INTERVIEW: All the Luck in the World

INTERVIEW:

  All the Luck in the World

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OVER the past few months…

I have interviewed a lot of artists who have chosen to move to/reside in different countries. All the Luck in the World began life in Ireland but are, now, settled in Berlin. I ask them about the German capital and how life differs there; how their diaries are looking for this year/next; if there will be new material coming soon – and whether the guys are returning to Ireland for Christmas.

I find out more about their new single, Golden October, and how it came together; what we can expect from the forthcoming album – a glimpse inside a passionate and talented young band.

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

All good, thanks! It’s been a long time since we released anything - so there is this natural buzz that we almost forgot about.

It’s a good feeling...

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

All the Luck in the World are made up of Neil, Kelvin and Ben - along with an evil camel mascot. We’re from Ireland but currently residing in Berlin most of the time.

Golden October is the name of your new track. Tell me a bit about its inception…

The track, itself, was one of the first songs we worked on after releasing our previous album. It came from a kind of ‘forgive-and-forget’ concept: wanting to accept shortcomings and move forward, positively. The title, while being a nod to the seasons, is a reference to a particularly creative autumn that we had as a band - in which we began to form a bunch of new songs.

It is the first single from your forthcoming new album. It has been a few years since the debut album. Was recording the second album quite an intense experience, would you say?

It was intense!

We put a lot of time into it; learning as we went. Overall, this yielded results that we can be proud of – ultimately, making all that time worth it. To be honest, that’s what we love to do - so there is no real question of it being worth it or not. We racked up a lot of hours in a little home-studio that we built in an old shed; with a fold-out couch and a tiny heater that only caught fire once (I think!).

It was fun.

What can we expect from the record in terms of themes and subjects examined?

We were very particular throughout the writing and recording process: constantly looking for points of interest or things that excited us. We refused to rush anything. The songs range from personal experiences to stories of friends; to entirely conceptual characters and situations.

Aspects of nature also come to the fore - with particular reference to our environment back in Ireland.

How did All the Luck in the World get together? What was it that bonded you all?

Neil and Kelvin met in school, playing music together from, probably, fifteen years of age. Neil formed the band in 2011, playing mostly by himself - until both Kelvin and Ben joined in 2013. Our taste in music and similar interests are probably the things that bonded us.

Since then, we have grown up together a bit in terms of music and learning - so we’ve impacted each other in that sense immensely.

You are in Berlin but passed through County Wicklow. Is Berlin somewhere you always wanted to get to? Was moving to Berlin what finally led to the album being completed?

We’ve done a lot of recording in Berlin over the last few years. I guess the plan was to eventually get over here. It didn’t feel like a risk or anything. Having spent so much time here before: it just felt very normal. It definitely helped us get the ball rolling on releasing new material, but that also coincided with finishing college and other personal issues that were, perhaps, slowing down the release of a new album.

Is Berlin quite a captivating place for a young band? Would you recommend others go over there to live?

I think so. Whenever we had spent time in Berlin the past, we were very productive and creative. This is probably a cliché, but something about the nature of the city is conducive to creativity. But who knows; we can’t speak for everyone - perhaps Berlin bands are craving an old woodshed in rural Ireland!

They each have their value to us.

Do you all remember the artists you all listened to as children? Were there particular acts that stick in your mind?

Some of it is unmentionable, I'm sure, but ones that stuck might include Bob Dylan; The Frames, Damien Rice; The Strokes, Bloc Party; Arcade Fire, Bright Eyes; American Football and (Sting and) The Police.

IN THIS PHOTO: The Japanese House

Who are the new artists you recommend we check out?

Phoebe Bridgers just put out her first record - which is beautiful. Loney Dear has a new album on the way; as does Jonas David, I believe.

The new Alex G album is brilliant - and we’re all loving The Japanese House at the moment.

Oh, and Andy Shauf has become an absolute favourite in the last year or so.

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

Fionn Regan’s The End of History

Another Wicklow native that has soundtracked some of our most significant developments, as people, in the last seven or eight years.

Folk at its best, in our opinion.

Bon Iver - Bon Iver

It is an album we’ve bonded over for as long as we’ve known each other: the soundtrack to many car journeys and collective goosebumps.

Youth Lagoon’s The Year of Hibernation

It is also a favourite. Simple and perfectly melancholic.

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

Do as much as you can on your own. Learn how to use at least a basic recording set-up and utilise all the advances in technology and social media. It seems pretty obvious and it’s, of course, not that easy - but we are much better off having learned some of these things. We still have a lot to learn - but you have to start somewhere. 

The main thing is writing and producing work that you’re proud of.

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

We are currently planning our touring for the year. Nothing to be revealed just yet...

How much fun do you have on the road? Is it somewhere you all feel ‘at home’, as it were?

Well, we haven’t done any overly-lengthy tours. The longest was eight or nine days, so I guess we haven’t truly tested our stamina.

We have had some really great times on our travels for sure. Very much looking forward to getting back out there soon.

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

We’re looking forward to heading back to Ireland for a couple of weeks and spending some quality time with friends and family. We will be preparing some stuff and, no doubt, rehearsing a bit - but nothing major planned.

Maybe some carolling, if the mood strikes…

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).

Bobby by (Sandy) Alex G

Content as a Cog by Comfy Coffin

Fortunate Child by Villagers & Nico Muhly

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 Facebook:

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INTERVIEW: Argyl Singh

INTERVIEW:

Argyl Singh

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IT is hard to ignore the stunning…

voice of Argyl Singh! It is evident the Swiss-based musician is unlike anyone out there! He talks to me about the new/debut single, Another Loss, and what the song is all about; whether there will be any more material this year – and how long music has been in his life. I ask why he relocated from Scotland to Switzerland; what the music scene is like over there – and whether we can see him in the U.K. soon.

Singh discusses his influences and time spent busking; what it has been like touring Europe – a few great albums that have made an impression on the young songwriter.

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

My week has been busy, but good!

Between moving house, working two jobs and planning an E.P. release - I have had my hands full!

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

So. My name is, of course, Argyle Singh, I am a twenty-three-year-old from Ayr, Scotland. I left Britain at nineteen and started my travels in Amsterdam. Since then, I have been all over Europe, busking away. My hobbies are, pretty much, traveling, playing music; art, watching M.M.A.; generally being social and, of course, a good old bevy!

Another Loss is your debut single. Talk to me about the song and how it came together?

It was actually among the first couple of songs I wrote - which were all on the same night, believe it or not. I'm surprised they were even decent enough to (still) play today, to be honest with you. It's a song about change: everybody has grown apart from someone that they thought they would know forever. Although it is an everyday thing, in my teen-years; my relationship with my family was not at its best. Let’s just say so: my friends were my family, in my eyes.

Maybe I was just sentimental that night - but they do mean a lot to me.

Its vocal will be remembered for a long time! How long did it take to get the voice THAT good?

