworthy label behind them would give their sounds that extra push and support. The weather is gloomy and it is getting darker. Many are talking about Christmas and not really looking back at the incredible summer and hotter days. That is understandable but along come L.A.D who have created a song that bubbles and dances; it struts and seeps into the bones. In an age where there are few groovy and rapturous Pop songs; we all need to be more aware of…

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A very special trio.

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Follow L.A.D

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FEATURE: King Gizzard & The Lizard Wizard: The Music, Magic and Mind-Fu*k

FEATURE:

 

King Gizzard & The Lizard Wizard:

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 The Music, Magic and Mind-Fu*k

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IT is hard to think of a lazier band out there…

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PHOTO CREDIT: Jamie Wdziekonski

than King Gizzard & The Lizard Wizard! It is amazing to think that, this year, they will only release FIVE albums! I jest, naturally, but that is a thing that amazes me about the Australian band: they seem to have no facility for fatigue. There are bands/artists that take five years between albums: the fact the Melbourne seven-piece are planning five albums this year speaks volumes! I get annoyed when artists take time away and spend far too long formulating records. I shall not name anyone specific but one need only look around the music world and you can see the chasm acts leave before their next record...

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I know every artist needs to tour but I am baffled it takes so many THAT long to bring out a new record! I wonder what they are up to in that time and whether they realise how much of a risk it can be – leaving a gap that long risks many finding other musicians who are more prolific. The thing about King Gizzard & The Lizard Wizard is their sheer zeal and inventiveness. Each album sounds different to the last and they are never keen to repeat themselves and stick to the same format. Whether they are talking about mystical beasts and overlords; the changes in the world or something less substantial – the boys never disappoint and always bring something weird and wonderful to the party.

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Their current album – and third of this year, so far – is Sketches of Brunswick East and alludes to Miles Davis’ Sketches of Spain and the Melbourne district of Brunswick East. The record explores Jazz more and is one of the more listenable and accessible records of the band’s career. It flows and melts together wonderfully – the record is a collaboration between the Melbourne crew and Mild High Club. Alex Brettin, the sole member of the band, stayed at Stu Mackenzie’s house (Mackenzie is the lead of King Gizzard') and the two came up with vague ideas for songs. They recorded drafts on iPhones and, in time, the music started to form and mutate.

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ILLUSTRATION CREDIT: Berat Pekmezci

I listen to the album and it sounds unlike anything King Gizzard & The Lizard Wizard have ever created! The record explores Jazz and experimental avenues but is never restrained and limited. Critics have afforded the album passionate reception (it was only released on Friday) and noting the changes from Murder of the Universe and Flying Microtonal Banana – both released this year. The reason I wanted to feature King Gizzard' is because of their prolific and exhaustive work ethic; the way they change their dynamic each album – and the way they push music forward without many people noticing.

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IN THIS PHOTO: King Gizzard & The Lizard Wizard with Mild High Club/PHOTO CREDIT: WDZIEKONSKI

Relatively few have heard of the band outside of Australia (there is building reputation but they are still under-the-radar) but that will all change. Whether it is working with unusual turnings or creating a Prog-Rock odyssey – the guys are among the most unusual and inspiring groups around. The record, Murder of the Universe, works in three different stages. According to Wikipedia – thanks to them for summarising – this is what it is all about:

“The first, The Tale of the Altered Beast explores themes of temptation, and tells a tale of a human who stumbles upon a mystical human/beast hybrid, dubbed the Altered Beast. The story starts from the perspective of the human being pursued, who slowly takes interest in the idea of being altered – as it is considered taboo in their society. The perspective then changes to the Altered Beast's itself, who is filled with murderous intent to kill. The human encountered by the beast slowly gives into temptation into becoming altered once the beast confronts them, as they crave power. Accepting of their fate, the beast and human merge, creating a newly altered beast, who now craves even more for flesh. However, the beast suffers greatly from absorbing another conscience – it loses track of its identity and eventually dies of insanity, decaying into the earth.

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The second story, The Lord of Lightning Vs. Balrog is more focused on a big battle between two entities dubbed The Lord of Lightning and Balrog respectively, who represent the force of light vs darkness. The chapter starts with a foreword from the perspective of a storyteller, who recalls a battle between these two great forces. This story begins from "The Lord of Lightning", which is about the general destruction caused in a town by lightning fired from the entity's finger. He is perceived as evil and malevolent by the townfolk. However, he fires lightning at a corpse, who is somehow reanimated into the creature known as Balrog. This creature chooses to ignore the Lord of Lightning, and instead wreaks further havoc to the townspeople. However, the Lord chooses to fight the Balrog and confronts him – eventually the Balrog is left as a burning corpse. The Lord of Lightning then immediately leaves, choosing not to harm the townsfolk anymore.

The third and final story, Han-Tyumi & The Murder of the Universe, is about a cyborg in a digital world who gains consciousness and through confusion decides he strives only for what a cyborg cannot do – these being vomiting and death. He decides to create a creature dubbed the "Soy-Protein Munt Machine" whose only purpose is to vomit. As the creature rejects his love, Han-Tyumi decides to merge with the machine, which spirals the machine out of control. This machine then explodes and infinitely expels vomit, which eventually engulfs the entire universe, hence the title of the album”.

Mackenzie explained the album was the most narrative-driven thing they have created and its sheer scope/ambition could have sunk a lesser band. Flying Microtonal Banana, released in February, is where they played with microtonal tunings and bizarre aesthetic – altering instruments and sounds to give the album is alluring and unique sound. It is a different animal to Murder of the Universe. If that album is an apocalyptic and epic drama then Flying’ is a more restrained, if more complex, album. The band’s use of non-Western tunings and custom-made instruments showed how much they were dedicated to the project.

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Each band member was armed with $200 and bought instruments from that cash – tuning and modifying them so they could bring something different to the album. Many assumed, when the album was released, they would not top it! The songs on Flying’ fuse East-meets-West with layered Psychedelia and Rock blasts. If that was the only thing they were releasing this year then they’d get huge kudos. Few artists can match the same intelligence and originality of the record; the quality is immense and it is a tight and stunning creation. I cannot resist the chants and addictiveness of Rattlesnake – it is a song I need to play on-repeat and amazes me with its irresistible chorus and incredible composition. You get chugging guitars and twanging bass; vision of hissing snakes and distorted vocals – a song that urges the listener to swing their head and move their feet (the sort of song best enjoyed when off your head or gripped by cannabis).

That is everything the band has released this year: I believe there are another two albums arriving but unsure what form they will take. Last year - and their finest album, perhaps - we saw Nonagan Infinity which is, essentially, an infinite loop. Every song flows into the next – that includes the opening and closing track...the record never ends and it sounds like you are listening to a single song...one that never stops! Director Edgar Wright has listed it among his favourite albums and critics responded in force. AllMusic assessed it in these terms:

“It's way more blown-out and weird than that, but you can hear a lot of late-'70s no-frills metal in the sound. The rest of the record is a little more varied, with moments of calm proggy respite, jazz-rock dreaminess, and blown-out psych-pop to balanced the frantic, sustained attack. The way the album is put together is an impressive feat, but almost beside the point since each song within the loop is worthy of standing alone. King Gizzard's inventive sound, giant hooks, and hard-as-titanium playing make Nonagon Infinity not only their best album yet, but maybe the best psych-metal-jazz-prog album ever.