I hope so, thank you! I never really took any singing lessons apart from, maybe, a wee choir in primary-school, I suppose. I tried a singing teacher about a year ago and it was not really for me. I guess I got my practice in while singing along to the radio as a kid; doing my dad's nut in. I'm always singing under my breath while doing anything, anyway.

To be honest; there’s always a melody stuck in my head, somehow.

Who are your idols and musical heroes that helped shape your sound?

That’s a hard one to answer, really, because my taste through the years has varied so much but, for my sound now, I would have to say it stretches all the way from old artists like Otis Redding; Ray Charles and Bob Dylan; to newer artists like Paolo Nutini, Ben Howard and, even more recently, Kaleo. But, don't be fooled: I love a bit of 1990s Hip-Hop and Deep House etc.

Oh, and my favourite band of all time has to be Arctic Monkeys.

You were born in Scotland but live in Zurich. What was the reason behind the move and is there a better music scene where you are?

The reason is really simple: I moved here because I fell in love - my girlfriend is from here. The music scene though is definitely not better than in Britain, I have to say. Don't get me wrong: it would still surprise you. There are a lot of cool bands going around here that we may or may not ever see in Britain.

Some of my favourites are Ellas, Frank Powers and Pedestrians CH.

When in Amsterdam, at aged nineteen, you had little more than a bag of clothes and a guitar. Was that a hard time or did it help shape you into the musician you are?!

Not as bad as most people imagine.

It was the best six months of my life, so far. There were certainly stressful times, as my daily routine was to get up and go busking to earn enough for a bed for the night - plus food and other substances...but the stressful part was never getting the money: it was getting back to the hostel in time before it was booked out! Maybe I was lucky but I was never left hungry or homeless. After a month or two, I found a roommate, thankfully, which took all that stress away - and I just had time to enjoy the summer. It definitely shaped my outlook on life as a person and as an artist. I would encourage anybody to do it.

The world is not this big, bad place everybody seems to think it is if: you just open your eyes and your mind.

Since then; you have toured Europe and got great reaction ns. What has the experience been like and what does it feel like bringing music to the people?

It is the best feeling in the world!

Some people say they get nervous when the spotlight is on them but, when it comes to playing music, I thrive under the pressure - it makes me more nervous when people are not listening. That’s why busking and traveling go so well together: because any given day hundreds - or even thousands - of people can hear your music!

It's attractive to people and, believe me, it attracts the best kind of people, also. 

Long Time Coming is your debut E.P. Give me a window into the sort of songs that will be on the E.P. - and the subjects that influenced the writing…

Well. There are two more intimate songs about heartbreak on the E.P. (Another Loss is, of course, one of them) and the other three are more upbeat and happy. I only just realised now that - apart from another loss; all the other songs are about women, actually...

Shoot me now...

IN THIS PHOTO: Kaleo

Who are the new artists you suggest we check out?

I am loving the Kaleo album at the moment (think it came out last year, right enough)!.

Also; check out Ron Gallo. He is a new artist from the States who came out this year (especially the song, Young Lady, You're Scaring Me).

IN THIS PHOTO: Ron Gallo/PHOTO CREDIT: Alysse Gafkjen Photography

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

Just the 28th for the E.P. release in Zurich! You guys can find the details on my Facebook page events. Otherwise, I just have a few smaller living-room concerts and private events booked – but, I am working on some cool stuff!

Also; I will be hitting Holland and Italy at the end of January for some gigs (dates coming soon).

Are you coming back to the U.K. before the end of this year? Do you miss living over here or are you quite comfortable where you are?

I am actually coming over at the beginning of November to see/meet my new nephew!

I also have tickets to see Kaleo on the 3rd. Aye, there are a lot of things I miss about home but there are also a lot of things I don't miss. I am comfortable enough for the time being here, but my plan is to make the move to London for the music in around a-year-and-a-half. The money is good in this country so I might as well take advantage of that and save as much as possible before I go.

The reason being that I'm not a big city guy - so I need to be able to jet off any given break I can get.

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

Again, that's really too hard to answer since it changes every day but, today, I would say Arctic Monkeys Fluorescent Adolescent; Paolo Nutini Sunny Side Up and, maybe, something like Damien Rice's first album (I think it was called O).

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

Work hard, plain and simple!

There are no shortcuts - which I am just realising now, if I am honest. I really wish I had the courage to pursue my career in music earlier…but such is life. Most of all, (just) keep your eye on the prize; remember what you’re doing it for…and enjoy yourself! Most of the behind-the-scenes action in the music industry is still a mystery to me - but you just have to dive in.

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

I'm really not sure, yet. I will have to see how work is looking: I’m not a full-time musician yet, unfortunately.

Maybe I can get a short trip up to the mountains, at least.

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 Had a Real Good Lover from the Shouting Matches. It's actually one of Bon Iver’s old bands. It’s a shame they broke up - I love the music they played. 

Thanks again, folks. I can't wait to get to Britain to start gigging for you lot again!

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Follow Argyl Singh

Facebook:

https://www.facebook.com/argylesinghmusic

SoundCloud:

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INTERVIEW: Jasper Sloan Yip

INTERVIEW:

PHOTO CREDIT: Nelson Mouellic

Jasper Sloan Yip

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I am excited…

because, in three days, Jasper Sloan Yip unleashes the new album, Post Meridiem. It is the third album from the Vancouver-based artist - who is now part of a seven-piece band - and is an extraordinary work! In the Living Room is the new single: it follows the awesome The Day Passed and the Sun Went Down - and announces the Canadian musician as a force to watch. I ask about the latest album and the themes tackled throughout; how the music has progressed through time – and what Vancouver is like when it comes to new, ambitious artists.

He talks about his band – and how they all found each other – and whether there are tour dates coming before the end of the year; the single album the Jasper Sloan Yip counts as most important – and the new artists we should all keep our ears open for.

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

I’m exhausted - but no complaints.

Last night, I wrapped up two weeks of shows and promo for Post Meridiem in Eastern Canada. I attended a conference in Toronto this weekend - put on by Folk Music Ontario - which was a lot of fun but it wiped me out. I never really got to bed last night: just went to the airport at the crack of dawn and came home...

Pretty good week, overall.

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

Sure thing...

Hey everyone. I’m Jasper and I’ve been recording and performing my evolving brand of music since 2009. I began my career as a solo artist - playing what most people would call ‘folk’ music - in and around Vancouver, Canada. Over the years, I gradually put a band together and now we’re a seven-piece Art-Pop band - set to release our third L.P., Post Meridiem, this month.

In the Living Room is the new single. What is the story behind the song? Can you reveal the themes and inspirations that go into the record?

This song, like the entire album, does not have a story behind it - so much as it is a small piece of the larger narrative of Post Meridiem. The songs are a series of intimate vignettes about a young couple at home.