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2015’s Paper Mâché Dream Balloon was recorded using acoustic instruments and sounds foreign when compared to King Gizzard & The Lizard Wizard’s modern albums. It shows, when you listen to the album, the boys sound as assured and confident (as any other record they have laid down). It is another bold step and could have been a gamble – for a band who are known for their oddity and thrills. MusicOMH gave this opinion on the record:

“What you actually had there, however, was a bit of a gem. The seventh album in their relatively short career, Paper Mâché Dream Balloon sees these Melbourne-based neo-psychedelicists eschew the motorik churn of 2014’s I’m In Your Mind Fuzz or this year’s Quarters, trading fuzzed-out whorls for a more pastoral, mellow style – earlier explored (at length) on the jazzy The River, the first of Quarters’ four 10-minute sojourns.

Gone too is the deliberately thin, straight-to-tape sound of their previous output, perhaps despite – according to lead vocalist/guitarist and flautist Stu Mackenzie – the album having been recorded in an empty shipping container on his parents’ farm in Victoria.

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PHOTO CREDIT: Jamie Wdziekonski

There was a strict no electric instruments rule in the sessions, but rather than woody strum, there’s plenty of colour and tone from the off, thanks to the variety of other instruments in the seven-piece’s armoury: Sense’s opening minor sevenths give way to serene, serpentine clarinet, while Bone and Dirt are buoyed by wheedling flute.

Rather like the excellent album-and-a-half recorded by XTC in their The Dukes Of Stratosphear guise (or perhaps The Young Ones tie-in Neil’s Heavy Concept Album), there’s a reverent irreverence to the pop-psych pastiches here. Our ardent crate-digger could happily while away the short running time collecting references: the whimsical title-track and Cold Cadaver let in hints of Traffic’s Hole In My Shoe and Paper Sun, there’s Canned Heat under The Bitter Boogie (with a brilliant slackening-string lead guitar) and a touch of the gleefully wrong intervals of Cardiacs on the circular Time Fate.

But the songs are a little more than insubstantial homages. Sense decries the senselessness of la vie moderne, while there’s a playful menace to Trapdoor’s roiling paranoia (“Everybody knows what’s under the door, And everybody goes to great lengths for sure, To hide themselves away”)”.

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PHOTO CREDIT: Lee Vincent Grubb 

I shall not go into THAT much detail about their remaining albums but look at their back-catalogue and we can see the differences and inventions on each. Quarters! (2015) has four songs that each run for ten-minutes-ten-seconds – each is a quarter of the album. It draws upon Jazz-Fusion and is a more laid-back thing. It is something to get your head bobbing to - perhaps, not something you can see going down well in the mosh-pit. The band’s second album, Eyes Like the Sky, is a cult-Western-like-audio-experiment that is narrated and written by Broderick Smith – it tells stories of outlaws, child soldiers and the frontier. It embraces the old Western films and some evil guitars (that is what Stu Mackenzie reckoned, anyway!). 2012’s 12 Bar Bruise was the debut and was not a conventional introduction.

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IN THIS PHOTO: The album cover for 12 Bar Bruise

It was self-recorded by the band and several tracks were subject to unconventional record methods. The title-track was recorded through four iPhones – placed around the room – whilst Mackenzie sang into one of them. The fact the band has released eleven albums in five years means they are one of the most reliable and hard-working in all of music. I cannot think of anyone else that has managed to bring that much music out in all that time. Each album they release is different and relies on a different theme/concept. They have played with tunings and track length; the nature of music itself and how they record the songs themselves.

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IN THIS PHOTO: Stu Mackenzie/PHOTO CREDIT: Kimberley Ross

Before I end; I wanted to bring in a few snippets from an interview Stu Mackenzie conducted with New Noise Magazine. He was chatting about the album, Flying Microtonal Banana, and looking ahead at the albums to come:

“Flying Microtonal Banana features the modified electric guitars, basses, keyboards, and harmonica, as well as a Turkish horn called a zurna. “I think there was definitely a challenge,” Mackenzie says, “picking up the Flying Microtonal Banana for the first time and just being so gobsmacked and not knowing what to do. I’ve played guitar most of my life, and then, picking up this instrument and not knowing what to do with it—it was quite confusing.”

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IN THIS PHOTO: The boys tear up The Crows Nest, Glastonbury

Initially, using the new instruments was a lot harder, which made the creative process move a lot slower, but once everyone got the hang of it, it really opened up the realm of possibility.

The band have already started playing some of these songs live, and the response has been good. “We’ve played a couple so far, and we plan to play all of them out on tour,” Mackenzie says. “We’re going to take all of the modified guitars out with us on the next few tours and maybe beyond. Maybe we’ll make more music with these guitars. I’m not sure.”

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IN THIS PHOTO: A shot from Paradiso, Amsterdam 

King Gizzard & The Lizard Wizard kicked off their U.S. tour in March and are playing dates across the Northeast, Midwest and West Coast, capping off the tour at Coachella at the end of April. “We’re touring a lot this year as well, so we’ll see what we can do,” Mackenzie says about the prospect of three or more records this year. “We kind of have been making two records a year for a few years in a row. Last year, we just put out one, which just seemed a bit weird, so maybe we were overcompensating this year by saying we were going to do so many.”

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Not a huge amount has changed in terms of King Gizzard & The Lizard Wizard’s bond and commitment to music. Stu Mackenzie has assumed the writing command – a few albums have co-writes but he is their creative lead – and each record tackles new ground and reveals fresh discovery. I wanted to feature the Melbourne band for a few reasons. They have managed to create a raft of exceptional record but, more importantly, showed bands you can break ground and push limits. Rather than take years to release some average album – there are a couple of big acts who have done that this year! – they have produced high-quality records quickly. Each L.P. has a niche and U.S.P. Maybe the fact they have seven members means they can bust through material and recording quicker but I think the sheer size of the band creates potential banana skins. It is quite clunky and, having that many voices, means disagreements can come up – getting all the players in the same room to record an album is a logistical nightmare. Maybe that will be their next record: a series of songs recorded via Skype?!

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IN THIS PHOTO: The band on the William Green Stage, Glastonbury

The boys are in audacious form and there are no visible cracks in the band’s armour. Considering they have been performing together since 2010 means, if they had found flaws with one another, that would have happened by now! The guys are almost like brothers. They have an insane connection and seemingly endless possibilities! I cannot wait to see how their next two albums shape up – due this year, remember – and whether their insane work-rate continues into next year! Mackenzie stated the band are over-compensating a bit this year but they feel the need to put that much material out shows they are hungry and determined. Get into the mindset of (the tremendous) King Gizzard & The Wizard Lizard and you are stepping into a land…

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WHERE rattlesnakes, The Lord of Lightning and a Flying Microtonal Banana lurks!

INTERVIEW: Sara Diamond

INTERVIEW:

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 Sara Diamond

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IN a full and frank interview…

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Sara Diamond goes into depth about her music career and spending time in L.A. I ask her about the time in California and whether it was an enriching process – and what the differences are between Montreal (where she is based) and L.A. She talks about the new single, Stay a Little, and what comes next – and whether there are going to be any U.K. dates further ahead.

Diamond discusses her childhood and how she latched onto music young; the artists and sounds she was exposed to – finishing by offering some great advice to new musicians coming into the industry.

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

Hey, Music Musings (or whoever, by name, is going to be publishing this)! I’m doing great on this lovely Friday morning. Coffeed-up and ready to go. My week has been lovely - I released my third single last Friday; so it’s been wonderful hearing people’s feedback throughout the week. Plus, sessions and as many fall (autumn) runs as possible...

How has your week been?