In the Living Room comes right after a song called Put Up Your Hair; in which our couple is contemplating their future. That song ends with this exchange: “What should we do honey? Where should we go?”...“Baby, let’s go out. Put up your hair while I put on our song.” (Clearly, the question is referring to the larger picture of their relationship). The responder chooses to avoid this potentially painful subject and opts for short-term gratification - by suggesting they go party; instead of actually dealing with their situation. In the Living Room picks up the narrative, a few hours later, as they begin to crash (“Oh, nevermind, let’s just get out of here. I’m getting tired and we’ve had a lot to drink.”).

PHOTO CREDIT: Nelson Mouellic

The rest of the song follows their long, sleepless night spent coming-down from their party together in the living-room. Vice, substance abuse; isolation and escape very prevalent themes on this record - and they all come to a head on this song. The upbeat, happy sound of this song masks the difficult and uncomfortable feelings it contains; much in the same way that our couple deflect and avoid confrontation throughout the narrative.

I’ve tried very hard to put together a vivid depiction of two people struggling with themselves and their relationship - and I’ve tried to do this all through suggestion and implication. My hope is that people can listen and see some part of themselves in this world I’ve put together. If you say things to explicitly, you alienate people who cannot relate to the exact context you put forth.

The track is already getting a lot of love from British sources. How does that make you feel?

I’m thrilled.

I make music to connect with people and I am so grateful to be alive and making music - at a time where sharing it with the rest of the world has never been easier.

This will be your third album. How has your music developed and changed since the 2010-debut? Have you noticed yourself changing as a songwriter?

Absolutely. To be frank, I have a hard time relating to the songs on my first record. I don’t think that’s a bad thing, either: quite the opposite, actually: it’s healthy to outgrow our younger selves. Every Day and All at Once is not a bad album - and I’m proud of it. But, I know that the music that has followed it is - for lack of a better word - better. I write exclusively about myself. I can’t help it. So, in that sense, no…I have not changed all that much.

But, I’m doing my best to find better ways of telling these stories with every song.

You are a self-taught musician. Why did you take a one-way trip to Paris before your debut album? That sounds like a risky move!

I went to Europe just for the sake of going.

I had spent two unfulfilling years at university and I needed an adventure. Prior to that trip, I had not travelled - aside from a few small trips around Canada and the United States. I was hungry for independence and new experiences and, thankfully, Europe was where I decided to start making it seriously.

Tell me how you came to meet your band. Let me hear a little bit about each member?

I met my band very organically...

I knew our drummer, Graham, a bit growing up but I serendipitously ran into him at a gas station about a month before I was set to record Every Day and All at Once - and I asked him then and there if he wanted to join…and he’s been with us ever since. I met Stephanie at an open mic (night) where I got my start. She started joining me on violin at the mic - and then joined full-time. I met Marcus (Bass) and Alex (Cello) through bands we shared bills with. I met Owen (Keyboards) when I was trying to find an old Wurlitzer 200a - and he happened to have one to sell.

Lastly, Devon joined up during the Foxtrot tour. We were touring with our good friend Skye Wallace with whom Devon was playing the violin. Skye’s run on the tour ended about halfway but Devon stayed on to play with us - and has been a member ever since.

PHOTO CREDIT: Nelson Mouellic

What is it like performing together on the road? How much fun is it being on the same stage together?

Playing music with these people is a dream-come-true. These people are my family and I feel so lucky to get to make music with them. They are all wonderful people and tremendously talented musicians. I am, far and away, the least capable musician in the band (and I like it that way).

Vancouver is your base. What is the city like for a musician? How inspiring is it to you?

Vancouver is tough: the cost of living makes it tough for artists of all kinds.

The other major issue is the lack of venues. Our mid-sized rooms and small clubs are all shutting down and new ones aren’t opening: the city just isn’t very venue-friendly. We have some very dated liquor laws and other bylaws that make opening new venues difficult. That said, I’ve lived here my whole life and it will always be a part of me. This city has informed everything I’ve ever written - even when I was away. When I was in Europe, I wrote about Vancouver quite a bit.

IN THIS PHOTO: Sam Tudor/PHOTO CREDIT: Pat Valade (for Discorder Magazine)

Who are the new artists you recommend we check out?

Check out Sam Tudor’s new album Quotidian Dream. He just released it: fantastic work. Signature voice, great lyrics.

Also, check out Peach Pit. Great Indie -Rock band from Vancouver and pretty great people, too. Their new album, Being So Normal, just came out - and it’s terrific.

IN THIS PHOTO: Peach Pit/PHOTO CREDIT: Lester Lyons-Hookham

Oh… and Real Ponchos. Their most recent record, To the Dusty World, is the only album I listen to in my car….

PHOTO CREDIT: Nelson Mouellic

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

My ‘desert island record’ has been Wilco’s Yankee Hotel Foxtrot for a long time. I referenced it heavily on my last record, Foxtrot. I could talk about this album forever; it’s almost too much to tackle! Suffice to say, I’ve studied it extensively and, what makes it so special to me, is that I always find new depths to it with every listen.

Even after listening to it all these years, it still affects my emotions ins new ways - and I don’t know what that is exactly… but that’s what makes it so powerful.

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

Make art for yourself. It’s really that simple.

I didn’t always make music for the right reasons but I do now - and it changed everything.

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

This has been a big year for me already.

I spent all of May touring Germany, Belgium and the Netherlands and, like I said earlier, I just got back from two weeks of shows in Canada. At the moment, my books are pretty open but I’m aiming to be back in Europe for early-2018 with my band.

We’ll definitely be booking shows in Germany, the U.K.; the Netherlands and, potentially, Italy, as well.

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

This year has been nuts; so I’m really looking forward to spending Christmas in Vancouver with my family - and getting started writing our next record.

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 Quotidian Boy by Sam Tudor!

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Follow Japser Sloan Yip

 Official:

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INTERVIEW: Secret Rendezvous

INTERVIEW:

 Secret Rendezvous

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THE duo has already been championed by…

Pharrell Williams, Coldplay and MTV. It was only natural I’d be interested and seeing what the guys are all about! Secret Rendezvous consist Sietske Morsch and Remi Lauw. I ask the Amsterdam twosome about their new album, For Real, and the themes that go into it. I learn why artists such as D’Angelo are so important to Secret Rendezvous and what the music scene is like in Amsterdam.

They tell me about their future plans and how their music careers got started; whether their new album is a development from their debut; the advice they would offer new artists – and records that mean a lot to them.

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

Hi! It’s been a great week. We’re having the last sunny days here in Amsterdam...

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

Sure. I’m Sisi; singer and writer. Together with my boyfriend, Remi (who plays guitars and synths); we produce music for our indie R&B band, Secret Rendezvous.

Is there a reason behind the name, ‘Secret Rendezvous’?

Yeah. We chose the name, Secret Rendezvous, because when we make music we lock ourselves up in the studio for months on end without letting anyone hear anything - so it feels like we’re having a secret meeting in the studio; like some kind of secret society…

But we wanted a smooth, sultry name…so we chose Secret Rendezvous.

 

For Real is your new album. What are the themes and stories that go into the record?

For Real is about the cycle of life and love, the ups and the downs. In the beginning of the cycle (we are) determined; full of confidence, followed by moments of doubt and sorrow - to end up, falling in love again with life.

Was it quite easy and quick to put together? How do you think your latest record compares to your earliest stuff?

No. It was not easy at all: that’s why it took us four years to make.

We started with a lot of demos - but they were all in different genres - so it took us a while to find the sound and songs we wanted. Through that process, we grew a lot as a songwriter and producer - so you can hear that we evolved on this new album.

Can you tell me how you met and when you decided you wanted to record music together?

We met at the Conservatory in Rotterdam, where we studied Pop Music.

There were not that many people at that time that liked our music; so, we started jamming together to our favourite D’Angelo and Erykah Badu tunes. At school, we had to do music projects – so, our first band came out of one of those projects...

We dropped an E.P. on MySpace and did some shows but, looking back on it, we weren’t fully committed because we also played for a lot of other bands as session musicians - and didn’t put enough time in our own music. When we wanted to make a full-album, we decided to start a new band - and that’s when Secret Rendezvous was born.

Pharrell Williams and Coldplay have championed your music. What is it like having them compliment your music?

It’s pretty surreal! We admire them both a lot, so, for them to like our music is awesome!

Do you both share musical tastes? Who are the artists you look up to?

Yeah, definitely.

Remi also listens to more experimental stuff - but we like a lot of the same artists. We’re both big fans of Prince but also Frank Ocean, Little Dragon; BANKS - and we still love D’Angelo and Erykah Badu, by the way.

Amsterdam is where you are based. What is the city like for new music and are you ever tempted to relocate?

It’s a city where there is always something going on.

Right now, it’s Amsterdam Dance Event, for instance: five days of mini Dance festivals throughout Amsterdam. Really cool. The music scene is pretty small, though, so we know a lot of musicians. That’s fun. People are pretty open-minded and into new music here - but Amsterdammers can also be a tough crowd to new bands they don’t know yet - when you play here.

I wouldn’t wanna live in any other city in NL, but we are very into London; so it could be fun to live there for a while!

 IN THIS PHOTO: Kelela

Which new artists do you recommend we check out?

Kelela, Moses Sumney and SZA.

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

Unfortunately, not in the U.K. yet, but we’re doing the after-show for Zara Larsson in Amsterdam on 31st October; we’re playing Rec. Festival (in Rotterdam) on 3rd November.

Is the U.K. going to be part of your future plans regarding gigs?

We have played in the U.K. two times - and we really liked it there - so we would love to come back!

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

Just one?! Oh man!

I’m gonna go with a pretty obscure one: Lewis Taylor – Lewis II

It’s the last album that I know by heart and it has inspired me so much, vocally and musically. He’s so underrated and I wish he would make some more albums like that again!

Remi: That’s a really hard one: Voodoo from D’Angelo

I never was really deep into R&B music but, after seeing his live show on his Voodoo tour, all music styles I listened to before came together and the energy was crazy. Then, I had to do my homework - and that was Voodoo.

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

Don’t go with trends; they come and go. Find your own style and keep striving to be better.

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

Most of the time, we work around Christmas. There’s something very melancholic and inspiring about the December days - so we tend to write more in that period.

We always take two days off with Christmas, though, to hang out with our families!

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).

Sisi: Kelela – Rewind

Remi: Moses Sumney – Lonely World

_________

Follow Secret Rendezvous

 Facebook:

https://www.facebook.com/secretrendezvousmusic/

Twitter:

https://twitter.com/secretrendezv

SoundCloud:

https://soundcloud.com/secretrendezvous/

Instagram:

https://www.instagram.com/secretrendezv/

Spotify:

https://open.spotify.com/artist/0ze4ZsTzztDozddZWWKKzf

YouTube:

https://www.youtube.com/secretrendezvousnl

INTERVIEW: Masasolo

INTERVIEW:

 Masasolo

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FROM a duo based out of Belfast…

it is to a band from Copenhagen. I speak with Masasolo about their upcoming album, At Sixes and Sevens (out on 27th October) and what we can expect from it – and the reason for choosing that title. I wanted to know how the band started out and what the music scene is like in the Danish capital; the artists that have inspired Masasolo; why the past week-or-so has been a rather good one - that has involved some fortuitous surf weather!

I learn more about the band’s tour schedule and whether they are coming to the U.K.; a few new names to check out – and how their album differs from their E.P., Breakup.

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

Hi, Music Musings and Such. My week has been great, thank you.

I had a surf and, yesterday. The big Hurricane Ophelia from Ireland got to Denmark. Instead of being devastating - as in Ireland - it turned out to be some pretty good surf when it got to us.

I am still high on this (smiles).

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

We are a band from Copenhagen, Denmark that started in February 2016 when I (Morten) put out the debut single, Really Thought She Loved Me. That song kickstarted us and turned us into a band - and we have been playing and making music as 'Masasolo' since then.

With Masasolo; we try to create gloomy and transcending music that still have a core of catchy Pop melodies.

At Sixes and Sevens is your new album. Can you explain the title and the stories that go into the record?

’To be at sixes and sevens’ means to be in a state of confusion or disarray - and is a phrase I use in the first song of the album, Just as Real. The funny thing about the phrase is that it properly originates from an old game of dice where, if you would bet on ‘sixes and sevens’, you were betting on your entire fortune.

I felt that the phrase corresponded really well with the ongoing theme of the record - which is the mixed feelings of getting older. When I was younger I felt confident about where my life was going. I took a Masters degree in Sociology; had relations I thought would last forever and knew my own morals and values. But, without noticing the direction I had taken, all of a sudden found myself in a place I would never have predicted. It wasn’t better or worse: just not really what I’d expected.

This left me in a sought of groundbreaking existential confusion, which I was really surprised about…the fear of not finding your place in life

How do you think it differs from the E.P., Breakup? Did you take in a lot of new sounds and inspirations for At Sixes and Sevens?

Hopefully, you’ll recognize our sound from Breakup... but I think it differs in a lot of ways.

The obvious thing is that it doesn’t deal with a break-up - but this album is also way more ambitious in many ways. We’ve spent ages in the studios trying to balance (the relation) between doing original and experimenting music but, at the same time, not losing ourselves in the experiment - and keep the music concerned with the fact that people should like listening to it.

This has been the most exciting exercise ever...

Was it a natural process putting the band together? How did you all find one another?

Most of us actually grew up together and played together as kids - so we’ve always been on each other's radars.

We all come from the countryside of Denmark and, I guess, there is some identity to that - even though we now all live in Copenhagen. In any case, when we formed Masasolo; it was pretty easy and obvious that we should play together. Now, one-and-a-half-years later; we’ve added a new synth player, Peter, to the group.