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

I started singing mannnnyyy moons ago…went back and forth between loving and hating it -kind of like dating.

But, I think we’re married now (weird analogy?). It can be tricky, putting your heart out on the line; making music that goes there. I’m finally getting to a place where I’m learning about the secrets I keep even from myself…so I’m implementing that into my music, which is really liberating.

On a non-music-related note: I LOVE space. It boggles my mind. Everything about the universe we live in…I also love red wine and going on hikes with my friends. Plop me outside and I’m a happy camper. I have a small tattoo on my right ring finger. My hair has always been super curly and I’m finally learning to love it (see picture below…).

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PHOTO CREDIT: Sara Diamond

I like giving gifts more than I do receiving them. My favourite colour right now is orange….AND…last thing: I love Friday the 13th.  

Stay a Little is your new single. Can you tell me what inspired the song?

I wrote Stay a Little right after my first heartbreak; literally right after.

It was kind of a long time coming…but one of those things you can’t imagine actually happening. I got into my bed; I looked out the window. It was 5:00 A.M. and the sky was just dark. I didn’t want to see the sun or the moon - because both meant acknowledging the truth of the situation. Last night we were together, tomorrow morning we won’t be ‘us’ anymore. The moment seemed to not exist; so I wanted to stay in that space.

In terms of the relationship; I knew every outcome would cause suffering. So, I just wanted to stay in one place and forget about everything. 

Do you think there will be other singles soon? Any E.P. in the pipeline?

Most definitely. Expect a lot more music. I’m just going to be getting it out there, constantly, and passionately.

Life is too short to not put music out.

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I believe you started singing when you were super-young. Singing on the children’s record label, KIDZUP; was that the moment you decided music was your future?

I remember being ten and knowing that I wanted to sing professionally. I mean, I was ten, so I only had superstardom (Hannah Montana 2.0, anyone?) as a benchmark…but the intention was there. It took many years, trial-and-error, to get to the place that I’m in right now…which is the belief that music is my present. If I carry out my life making the best possible present moment, music will be a part of my life forever - as well as all of the things that bring me clarity and joy.

Back in 2008, you told your parents you wanted to go to L.A. What was their reaction?

They kind of chuckled and didn’t think much of it.

I mean, I’m sure three-year-olds telling their parents they want to be famous is a regular and exaggerated occurrence. But, when I got the opportunity, they were the most selfless, supportive; compassionate parents - and they let me go, which I will be forever grateful for because they let me fly and then fall (with no judgment) - and now fly again, in a different way.

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PHOTO CREDIT: Grant Spanier

You did arrive there aged fourteen. Was it eye-opening experiencing the city at such a young age?!

It was definitely eye-opening.

I’m from Montreal, and to be honest, I was a very typical fourteen-year-old. I hadn’t been to a party or gotten drunk ever (aside from being tipsy at Passover…but that’s an exception, right?!). I didn’t wear much makeup and I, luckily, grew up in an environment where my peers were all supportive of each other. L.A. was, basically, the opposite…tons of stage moms with twelve-year-olds in full face makeup; dyed and curled hair at like 10 A.M. Tons of backstabbing; tons of gossip. I dealt with more ‘friends’ spreading rumours about each other than I thought was possible…and it was mostly career-driven. I remember getting snuck into an industry party and feeling SO uncomfortable when I was offered a drink (I mean, I was fifteen!). I think the most eye-opening thing was the realization that it’s the people that make life worthwhile.

I was doing some really cool things in LA but I was fifteen-years-old and 3000 miles from my friends and family, trying to be ‘famous’…and it really messed with me. 

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A girl-band formed and you experienced some ups and downs. Do you think, looking back, it was a positive experience? What did you learn from your time there?

It was 100% a growing experience which, to me, is a positive experience.

Everything in life is either a lesson or a celebration. Either you’re learning and growing or celebrating a moment of clarity. The girl-group, being in L.A., was really taxing on my mental, physical and spiritual health. I was a wreck - but it made me grow up really fast. I took that growth, which could have become destructive, and (just) let it happen with as little judgment as possible. Somehow, I was able to come back to Montreal and not think that I had ‘failed’.  I think that was the biggest gift. I was so miserable in L.A. that being home was such a success…I could be OK, again.

I think the biggest thing being there taught me was that music is therapy. I had nothing to write about because I hadn’t experienced anything, really. I grew up in a bubble. L.A. gave me that shake-up. Everything sort of spiralled downwards for a few years from there - which let me go into the pain and grow out of it. We see mistakes, pain and ‘failure’, as a bad thing: they are the complete opposite. They are the stories that shape us; the building blocks that then become a strong, resilient and beautiful castle.

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Montreal is your base. How does life there differ to that in L.A.?

We get four seasons in Montreal but L.A. gets the ocean and majestic mountains.  

I notice Canada is thriving in regards its music. Why do you think there is such a productivity and quality in the country?

I think, in recent years, more than ever, there is a pride that comes along with being a Canadian musician. It’s not something people feel the need to shy away from to ‘make it’ in the States (or anywhere else). It’s like, ‘no, we’re Canadian, and we have the same talent, determination; ability to connect as anyone else’. We want everyone to succeed. It took a few prominent people working extra-hard and passionately to break the status quo for everyone else. It really is a wonderful thing. Given the political climate in the U.S., other countries need to jump on every opportunity to show that inclusivity, connection; unity and peace are the most important things.

Above ‘making it’; above just about everything.

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

I’ll keep you posted.

Will you be coming to U.K. anytime soon?

YES! I don’t have a date set yet, but trust me, I will jump on any opportunity to come visit.

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

Amanda Marshall - Everybody’s Got a Story

I used to listen to it ALL the time with my mom when I was younger. I hadn’t listened to the album in full in YEARS….but my mom and I listened recently again and we knew every word. Looking back at it, I realized how much it shaped me as both a listener and a writer. Her honesty, story-telling ability; passion…it all pours out through her.  It’s fantastic…and Amanda Marshall is Canadian.

Justin Nozuka - You I Wind Land and Sea

That album got me through the toughest parts of L.A. I remember listening to it over and over (and over) again. I’ll always have a soft spot for it - purely out of thanks for helping me through those moments.

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PHOTO CREDIT:  IX Daily

Frank Ocean - Channel Orange

Channel Orange was my first experience with music that resonated with me on an artistic level. He was so different - and his music captivated me from the moment I heard it. It really made me realize that you can bend the norms and still produce beautiful, relevant; catchy, honest music. It was a feeling more than anything else, and that really captured my attention, both as a listener and an artist.

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

Don’t get caught up in the hype.

There is SO much more to life than views and followers and branding. YES, those things are important, fun and part of the job but it is so easy to get lost in it. I’m like suuuuuuuper-up-and-coming and I still get caught up in it. As a society, we’re losing our connection to something greater- nature, community; human-to-human vulnerability…and music has the ability to bridge that gap, tap into that.

Fame is fleeting: life is even more fleeting. Enjoy every moment of it - even the 'bad’. That’s where you’ll learn the most. Thank your family and friends for guiding you - even if it was through anger and pain. They taught you strength.

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Read a book. Create music with people because they move you. Don’t lose sight of what makes you so perfectly imperfect - that is the zone you want to tap into. That would be my advice. Focus on being the best version of you and you will flourish…and your music will thank you.

Christmas is approaching. Do you all have plans already or will you be busy working?

I’ll be writing music and spending as much time up north as possible.

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).

Everybody’s Got a Story by Amanda Marshall (and if you want to be extra-amazing; post the lyrics, too!)