He’s awesome and a fantastic musician - and he’ll be joining our concerts from now on...

Tell me how music came into all of your lives? Was there a single moment you realised music was what you wanted to pursue?

It’s more the other way around...

I have tried, most of my adult life, to stop pursuing music and get a normal job. When I grew up, everyone in my family played music and, therefore, it has always been such a natural part of my life. I have played, toured and recorded music all of my life but, when I ended my education in social science and started working, I suddenly realized how precious my life with music was - and that is was slipping through my fingers.

This was when I started writing songs for Masasolo...

I am interested in Copenhagen. What is the city like for a young musician at the moment?

Copenhagen is great - both as a city and when it comes to music. There’s a lot of things going on and there is, like, a pretty good eco-system of venues where you can go and test your music to an audience. On the other hand; Copenhagen is expensive (just like most capitals in Europe) and this puts pressure on the Alternative scene. I have friends living and playing out of Liverpool and they can rent studio space for no money - which I quite envy, sometimes.

Is there quite an active scene for musicians? What kind of genres are popular in the Danish capital?

The most recent thing that has happened in Copenhagen is the rise of a new Post-Punk scene with bands like Iceage, Lower; Less Win, etc. Masasolo isn’t part of that thing but I’ve really enjoyed following them and listening to their music. That whole thing was pretty exciting.

Our band is like a mash-up of really good friends that play in different constitutions, such as Palace Winter; Sleep Party People, Luster and more.

That’s, like, our circle (smiles).

How does it make you feel getting attention from sites in the U.K.? Is it quite humbling getting recognition from international sources?

Yes, of course.

It’s really hard to describe how fortunate you feel when people take an interest in your music. It’s one thing when your friends and family like it...but, then, when people from far-away start writing; you become humbled and full of confidence at the same time.

It really fuels the fire.

Who are the new artists you recommend we check out?

You should check out our bass player, Jake, and his band, Luster. This is the coolest new thing around right now....

Or, if you haven’t heard Mikhael Paskalev, yet; you should check out his new album, Heavy – it’s heavy stuff!

 IN THIS PHOTO: Mikhael Paskalev

What tour dates do you have coming up?

We just played in Norway and, afterwards, we have a short tour in Denmark this fall. We are working on a longer tour in spring 2018 - where we, hopefully, would come by the U.K. again.

We haven’t played there since late-2016 - and we miss you guys.

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

This answer you get way too often but.... The Beatles with Revolver

Nothing compares to it! In this album, they find the perfect relation between musical experimentation and Pop music. I can always return to this album.

Another, and not that over-used answer, is Angel with Pure X

When I started writing for Masasolo I was listening to them all the time - and that album is just sublime.

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

It’s really hard not to sound like a cliche - but climbing the ladder in this business you’ll find that the cliches are there for a reason. One cliche I find useful is that, as long as you stay true to yourself, it gets so much easier dealing with the people (and the ups and downs you are gonna meet along the way).

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

We take every holiday chance we’ve got to work; so, yeah - Christmas is already booked with studio-time.

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).

Niki & The Dove - Play It on My Radio

Mikhael Paskalev - Needles in Our Hearts

Luster - You've Got the Heat

Shanghai - Mine, Mine, Mine

_________

Follow Masasolo

 Facebook:

https://www.facebook.com/thisismasasolo/

Twitter:

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

SoundCloud:

https://soundcloud.com/morten-s-gaard-andersen

Spotify:

https://open.spotify.com/artist/4S40lf9NsaFuabpDs4BCt5

YouTube:

https://www.youtube.com/channel/UCeiVH3y-VP0kIuNSTIC_epA

INTERVIEW: New Portals

INTERVIEW:

 PHOTO CREDIT: BigBad Llama 

New Portals

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ONE needs very few reasons to listen to…

the music of New Portals. The Belfast husband-and-wife duo (consisting of Mike and Ruth) has unveiled the single, Sober. Proceeds will go to Macmillan Cancer Support’s Go Sober for October campaign. I ask them about their involvement and experimenting with an uncommon 4/4 signature on Sober. New Portals discuss getting acclaim from the likes of BBC Radio 1 and how they got together in the first place.

Ruth - who takes the lead with the answers - chats about the duo’s music and whether there will be new music in 2018; what the Belfast music scene is like at the moment – and a few new artists worth a bit of investigation…

________

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

Hey. We are good.

Mike ran the Amsterdam Marathon on Sunday and got stuck there because of (storm) Aphelia for three extra days - so, it was a bit dramatic!

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

Yea. We’re a husband-and-wife-fronted band that started out playing Folk-Pop - and have recently changed our name and gone all Dark-Electronic-Pop.

Tell me about Sober and what the track is all about…

Sober is about thinking outside of the box and learning to do life in a different way.

In this instance, we are talking about the amazing relationships where your connection is so strong when you meet; that partying comes easy without the need of alcohol.

Another strange theme from us in our songwriting!

There are delicate percussions/sounds set against a 4/4 signature. It is not a conventional pattern. Was there quite a lot of experimentation before the song came together?

Not really. We actually just ran with it a lot with this one and didn’t get our knickers in a twist.

PHOTO CREDIT: Killing Moon

Proceeds from the track go to Macmillan Cancer Support’s Go Sober for October campaign. What was the reason for backing the cause?

For a day-job, Mike is a doctor and gets to see the amazing work of Macmillan nurses in Belfast.

That, and the fact that a song called Sober just came to us, creatively, and was ready just in time for October, meant that the stars had aligned - we had to go with that!

How did you get together as a duo? Were you friends from a long time ago?

Yea. We were actually childhood sweethearts and, now, are married and have two kids. We have been playing music together all this time.

 PHOTO CREDIT: BigBad Llama 

New Portals have gained adulation from The Guardian and BBC Radio 1. Does that give you a drive and sense of pride?

Yea, it’s great. We appreciate all support from the smallest of companies, retweets; plays in small-to-big radio stations; Spotify. We appreciate it all.

We’re really thankful that we get to make music.

Will there be more music in 2018, do you think?

Yea. We are hitting the studio again next week!

Belfast is where you play out of. What is the city like in terms of music? Is it quite a hotbed for new talent?

There are a lot of musicians. A lot of talented acts, yea.

Who are the new artists you recommend we check out? 

Ella Vox. She writes great feminist songs.

Also; Wet are cool - we actually covered one of their tracks recently on BBC radio.

What tour dates do you have coming up? 

We’re trying to put a tour together- we’re playing in Camden, on 10th November, at The Crowndale with Palomino Party and All the People:

PHOTO CREDIT: EQ Music Blog

It seems like the U.S. is reacting to your music. Is that somewhere you are keen to perform?

Yea. We played at SXSW last year and had an N.Y.C. tour. Oh, yea; any excuse to play in U.S.A. and we are there.

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

No plans yet, apart from getting a week’s skiing squeezed in somewhere, hopefully…. 

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

Mike: For me, it’s Radiohead - although I can’t choose between The Bends and OK Computer

Ruth: Same as Mike on this one!

PHOTO CREDIT: Killing Moon

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

I could say the usual “focus on your songwriting” and “play from the heart” but, really, I think the best advice is to learn everything about contraception (*smiles*) - and try to have good vibes because the industry is tough (and good energy will seep through).

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).

We are enjoying Kllo and their new track, Dissolve

Also…Don’t Wanna Be Your Girl by Wet

_________

Follow New Portals

 Official:

http://wearenewportals.com/

Facebook:

https://www.facebook.com/NewPortalsMusic

Twitter:

https://twitter.com/NewPortals

Instagram:

https://www.instagram.com/NewPortals/

SoundCloud:

https://soundcloud.com/just-portals

Spotify:

https://open.spotify.com/track/18cuxW4macoAKR3iE804Lq

BandCamp:

https://newportals.bandcamp.com/releases

YouTube:

https://www.youtube.com/channel/UCH5jPmTvzSrb3ZhY-0M03mw

INTERVIEW: Francois Klark

INTERVIEW:

 Francois Klark

________

THE intrepid and stunning Francois Klark…

is a South African-born, Canadian singer-songwriter and producer. I speak to the Toronto artist about his latest track, Spaceman, and what it feels like being compared to John Legend and Coldplay. He tells me about his upcoming and moving from South Africa to Canada; whether we can expect more music this year – and if there are plans cemented for next year.

Klark talks about being Universal Music Award winner and the artists that inspire him; when music first came into his life – and why every note and sentiment of his music resonates with emotion and meaning.

________

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

Hey, Music Musings and Such! Pleasure chatting with you guys...

Things are pretty happening on this end. It feels a bit like I’m back in high-school: pulling all-nighters, left-right-and-centre - but things surrounding the release have been very exciting.

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

Sure thing. I’m a small-town South African choirboy; graphic design drop-out; music graduate, now living in Toronto, Canada. I spend most of my time on mountains; anywhere that is close to trees and large bodies of water - and behind my baby grand piano writing songs. I’m a massive science fiction fan - which might explain my love for using big synths and vocoders. I’m also a romantic, so - recording music with just raw vocals, piano and a string section makes me very happy.

Growing up In South Africa instilled in me a deep love for World music and, as a result, I find that music from different cultures often bleed into my music production choices.

Spaceman is out now. Can you tell me about the song and the story behind it?

Some people believe that there is only one perfect person for you: others believe that a person could fall in love with anyone, and then, that person becomes the perfect person for you. Regardless of what you believe, odds are, if you're single, the person you'll, one day - choose to spend the rest of your life with - is somewhere out there right now at this very moment.

Spaceman explores this idea. The narrative in the song follows a space traveller who embarks on an almost dream-like journey covering extreme distances - and overcoming great obstacles in search of his one person.

In a sense, this song became a metaphor for my journey as I search for, and discover, my muse: music.

The song has been compared, in terms of sound, to John Legend and Coldplay. Are these artists you admire and are proud to be named alongside?

Very proud and humbled - I look up to them as artists quite a bit. I am deeply motivated and inspired by Coldplay. I very much admire how creative and imaginative they are. I once, briefly, met John Legend as he passed by me backstage at a gig. He was doing a few last-minute warm-ups before going on stage and I remember thinking: ‘Wow - his voice is even richer and bigger in real life’.

PHOTO CREDIT: Nick Merzetti

It seems like you explore every note and make every line count! Is music a place where you can channel all your emotions and pour your heart out?

Songwriting has definitely given me the chance to explore - and better understand - the things that I think about; that bother me or feel passionate about. It is during the writing process when I sit all alone behind the piano that I feel most like myself: alive and happy.

Recording and performing these songs are incredibly liberating and freeing - and something that I am very thankful for.

Can we expect to see any more music this/next year?

Absolutely.

Keep an eye on the digital music stores and streaming platforms this coming Monday, October 23rd. The acoustic version of Spaceman, recorded live at Harris Institute (Toronto) - featuring Kibwe Thomas on the grand piano - will be available to stream and download. There are also two Spaceman remixes, courtesy of Bus Up Shop and Giordash, coming your way in January (pretty stoked with what these guys did with Spaceman). The album is also ready and slated for release in early-2018.

I picked a couple more songs off of the album that will be released as singles prior to the release of the full album.

Were you always interested in music? When did it come into your life, would you say?

Yes. I’ve always been interested in music...

Maybe not always on a very conscious level. Music is so closely tied to family for me. I remember music being part of our household for as long as I can remember - it was just another way of living everyday life. It was light-hearted, silly; beautiful - it was something we did together in our house. We could jump behind the piano anytime. Music was in the church pews as we would harmonize with mom; it was at school in the choir; it was at barbecues with friends…it was everywhere.

Did your parents’ tastes influence you or did you explore your own avenues as a child?

My parents listened to a lot of ABBA (I still know the lyrics to most of their songs), BZN and Classical music well…at least those are the ones burnt into my mind...FOREVER. It was, more so, when my sister went to high-school and came home with all kinds of artist and song suggestions that my world of music expanded exponentially. I have my sister to thank for my unquenchable thirst for new songs and artists I’ve never heard of.

Beyond that, our city’s local university radio station - and the cover band that played at the local pub we used to sneak into - were largely responsible for my early music education.

You are a Universal Music Award winner and collected a number of awards. You have shared the stage with some great artists. What has been your proudest moment from your time in music?

A really big turning point for me came during my second year of Graphic Design studies at the university in my home-town, Potchefstroom. I entered a song into the university’s songwriting competition. The winner got the opportunity to perform their song in the Sanlam Auditorium in front of nearly one-thousand people. My song was selected as that year’s best original composition which, in turn, meant that, well…somewhere I had to get the courage to play that big venue.

Up until that point, I have never sung in front of such a large audience - and only ever played piano in front of my parents and siblings. I suffered from a fair bit of stage-fright for most of my life but, somehow, had the courage to step out on the stage by myself and play the song that night - definitely the most formative and proudest moment of my life.

The performance went well and I believe that that was the pivotal moment that changed the course of my life - and that has led me to where I am today.

PHOTO CREDIT: Nick Merzetti

Born in South Africa; you are now in Toronto. Why did you move from South Africa and is there a bigger music scene in Canada?

My dad moved to Canada for work during my first year at uni in South Africa. He heard good things about a music school, Humber College, in Toronto. Well aware that music plays such a major role in my life; he asked whether I wanted to come check out the school. Up until that point, I only ever thought of music as something that I enjoyed doing for myself - and not as a career. At the time, in South Africa, it also didn't quite seem like a viable option. I jumped at the chance not only to make music my life - but also to travel and live in a place from which the rest of the world could be more easily accessed.