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Follow Sara Diamond

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FEATURE: The Harvey Weinstein Controversy: Do We Need to Protect Our Female Musicians Better?

FEATURE:

 

The Harvey Weinstein Controversy:

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IN THIS PHOTO: Harvey Weinstein/PHOTO CREDIT: Alberto E. Rodriguez/Getty Images  

Do We Need to Protect Our Female Musicians Better?

________

THE worst and most upsetting details have been revealed…

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PHOTO CREDIT: Emily Berl/The New York Times

but we have not heard the end of Harvey Weinstein’s abuse and sordid goings-on. A number of high-profile female celebrities have come out claiming Weinstein sexually abused them – from stars of the screen to those in other areas of the entertainment industry. Musicians are coming forward, as are associates of Weinstein. Who knows how long it (the assaults/abuse) has been known about but it is a relief – if that is the right word?! – the truth is out there. His Weinstein Co. has fired him and his wife, Georgina Chapman, is leaving him. There are women who would stick by their husband and not believe the rumours. The fact she is leaving suggests she either knows what has been happening or has exposure to his true nature. All manner of reports are emanating from the press. There are articles abbot Weinstein’s sexual advances and how ‘bold’ he has been about it – supposedly propositioning women whilst his wife was in the next room. It is a brave move to leave your husband but she was in no doubt. Women are coming forward claiming Weinstein raped them and many others are detailing their encounters with Weinstein. I do wonder whether the details we are hearing tells the full story. One wonders why it has taken this long for women to speak out but there is a great sense of fear – thinking they will be judged and risk losing their careers.

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IN THIS PHOTO: Weinstein and his wife, Georgina Chapman/PHOTO CREDIT: REUTERS/Danny Moloshok

There are men in prominent positions who feel, because they have wealth of influence, they can treat women any way they want. One wonders whether there are other studio bosses and Hollywood men who have perpetrated such horrendous acts. The ongoing revelations around Harvey Weinstein will, in the end, see the man brought to court and losing the life he has built. I was thinking about this controversy and the fact it is not an isolated event. I have suggested there are other men in the entertainment industry whose (similar) acts have not yet been exposed. It is impressive so many women have come forward – who have built a career and risk reprisals – but I know there are similar concerns in the music industry. The issue of sexual abuse and exposure is not something that affects men in music – not in the same way at least. When news broke about Weinstein’s incidents; many noted how famous actors – who knew about these attacks/abuse – did not come forward. Is there a society of secrecy where, unless things are brought to light, people keep things to themselves?! There is no excuse for not speaking out but do actors, like musicians, fear personal misfortune and loss if they go forward? One can quibble the ethics and logic behind that but I have been looking into music and the recent case with Dr. Luke and Kesha. The court case was brought whereby Kesha claimed Dr. Luke was guilty of sexual assault and battery; sexual harassment, gender violence; civil harassment, violation of California's unfair business laws; intentional infliction of emotional distress, negligent infliction of emotional distress, and negligent retention and supervision.

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IN THIS PHOTO: Kesha/PHOTO CREDIT: Charles Sykes/Invision/AP

Kesha claimed Dr. Luke sexually, physically and verbally abused her throughout their professional relationship – it was said he raped her on two occasions and made threats to Kesha and her family. There are people on either side questioning the facts and what actually happened. Controversy and developments in the case – including Lady Gaga’s aborted resistance to a deposition – have made it one of the most talked-about music court cases in history. Some have suggested Kesha has intensified her accusations in promotion of her album, Rainbow. The record received huge applause and the revelations, feminism and emotional soul-baring throughout Rainbow stunned the press. One cannot rationally conclude Kesha fabricated anything and has been exaggerating for commercial gain – that would be hugely cynical and insulting. Whatever the eventual outcome; it shows music is not separate of controversy and abuse. Like Weinstein and the film industry: is music hiding secrets and harbouring sexual predators? Many think, because there is more money in the film business, there is going to be more cases like Weinstein’s. We do not often think of music and big bosses: it is usually about the artists and talent rather than the moguls and decision-makers. Hollywood is a bit different and we all know about the big studios and the fact they are (predominantly) run by men.

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IN THIS PHOTO: Dr. Luke/PHOTO CREDIT: Allen Berezovsky/WireImage

Music is, for the most part, run by men – the biggest studios and labels are owned and managed by men. You cannot say Weinstein and Dr. Luke are extraordinary cases and we will never see anything like that again. I know there would have been threats levied against the women that Weinstein abuse (allegedly) and it would have been terrifying keeping what happened a secret. Musicians and the industry are no different and I wonder whether we need to introduce stricter measures and great vigilance. Before I come to conclusions and remedies; I want to bring in a couple of articles. Noisey wrote a piece that looked at the Kesha/Dr. Luke case and whether we should start believing women and not scrutinising their version of events. There have been journalists and figures in society that pour scorn on artists that claim they have been sexually assaulted. It was interesting reading Noisey’s thoughts and advice:

“We should be better than this by now; we should be working toward openly and vocally believing women. Kesha's case is a disheartening one to watch unfold because it's a real-time example of how hard it is to move in the music industry as a woman. Last year, then senior editor at Pitchfork and current editorial director of music at MTV Jessica Hopper compiled what is a book's worth of personal histories from women about how they cope with misogyny, abuse, and gaslighting in the industry. It was a much-needed catalyst and gave a large platform for necessary stories and experiences to be told. But with every instance of progress we see, there is a Piers Morgan to undermine it. Perhaps Kesha's case will become an example of the very precise and calculated ways men seek to control women, how they will protect their brands; Sony is in the interest of protecting itself and whatever the company's assets may be”.

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 PHOTO CREDIT: Getty Images

Another piece, written by LA Weekly, featured the story of musician/author/journalist Jordannah Elizabeth – a rape survivor who was abused and victimised by different men:

“I remember standing in a circle of girls in our local mini-mall parking lot talking about R. Kelly’s sex tapes. A couple of girls knew some girls who had been with him. This was in Baltimore in 2002, when the tapes had been made public, and I was nearly 15 years old. At the time, I didn’t think it could have been me because I wasn’t his type. I wasn't thin and didn’t have the hint of innocent glamour that he apparently liked. Besides, being chosen by him at a concert was furthest from my mind. I was still a virgin and was concerned with other things, like hip-hop and Nirvana and Red Hot Chili Peppers. At 15, I knew Kelly wasn’t my type, either.

When you’re a black girl or woman in towns like Chicago, Baltimore and Atlanta, the existence of R. Kelly makes you think seriously about sex, and what you’d do if you knew a girl who’d fallen for him. It makes me personally think of Aaliyah, and all the black girls who came into the industry around her age and the producers who put them on, and how it could have been me.

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IN THIS PHOTO: Jordannah Elizabeth/PHOTO CREDIT: Breck Omar Brunson

Actually, it was me. I was sexually assaulted in Harlem by a man who was well-connected in the music industry and offered to “start me out as a model” to gain exposure for me while we began to develop my music. I’d seen him all over TV, so he seemed legit. I agreed to meet with him.

I was in my early 20s, dressed in a short dress and high heels. I took a car to Harlem and waited in a Dunkin Donuts until he picked me up and took me to his grandmother’s apartment a few blocks away. As we walked together, he seemed to know everyone in the eighbourhood. His friends looked as me as if I was familiar. I noticed their glances and I could intuit that I was seen as “another one.”

These are a couple of articles that have been published in the past couple of months but there are others that look at labels like Sony and whether they are hiding details of sexual assault and abuse – their top bods culpable of assaulting female talent through the years. Sexual assault and abuse is nothing new in the music industry. I feel there is more vocal outrage and support in the film industry – when the likes of Weinstein are sussed and exposed – than there is in the music industry.

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IN THIS PHOTO: Lady Gaga (who has suffered sexual abuse during her time in music)

Women are being bastardised and reduced to meat; made to feel worthless and at the mercy of wandering hands and loose tongues. We know women in music who have been raped, assaulted and drugged. It is not a new sensational so why are these cases still coming to light?! I hope the Weinstein case gets people thinking about the music industry and entertaining the possibility something similar could be lurking in the seedy undergrowth – a prominent figure waiting to be called out and brought to justice. The fact the guilty parties tend to lose their livelihood and fortune is wonderful but it does not undo what they did and the types of acts they have performed on women. Amber Coffman, of Dirty Projectors, spoke to The Telegraph about her experiences:

“We have to open our eyes to how serious this problem is and how deep it runs. It is an epidemic,” says Amber Coffman, a 31-year-old musician who has worked with the likes of Snoop Dogg, Major Lazer and J. Cole. Last month, she tweeted about the sexually inappropriate behaviour she had been put through by a prominent music PR, Heathcliff Berru – and found numerous other women coming forward to share stories of how they too had been mistreated by him.

“The amount of women who came [out] privately with their own stories after Heathcliff's actions were exposed was staggering,” she says, particularly given that “the amount of stress induced in coming forward about one's experience with abuse, and the amount of risks involved in doing so are enough to keep most victims silent for their entire lives.”

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 IN THIS PHOTO: Amber Coffman

Berru responded to the allegations by resigning as CEO of Life and Death PR and releasing a statement saying that he was “deeply sorry for those who I have offended by my actions and how I have made certain women feel," adding that he had been“fighting a losing battle” with drug and alcohol addiction, for which he would seek help. The company folded soon after.

Coffman, a singer and guitarist with band Dirty Projectors, knowsthat strength in numbers was imperative in getting resolve.

“Even if women are supported and believed, as it was with our case, it is a very heavy load.

“It's extremely taxing on victims emotionally and psychologically…so it's understandable that some don't feel they can take that on. Add that to a scenario where a woman also doesn't feel safe coming forward because she…fears losing her job or being ostracized and it's much, much harder”.

The articles and interviews I have sourced are a sprinkling and do not really tell the full story. I feel we need to put in measures whereby those suspected of abuse are provided harsher punishment and banned from the music industry. If the allegations are true then they should have no place in music! Female artists should be free to express themselves and revealed the truth – without getting a storm of crap on social media and being ignored...

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PHOTO CREDIT: Reliawire

How many cases do we have to read about before something is done?! Women need to feel secure and safe coming forward and talking about their experiences. When these allegations are made; they need to be followed up and investigated properly. If it means a truncated court case, then so be it! If that is the cost we have to pay to see perverts and abusers prosecuted and asked to explain themselves then that is what needs to be done! We cannot overlook any reports and incidents when women tell their stories. Harvey Weinstein will be dealt with – and is already seeing his empire collapse – and Dr. Luke’s reputation has been given a severe beating. How many others are getting away with things and free to molest, abuse and attack with impunity?! It is alarming considering, on a daily basis, how many women are being assaulted. Whether it is a studio boss/record label owner raping a star or a fellow musician touching a woman without her permission – it all needs to stop and be brought into the light. If we have to see another case of a female artist abused and assaulted then it proves we have learned nothing and not protected women adequately. I hope something can be done before that occurs but I do fear the music industry is not protecting female artists and are…

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MAKING making them vulnerable to abuse.

TRACK REVIEW: Johanna Glaza - Space Mermaid

TRACK REVIEW:

 

Johanna Glaza

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PHOTO CREDIT: Agne Monti

Space Mermaid

 

9.2/10

 

 

Space Mermaid In is available via:

https://www.youtube.com/watch?v=s6j7sI4T7IU

GENRES:

Ambient-Folk; Baroque-Folk

ORIGIN:

London, U.K.

RELEASE DATE:

3rd August, 2017

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The album, Wild Sculptures, is available from:

https://johannaglaza.bandcamp.com/

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IT is good to return to London and Folk…

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PHOTO CREDIT: Willie Nash

because, for the past few days, I have been looking at international artists are all manner of genres. I will cover a bit of familiar ground when speaking of Johanna Glaza but, thinking about her song, Space Mermaid, there is plenty to discuss. Her L.P., Wind Sculptures, is a vivid and candid album that experiments and takes you to new places. It is rare finding artists that deliberately challenge conventions and create something genuinely new. For Glaza, there is a sense of going beyond the accepted and bringing her music forward. There is something beguiling and beautiful about the music but there’s a familiarity, too. I have been looking back at Folk and the kind of variations we find in the genre. It is hard to reinvent a genre like Folk but there are artists who are taking it to heart and creating something meaningful to them. Johanna Glaza is someone who does not produce stilted and calm music – quite relaxed without much physicality and spirituality. What she does it recognise the genre’s foundation and sprinkles her own personality and produce. I have been a bit reluctant to feature Folk artists who do not put much energy into their work. It can be hard offering any passion and insight if the music is pretty chilled and one-dimensional. There are too many artists doing this so it means Folk gets a reputation as being a bit wimpy and boring. If you look hard enough, you’ll find that is not the truth at all. This year has seen artists take Folk as a base and bring other genres into the mix. There is a difference between traditional Folk music and the more modern variety. If one listens to Folk shows on the radio and you will get the kind of music I was talking about – it is pretty to listen to but it can leave you a bit fatigued at the same time.

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PHOTO CREDIT: Agne Monti

I listen to those shows and hear a lot of shanties and pastoral Folk acts. That is already for some but I feel you need to be of a certain age to enjoy it. For younger ears; one seeks a sense of endeavour and invention – a spark and sense of imagination that transcends beyond the quirky and dull. Johanna Glaza is an artist who appreciates where Folk has come from but is keen to drive it forward and provide something sizzling. She does this by clashing bracing and immediate sounds with mythical and poetic lyrics. I have just got through reviewing Robert Plant’s new album, Carry Fire, and can see parallels between that and a song like Space Mermaid. Plant, on his album, produces his traditional sense of the mystic and spiritual whilst throwing in different sounds and cultures. It is a busy and engaging album: taking the head somewhere special and ensuring you come back for more. That is the same with Glaza who provides symbolism and gives her voice to the wind. Some might turn their noses up when mentioning elements of nature and the physical world. One does not need to be a devotee of Folk to enjoy what Glaza is putting out there. She mixes in the base and roots of the genre but stretches it out and brings a spectrum of sounds and colours. Maybe it is not ‘Folk’ because it is such a broad and new sound. I will explore the music more, later, but I am excited to investigate the lyrics and themes explored by Glaza. When I look at what she concentrates on – water and snow; wolves and goddesses – it reminds me of Kate Bush. Maybe she is not a direct influence but it is hard to escape the spirit and body of Bush in the music. I am writing a piece about Kate Bush and her debut album, The Kick Inside.