The music scene in S.A. is very much alive, booming and producing incredible artists at the present time. I don't know whether the music scene in Canada is bigger than in S.A. but, in my experience, the music scene here in Canada is more connected to the music industry in Europe, the U.S.; Central and South America - something that excites me very much - as a musician that loves traveling and collaborating with artists from different cultural backgrounds. 

PHOTO CREDIT: Nick Merzetti

It seems like a part of the world with more than its fair share of great artists! Is there a reason for this, do you reckon?!

Toronto and the Greater Toronto Area is bursting with incredible talent.

It might be because Canada has a reputation of being very inclusive and accepting of all people regardless of their cultural background, religion; beliefs etc. This is likely one of the reasons why people from all over the world move to Canada. Since Toronto is considered the most attractive city in Canada for music, all the creatives flock here once they get to Canada - the result: a high concentration of very motivated and talented musicians in one city.

We are also very lucky to have a government and organizations like FACTOR - that invest in sustaining and developing a vibrant music scene in Canada.

IN THIS PHOTO: Joshua Luke Smith

Which new artists do you recommend we check out?

Amber Mark, A P H R O S E, Celia Palli, Joshua Luke Smith; Refentse, Monark; Matthew Mole; A Tribe Called Red.

IN THIS PHOTO: Celia Palli

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

Crash - Dave Matthews Band

D.M.B. made me fall in love with painting pictures with words and telling stories with songs. I have a high-school buddy to thank for passing this album on to me and introducing me to D.M.B. (thanks, Dirk!).

This album is, pretty much, the soundtrack to some of my favourite memories.

Cloudburst and Other Choral Works - Eric Whitacre, Polyphony and Stephen Layton

This is, hands-down my favourite album of all time. Turn off all the lights; lie down in your favourite place; put on some really good headphones and have your mind blown.

If we could hear the universe sing, this is what I think it would sound like.

Phase (Deluxe) - Jack Garratt

From the first to the last song - a masterpiece of songwriting, musicianship and the most imaginative and creative production

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

Write all the time.

Surround yourself with truly genuine and good people. 

Make true friends, not contacts.

Don't follow trends - trends will pass by the time you're ready to release your music.

Be true to what comes naturally to you.

Find a purpose for your music - it wasn't given to you to serve you.

PHOTO CREDIT: Nick Merzetti

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

My siblings are coming to Canada for a white Christmas. We'll set up the barbecue in the garage and have a traditional South African 'Braai' in -30*C weather.

So stoked!

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).

Both Sides Now - Joni Mitchel 

I’m in awe of how beautifully this song is written. Just a true gem!

_________

Follow Francois Klark

 Official:

http://www.francoisklark.com/

Facebook:

https://www.facebook.com/francoisklark/

Twitter:

https://twitter.com/FrancoisKlark

Instagram:

https://www.instagram.com/francoisklark/

SoundCloud:

https://soundcloud.com/francoisklark

Spotify:

https://open.spotify.com/artist/6pWdTbfpN654qlN83k3O0P

YouTube:

https://www.youtube.com/user/FRANC0ISmulder 

INTERVIEW: Firewoodisland

INTERVIEW:

Firewoodisland

________

IT has been a riot speaking with…

Firewoodisland about their past work and the stunning new single, Dearest Brother. Their current single is among their finest work so I was eager to learn about their progression and how they have come on as a band. They talk about the musicians that have helped shape their own talent; I hear more about their future plans. Dearest Brother was recently played by D.J. Mark Radcliffe – I ask the band what that felt like.

Firewoodisland have been making music for a bit but are preparing their debut album - so I ask what we can expect from the record. They tell me about what Bristol is like as a base; whether they will get any time to chill before the year is through - each member picks a treasured song to spin at the end…

BAND PHOTOS: Matt Gutteridge  

________

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

Hello. We are good!

Feeling alive..if you can imagine what it's like to run a marathon at the same time as eating the best cake in the world - that's a bit how we all feel. We're all super-pumped, but super busy, and sleep is a sweet, sweet thing - but so is being awake…because it's crazy!

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

We are Firewoodisland. We play Mountain-Pop. If you're into Indie-Pop music with an epic, mountain-grandeur feel; that is what we aim to accomplish! To compare to other bands, we are often likened to Imagine Dragons; Of Monsters and Men; Fleet Foxes etc.

We are a four-piece, comprised of wacky Norway-boy Stian Vedøy; crazy Snowdonian Abi Eleri; naked pike-bait Dylan Jones and Steve (A.K.A. ‘Steeva the Diva’).

Before I go on; what is the background to the band-name, ‘Firewoodisland’?

Firewoodisland is actually Stian's surname: ‘Vedøy’ translated to English.

We liked the sound of It; it's got a nice ring and we thought: "Hey, that would make a cool band name!" It was a natural choice because Stian actually started out playing and writing music by himself - and he acquired the rest of us on his journey.

He's always gone under ‘Firewoodisland’ - so none of the rest of us really got a say. HA!

Dearest Brother is the new single. Tell me about its origins and how it came together…

This is actually a funny story!

The song was inspired by a certain band member...we won't be mean and say who... but they went through a period of many, many mishaps - and it inspired Stian to write about watching a friend getting hurt by life choices; wanting to reach out and help - but needing that person to help themselves back.

The whole situation is totally fine, now, though! Nobody is hurt, anymore - and we are all happy as Larry!

It was played by Mark Radcliffe on his BBC Radio 6 Music show. How did that make you feel hearing that?!

It was quite surreal...

Twitter made some noise, so we naturally looked to see what was going on - and next thing; we're tuning in to hear ourselves on the radio at prime-time, Monday. If our friend wasn't around, we would have burnt the bacon! I think we're all still very excited about it and looking forward to what's next for us.

Dearest Brother has already collected a lot of love and buzz. Does that give you encouragement and reward?

Of course, it does. We are all very encouraged.

Band practice has been really good fun the last couple of weeks; full of buzz and banter...as well as working hard for our shows in London, Bristol and Bath later this month, of course! It's great to see hard work paying off.

We have had this song in the pipeline for a long time and been itching to release it. Keeping secrets is hard!

IN THIS PHOTO: Dearest Brother/Soldier Hahnemuhle Archival art prints by Firewoodisland'sAbi Eleri

There are embers of Fleet Foxes and Bon Iver in your music. Who are the artists that have inspired you? What kind of music were you all raised on?

Collectively, when we started out we were really inspired by Mumford & Sons - and we have always been inspired by Justin Vernon as a songwriter and producer. OMAM have been an inspiration and, in particular, their journey as a band. We also have big love for Jónsi.

More recently, we are digging Aurora, Oh Wonder; Ásgeir and Amber Run.