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PHOTO CREDIT: Agne Monti

The record is forty next year and I am keen to explore it in depth and how influential it is. Not that this review is a chance for me to self-promote and indulge but I can hear traces of The Kick Inside in Glaza’s work. Later works – like Hounds of Love and The Sensual World – explore spiritual elements and the natural world in more depth than the debut; it is intriguing seeing Bush’s trajectory and the themes she tackled in later works. It is the debut that seems to have started everything (obviously) and, whether modern artists confess or not, an album of enormous importance. I feel there are few modern artists who appreciate the importance and relevance of artists like Kate Bush. There are those who source from her but a lot of mainstream artists forsake her. If one listens to the sheer captivation and mesmeric sound of her debut then you will see so much room for interpretation and modern projection. In a world that is becoming more fraught and unsure by the day – there is a sense of escapism and purity in what Kate Bush sings about. I am not sure whether Johanna Glaza realised that but there are definite familiarities when I look at her lyrics. Vocally, they are different acts but it is the words that really stand out, for me. Before I come to look at other avenues – including Glaza’s nationality and base; staying human whilst exploring more extraordinary and flighty themes; making the music breathe but evocative; female artists and their importance right now; the personal relevance of music and evolving a career – I will finish off this segment. I am interesting seeing the split between artists who keep their words inherently personal and basic and those who go the other way. I guess, to connect with the listener more urgently, there needs to be familiarity and accessibility. It can be hard crafting music that separates from the pack but attracts people. You do not want to alienate but, at the same time, want to be seen as innovative and unique. That is what one gets from Johanna Glaza and her music.

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PHOTO CREDIT: Willie Nash

This is not the first time I have featured a Lithuanian-born artist – the last one escapes me – but I am seeing a lot of artists come to the U.K. There are parts of the world that have some form of a music industry but not as solid and promising as it is here. Glaza has been raised in London but knows how important her home is. I wonder how much of the landscape and people of Lithuania Glaza brings to her music. I think of the nation and get a sense its geography and topography is more alluring and scenic than in the U.K. By that; one would see panoramic visions and a mix of the old and new worlds. We have some spectacular views in Britain but I feel Lithuania would surpass them. Maybe I am wrong but I can hear a link to her past and childhood. It is rare discovering musicians who bring fantasy and nature into their music. Comparisons have been made between Glaza and modern acts like Joanna Newsom. I can see that and there needs to be more vocalisation and promotion of acts like that – who stray from the mainstream and produce something different. I wonder what brought Glaza to London but I am not surprised she is here. I keep saying I’ll get away from the capital when it comes to features but there is a definite lure for new artists. The city provides the energy and opportunities many seek; the community and network to help get the music to the masses. Maybe there is a calmer and less stressful vibe elsewhere in the U.K. but London is the beating heart of British music. I am sure Glaza will find a lot of potential here and will continue to see her career grow. One hears Glaza’s new music and can see the development and evolution from the earliest days.

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PHOTO CREDIT: Agne Monti

Although Glaza has not been in music that long; she has created a series of songs and records that showcase her full range and personality. What I have found is more confidence and bravery come into the music. There are flighty and wondrous moments alongside raw human emotions. I am listening to sounds from Letter to New York and Paper Widow and comparing them to Wind Sculptures. In terms of her artwork; there is that dependence on blue hues. The tie to the sea and sky is indelible. In everything she does; Glaza carries the world with her. If her themes and dynamics remain firm; it is the vocals and lyrics that get bolder and more arresting. Her voice has strengthened and taken in more emotions since 2014 (when those early releases arrived) and, on her latest album, one hears a performer who can be compared with very few. Reviewers have noticed how stirring and unconventional Glaza is. That has come from her music background and the backing she has already garnered. Every time her music gets a great reaction; Glaza will up her game and keep expanding her horizons. One hears that come through in her latest L.P. What I find is a song like Space Mermaid, in title and sound, nods its hat to acts like David Bowie. It is easy detecting an element of his eccentricity and innovation in the song; some Joanna Newsom and the beauty of Kate Bush. The music of Johanna Glaza is breathy and emotive but it has openness and expansive horizons. So many different concoctions and scenes are infused in every line. Some might say music that looks at the wind and weather sounds a bit kooky and niche – it will not appeal to that many people and has quite a divisive aspect. I would disagree and feel music needs to push the envelope and start highlighting artists like Glaza. There are so many average and ordinary artists that do not compel the imagination and make you come back for more.

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PHOTO CREDIT: Agne Monti

I will come to the latest track from Johanna Glaza but wanted to explore female artists and their importance right now. We have seen some scandalous and troubling scenes emanate from the news the past week or so. It might seem weird bringing Harvey Weinstein into a music review but the Hollywood mogul has been condemned and attacked (rightfully so) because of the allegations levelled at him. He has been accused of rape and sexual assault and we are seeing a wave of actors come through – detailing how Weinstein attacked them. It is harrowing seeing how deep it runs and the scale of the crimes. Who can say how long it has been going on but there are surely going to be more revelations in the coming days. In music, one feels there is more security and less trouble in this area. I am not so sure and feel this case should act as a warning to those in music. We need more vigilance and greater care when it comes to protecting female artists. I find myself angered by the gender imbalance in music and how little safeguarding there is when it comes to women. I cannot say with any confidence there is an epidemic of sexual assault and scandal in music but I do know there are women who have remained silent – afraid to come forward through fear of recrimination and judgement. We cannot promote industries that allow this sort of thing to happen. The repercussions in the Weinstein case have been instant and severe but there is no telling what more is coming. In terms of music; women are not afforded the same opportunities and protection as men. I raise the point because this injustice extends to the music itself. It is bad enough female artists are subject to horrific discrimination and assault but, as I have said often, they are not allowed the chances men are. This extends to festivals and being afforded exposure at big events. Whether we can redress this imbalance sufficiently remains to be seen but we cannot go on and ignore what is happening behind the scenes.

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PHOTO CREDIT: Agne Monti

Music is no more holy and safe than acting. I worry female artist have to compromise too much and being exposed to the worst sides of the industry. I will write about this in more detail this weekend but find it troubling we have to hear so many disturbing testimonies. Music needs to be aware of what is happening and ensure we do not have any Weinstein-level examples. Artists like Johanna Glaza are talented and immensely promising so should not have to get to the mainstream by exposing themselves and being controlled by men. I fear there is a wave of female artists who have to subject themselves to some degrading and horrible things in order to get their music heard. Let’s hope this is a rarity but there is a part of me that feels things are more widespread than we can imagine. I will move on but want to look at the personal relevance of music and how emotive acts like Johanna Glaza are. Every note she sings seems to mean something and has a relevance to her. Even when she is singing about mountains and the wind; one knows these elements have a connection to her. Many might assume these subjects are the stuff of fantasy. Glaza uses elements and nature as metaphor and symbols. She is big on symbolism and what nature means to her. She gives her heart to the world and has an intuitive bond to everything around her. I come back to Kate Bush but many artists are bravely singing about less traditional themes because of her. Glaza might not have had the inspiration and fortitude to talk about what she does were it not for Kate Bush (or Joanna Newsom). I am hooked and drawn to songs that take us through the heavens and across the landscape. There is dreaminess and pleasures; a scintillating buzz and electricity that comes from the music – hard to ignore and be passive towards.

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PHOTO CREDIT: Agne Monti

I want to move onto the song now but, before then, a final word on recording techniques and sound. On Wind Sculptures; Glaza has embraced the radiophonic techniques and analogue tape-based method - which gives the album a warm, timeless sound. It is unusual seeing an artist ignore the digital and modern and proffer the benefits and brilliance of analogue. I guess there are artists doing it but there are more who want something polished and clean. If Glaza’s music was to rely on the digital; it would not have the same sense of entrance and purity. That need to retain what is true and meaningful is paramount to her. Digital recording would have tampered and distilled the essence of her music. One hears a real sense of engaging and atmospheric. This should act as guidance to artists come through who yearn for the studio and stuffing as much technology towards it as they can. I am worried many think having a fancy studio and gadgets means their music will be better and more professional. This is not the case and it means we get so much faceless and tepid sounds. I feel most artists should produce some music on analogue equipment and see the difference. I listen to musicians like Glaza and know she is not like the rest of music. Her ethos and personality are rare and that, I feel, needs to be exposed more. If music is going to grow and inspire then we need to get away from the mainstream and Pop-driven market and start exploring artists that do things differently. All of these components and strands fuse perfectly in Space Mermaid. It is a song that gets into the head and takes the soul somewhere special. I was eager to investigate and see why so many other sources have been proffering the song with fervency and passion.

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The opening seconds of Space Mermaid are tripped and tempted. There is syncopation and tip-toeing as Glaza presents her words as if she were sneaking through the house at 3 A.M. The delicate yet provocative delivery asks whether we should learn to breathe under snow and water. One can hear these words and think one of two things. Perhaps there is illusion to global warming and the fact that reality might be nearer than we imagine. Nobody knows when things will crack/melt but it is not a far-flung possibility. Maybe there is a sense of the romantic and swimming through the waters; two hearts beating together and getting away from the world. Instantly, one is put in a colder and more arresting place. You listen to the song and envisage the heroine moving through melted snow and water. There is a distinct twang and cadence to the voice that affords the words an extra sense of magic and mysterious. Comparisons have been made to Joanna Newsom and one can sense a bit of that in Glaza’s voice. There is that same accent but one could say that is true of other singles. What Glaza does is showcase her own sounds and flavours. You get a real individual flair and tantilisation from a singer-songwriter who is finding her voice and venturing into new territories. In the early stages of Space Mermaid – and the oddity of that title – we get some rather strange and wonderful lyrics. The cat, it seems, the cat proposed how this world is “just an experiment”. That question is directed at the sky and, already, one is engaged in something very peculiar and irresistible. Few writers can pen words like that and make them sound essential and sensible. There is a wisdom and child-like innocence to the lyrics but a sense of caution that runs through the veins. The gods have no place in the sky and, when trying to uncover the truth about the words, your mind is taken in different directions.

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PHOTO CREDIT: Agne Monti

Every line is delivered in a different way so that there is constant movement and unpredictability. “I go back home and you’re not there” is a line that invites images of loneliness and abandonment whilst Glaza’s yearning for a miracle suggests she is hankering after a connection a sense of definition. Maybe she has lost who she was and is looking for ballast. Few can deny the emotion and beauty of the lyrics and the original presentation. So many different twists and turns come from the song; you have that physicality and authority from the musician – the listener is free to interpret how they wish but everyone will have a different view. Glaza walks into the green nettle sea and is taken back to her childhood – a time-machine that seems to cast her back to fonder times. You might get a sense of defeat and suicidality but there is a need to reclaim a degree of safety and lack of responsibility. Maybe the heroine is finding things tough and wants to get back to a time when life was easier. As she steps towards the waters; the cascading voice and wordlessness get into the skin and projects images. The heart is stone and one feels the need to reach forward and protect the heroine. The piano is kept light - but wields influence and stir throughout. Few other elements exist apart from the piano and voice. Maybe the lyrics do not possess as much clarity as you might think – making more sense to the author – but it is interesting guessing what might be behind the words. I cannot get over how sensual and arresting the voice is. I have used those words before but they seem apt for someone who manages to get into the mind with only a few utterances. It is amazing seeing how Glaza weaves patterns and takes care when singing. Her own lexicon and direction mean few others will be able to reach the same heights as Glaza.

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PHOTO CREDIT: Agne Monti

Eventually, percussion does come in and there is a bit more heat and strike. The song naturally progresses and grows as time marches on. The heroine is no fool, as she repeats, and is not going to be taken advantage of. There is never a sense of being beaten and giving up on life: the need to fight and be heard is evident and loud. Whilst Glaza never shouts the words; she does carry huge weight and passion at every turn. The song teases and confounds; it spikes the mind and one is always left guessing where the lyrics stem from. I got the impression the heroine was suffering a break-up and was struggling to cope with how things have unfolded. Many artists would provide such simple dialect and cliché when speaking about relationships. Instead, we get something deep and unique from someone who has a lot more to say. Wild Sculptures is filled with similar quality and unique flair but I find Space Mermaids to be the perfect starting place. From the first moment to the flickering embers; it is a compelling song that makes the listener stand to attention. You will come back to the track as it is quite a lot to take in upon the first listen. There is so much working away and the mind will interpret the lyrics and get to grips with the layers within the voice. I am not surprised Glaza has been granted so much love and support from journalists following the album’s release. I hope she carries on strong as the music world needs more people like her. It can be difficult discovering true gems but, when it comes to Johanna Glaza, she is no fake: the real deal and someone whose values and importance will continue to climb as the years unfold.

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PHOTO CREDIT: Agne Monti

From her early days fronting the band, Joanna and the Wolf, there have been developments and changes in the life of Glaza. She left them in 2011 and moved to New York – where she began recording songs for her solo career. Coming from Lithuania and then finding your way to New York must have been quite eye-opening. She did not instantly go from one to the other but the sheer scale of New York would have been strange for someone who was born in a completely different space. Being in London; Glaza is used to the city and the endless rush that comes from it. I hope she remains here and continues to record. The E.P., Silence Is Kind, come out in late-2013 and got the music to the masses. More and more people tuned into her sounds and became familiar with a very special artist. One can hear bits of Joni Mitchell, Joanna Newsom and Kate Bush in Space Mermaid and, when you dig into Wind Sculptures, there are so many different aspects working away. Songs range from piano-led (Million Years) to the bold and heart-wrenching Home. Different instruments come in and there is hardly anything predictable about the record. You can discover glockenspiel and bass; there is piano and rousing percussion; tender infantile and bold sexuality. Throughout the record, that sense of being connected and blended with the natural world is evident. Johanna Glaza’s existent can be solitary and frightening but she never makes the listener feel alienated and scared at any point. The music brings you in and one instantly bonds with the songs. Glaza calls the record “the edge between raw and beautiful” and does not hide away from the people – the songs are not drowned in the comfortable, sparkly and superfluous. As she describes it: “If it started to feel too comfortable, or sparkly, I took a step back and stripped it off because I know it wasn’t good enough for me.”

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Wind Sculptures is a personal album that demands one listen to it through headphones. The music draws you in and it has such intimacy. I am excited hearing what comes next and whether there will be more albums down the line. It appears Glaza is growing in stature and there is a definite foundation of support. Glaza spoke to Hoxton Radio a couple of days ago and promoted her new album. There are plenty of ears and prominent sources keen to espouse the benefits and joys of her music. I am sure this success will continue as we head into 2018 and I would like to see the music go even further. Maybe there are gigs further north because there are many who would love to see her play. The reviews (for Wind Sculptures) are positive and many note how ambitious her music is – reaching far and helmed by that gorgeous and hypnotic voice. This is no small feat for a debut album and that stands Glaza in good stead. I imagine more music will come and subsequent records will reach even further. I will leave things now but know Johanna Glaza will grow stronger and reach even more people. She has spent time in the U.S. and this is a market she could return to. Maybe there are few like her in areas like New York but songs like Space Mermaid do not rely on demographics and location: they are universal and get into everyone’s hearts. I have been blown away by the song and, whilst I could not find time to review all of Wind Sculptures, I can attest to the brilliance of the music. Such a thrilling and unusual album from an artist who has many more years ahead. Those who want to find something that goes beyond the ordinary and causes gasps and wonderment should spend some time…

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WITH Johanna Glaza.

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INTERVIEW: JonoJosh

INTERVIEW:

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  JonoJosh

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I cannot think of another artist who can say a woman’s…

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battle with terminal cancer is the inspiration for their latest song. One Thanksgiving; JonoJosh received a call out of nowhere, asking if he could offer anything (a song or prayer) for the dying woman. She had been given mere weeks to live. Not only did the song reflect that sense of sadness and loss – the woman in question survived a further two years – but it took on new meaning down the line. The Canadian songwriter talks more about the song, Chance, and whether there will be new material soon.

I ask him about future gigs and some of the musicians that have been instrumental to him; some fellow acts he recommends – and why Canada’s musicians are, right now, among the finest out there.

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

This week has been amazing. Thanks for asking!

It’s been thick with studio time - which is my favorite place to be. We've been making some stuff that I'm really excited about. 

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

For sure. We like to call our music ‘Soul-Pop’. It has influence from Gospel, Jazz; R&B but, most importantly, it comes from the heart. Really, our music is art reflecting the world, reflecting art. So, we try to tell stories that may not have been told; give light to ideas that people can relate to.

Whether that means making a track that is meant to make you dance or a track that's meant to make you cry - either way, it's meant to do something.

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Chance is your new track. Are you excited it is complete and what do you hope people take from the song?

So excited about it...

Chance is a song about hope. I wrote chance as a prayer, originally, but now I see it more as a mantra. When I listen to this song, it inspires me to fight for things that are important to me - and I hope it does the same for those who listen to it.

I know there is a rather tragic and upsetting tale behind the song. Can you explain where the inspiration came from?

A couple years ago, during Thanksgiving, I got a phone call asking me to pray for this girl who is in her mid-thirties who had just been diagnosed with cancer. My friend told me that this woman only had two weeks to live.

Not knowing this woman, personally, I didn't know what I could do - so I wrote this song. In reality, there are a lot of things that we can do. We can donate to research; we can go and be with the people who are patients. So, this song is about inspiring us to not give up.

The girl who was given two weeks ended up living for two more years.

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Chance was completed four years ago – its inspiration passed and its meaning took on new music. Did the tragedy affect you so much – that’s why it was delayed – or did the song need time to evolve and breathe?!

I think the interesting thing about music is that you don't know the effect that it will have on people...

I wrote this song hoping it would help me understand and cope with death and, although I did share it with the family, it felt like a very personal process. But now I think, looking into the world, there are a lot of things worth fighting for that we, as a human race, need to give another chance to - which means that this song is no longer meant to be a personal song: it needs to be heard by anyone who needs another chance.

It took me awhile to realize that.

The video for the song has been completed. Can you reveal a bit about the storyline and what it was like filming?

Because the song is all about supporting each other; I thought it would be poetic to have contact improv. be the basis for the music video. Paul Barton and Jen Li are such amazing artists. Jen’s vitality has always inspired me. (Side note: you should definitely check out Paul’s E.P.). Paul is mainly known for being a producer/musician (he helped produce Andi’s projects) but a lot of people don’t know that he has roots in the Dance scene, as well - so they were my first choice. 

Now for the story of the music video…. 

When conseptualizing this video, I sat down and I realized that most important thing I had to do was convey a feeling of hope. So, having that as basis, I decided to focus on shots that portrait people reclaiming energy from the world - whether it is nature or physically leaning on someone. So, that immediately meant that the backdrop was going to be its own character.

When talking about the location; I knew that I had to use this green space - because there is currently a fight going on for its right to exist. The Castlemore community had an event last weekend raising money to hire a lawyer to keep that area green - and I felt it would be the most fitting to sing this song with that backdrop. The filming process was shockingly easy I mean yes we did have to trudge through some pretty deep woods but I think it was worth it.

The shots that Samuel Dass took were exactly what I was hoping for.

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Do you have plans for an E.P. or album in 2018?

We do.

We are currently finishing up a couple more tracks and are hoping to release them very soon. We will be calling it The Freaky Adventures of the Groove…so keep your eyes peeled for that!

How would you say your music has changed since last year’s Change EP? Are you a more confident writer or are you taking in new inspiration?

Being a writer is such an interesting thing because you never fully know when inspiration is going to hit: you just have to write the second that it does and sometimes you have to write - even if it doesn't. This year, I started a songwriters’ night - which artists like Andi, Landon Abram; Flash Teeter and the Men from Mars and one my favorite producers, Sebastien Valiente, attends.

The biggest thing we learned from doing that was that, even if you don't write something great; when you're trying to; sometimes the act of trying to will bring inspiration later. We have written...I have no idea how many songs during those nights this year…and quite a few of them have already been produced by different artists.

I am ecstatic to see what comes of them...

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Andi is a songwriter we are both familiar with – I have interviewed her. Is there going to be a collaboration between you two?

It's actually quite funny you ask because Andi just finished my album-art for the E.P. - that Chance is going to be placed on. I am a massive fan of Andi and I am sure that someday soon, in the future, we will release another song together.

But, for all those waiting, there's still Caffeine and Take Down Your Guard available on Apple Music!

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Canada is where you are based. What is the country like for a young musician? Is it a good place to develop and showcase your music?

I think Canada is one of the best places to make music because it is a melting-pot for style and originality. Not only that, but there is a sense of camaraderie in the music scene (in Canada). I have had the privilege to perform coast-to-coast and, although all the bands are very different, they all shared that same sense of camaraderie.

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IN THIS PHOTO: Andi

Which new artists do you recommend we check out?

There are so many artists that I am a big fan of from Canada - but not just Canada – and from around the world.

Oh goodness…where to begin: Andi, Paul Barton; Moonhead, Monowhales; Unbuttoned, Casey MQ; Tamara Madison, Allie; Bassline...

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IN THIS PHOTO: Tamara Madison

What tour dates do you have coming up? Any U.K. dates coming up?

I miss performing in the U.K. so much: I would love to be back.

Currently, I am in rehearsals for Grease Toronto starring the amazing Janel Parrish, Dylan Wallach and Katie Finlay (opening November 9th). The fly-crew is currently planning some shows for early next year.

So, fingers crossed, we can cross the pond!

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

Will.i.am - Songs About Girls

That album was so ahead of its time. Now, I keep hearing songs that rip off that album - and no one has a clue. 

Son Lux - Weapons (E.P.)

I know it's just an E.P., but I have to say it, specifically because, Son Lux reinvented the same song so many different ways - and it left you at the edge of your seat the entire time. It's definitely a huge source of inspiration.

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Lianne La Havas - Blood

Every song on that album takes me on a journey that I want to relive the second I'm done listening to it. 

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

Write, write, write.  

Even if things don't go well the first or tenth time: keep writing. Your art is yours to choose. Don't be defined by cultural definitions of what your music should be. Tell the story in your heart. 

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Christmas is approaching. Do you all have plans already or will you be busy working?

Christmas is my favorite time of year. My birthday is the 23r December, so that whole week is usually a never-ending amount of music and dancing. Last year’s Christmas, I had the privilege of working with the Pinball Clemons Foundation - to raise funds to build schools in communities that need them. Me and a few other artists got together and made an album to support the cause (What I Love About Christmas is available on iTunes). 

So, here's hoping I get to be a part of something like that again this year!

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).

Tamara Madison’s SELDOM - which I also happen to be listening to right now!

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