Stian was brought up on the hip beats of Michael Jackson and the soaring sounds of the Electric Light Orchestra. Unfortunately, he stopped listening to Michael Jackson because he heard a rumour Michael loved all the women on the planet - and he thought he'd fall in love with his mum! But, his biggest inspiration through his whole life has been Norwegian singer-songwriter Thomas Dybdahl - who he's seen in concert many times.

Abi grew up convinced that Steve Harley & Cockney Rebel's song, Make Me Smile (Come Up and See Me), was all about her. Queen and Bowie filled the car on long journeys as a family. Bat for Lashes was a favourite when she found her own feet.

Steve was brought up listening to the haunting sounds of Simon and Garfunkel. From a musical family; many nights were spent jamming out the tunes of The Beatles and Bob Dylan.

Dylan grew up with the Eagles and listened to Jack Johnson. His first album was Kasabian by Kasabian!

Bristol is your home. Is it a great city to make music in? What is the local scene like?

Bristol is awesome. There is always something going on; friends and fans want to come out and hear live music; there are loads of musicians and artists in the city as well as some great places to play. For Dylan, it's always been home: for the rest of us, it quickly became home.

We really enjoy being here…

Stian Vedøy. You moved to Cardiff and started Firewoodisland as a solo venture. How did you meet the other guys and get the band fused?

I moved to Cardiff for university back in 2010 - and I actually met Abi because, on my first night in Cardiff, I broke her guitar; playing it too enthusiastically in the Common Room at Halls! We met Steve a few months later, but we were never really a band…we occasionally played together. After a year in Cardiff, my mum was nagging me to put one of my songs up on this Norwegian website daily; so I did it to shut her up...

Life went on as normal and I forgot about the website, until four months later, I get an email saying: “Congrats, you are a regional finalist". That is how we ended up playing at Bandwagon Norge and coming runner-up for a record deal with Warner Music Norway.

Firewoodisland became a band after that - and Dylan joined that journey when we moved to Bristol a couple of years ago.

That was back in late-2013. How has the music changed and what have been the biggest changes since then would you say?

We would say the sound has definitely developed...

We started off down a more Acoustic-Folk-y road and moved to the multi-instrumental-synth-infused-Mountain-Pop. Everything has gotten bigger: the sound is more atmospheric. We moved our lives to Bristol, where we met Dylan - which was also a big game-changer.

Stian grew a beard, finally!

IN THIS PHOTO: Highasakite/PHOTO CREDIT: Stian Andersen

Who are the new artists you suggest we check out?

If you don't know Norway's Highasakite, you are missing out in life. We would totally recommend them.

IN THIS PHOTO: ARY/PHOTO CREDIT: Ida Bjørvik

We are loving the sweet sounds of ARY; Bears Den and our friends Axel Flóvent…and Long for the Coast.

Make sure you also check out our buddies from over the pond, Cold Weather Company.

IN THIS PHOTO: Cold Weather Company

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

Stian's most influential album would be Thomas Dybdahl's Stray Dogs

It was a huge inspiration during his teens when there was a lot of terrible Pop around in Norway. It was the first album he saved up and bought with his own money - and was the album that made him plunge into writing his own songs.

For Abi; it would be The Corrs’ In Blue

Although it is not her favourite Corrs album; it was the first Corrs album she heard and lead her to her first-ever concert: The Corrs in Liverpool (in 2003). These guys were one of her favourites growing up - and have seen her through adolescence.

For Steve, it would be Eagles - When Hell Freezes Over

Because he discovered them in Africa. It was his sound backdrop to a life-shaping, epic-adventure year.

Dylan's album-biggie would be I Had the Blues But I Shook Them Loose by Bombay Bicycle Club

It's got some bangers - and it helped him survive flying the nest.

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

Keep fighting the fight…and pushing.

Don't compare yourselves to other bands because everyone's journey is unique. Get yourselves a great manager who knows their stuff. Take advantage of all the online platforms like Spotify and Apple Music. Get on BBC Introducing because they are a bunch of massive dudes: there are so many opportunities out there...

You've never been able to do more for yourself, before. Connect with other musicians and bands - and play shows together. Work with people; not against them. Always be polite and friendly to everyone.

Make sure you love what you are doing.

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

Yes, we do, as a matter of fact! We are in London's Servant Jazz Quarters on Monday, 16th October; in Bristol's Exchange on Saturday, 21st October - and in Bath's The Nest on Saturday, 28th October.

These are our ‘Dearest Brother release shows’ - so we are very excited about these.

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

Probably a bit of both: definitely some relaxing and lots of eating. We have a band Christmas do each year... a bit of a tradition with a Secret Santa. This is in the pipeline and is always a blast. Our manager Nick, always receives either something Star Wars-related (or Lego)…

If the present is both - double brownie points!

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).

Stian: Rain Down on Me - Thomas Dybdahl

Abi: Breathless by The Corrs

Steve: Your Body Is a Wonderland by John Mayer

Dylan: Turn & Leave by Samantha Lindo

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Follow Firewoodisland

 Official:

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Facebook:

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Twitter:

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INTERVIEW: Four Dead Crows

INTERVIEW:

 Four Dead Crows

________

THEY were described as a cross between The Black Keys…

and Royal Blood by Classic Rock. The Gloucestershire-based boys tell me about their latest single, That’s What You Get, and how it differs from previous numbers like Destitute Blues and No Great Shakes. I wanted to know more about their formation and how Four Dead Crows got their name; why the 1960s inspire their music – and whether they have a plan of attack for 2018.

The guys each select a song that means a lot to them; the albums that inspire their music; why this week has been especially busy – and what live gigs they have approaching.

________

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

Hey. Good, thanks!

We`ve just been practicing hard for some upcoming gigs – and we’re getting new material together. We’re playing the 100 Club (in London) on 20th October which we`re super excited about. To be playing on a stage where some of our biggest influences have played is awesome.

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

Well. Classic Rock recently described us as the Black Keys-meets-Royal Blood - which is awesome and really flattering.

For us, that’s the best introduction!

That’s What You Get is your new single. Can you tell me about its origins and story?

Well. The idea for the main riff came from a Doors song that Danny changed around. He showed us at practice and we really liked it - and just jammed it for hours. Danny had some lyrics he`d written previously that suited the theme of the song. So, we actually finished the song pretty quickly; which is unusual for us as a band as, when we usually start a song, we never end up finishing it!

The single follows Destitute Blues. Would you say you made big changes since then – or have you felt the need to radically alter your music?

No, not really. Our music is quite big in terms of the spectrum: at one end, we have songs like Destitute Blues - which is more on the slower, softer side - then, on the other; we have heavy stuff like Broken Bones or No Great Shakes.

We are currently experimenting more with synths and organs but we`ve never really limited our sound or felt we need to alter it - as we have such a large area we can fit into.

Will we see an E.P. this or next year? What do you chaps have in mind?

We’re currently touring and promoting our latest record and we have another single - which is coming out at the end of the year. We`ve got a few ideas we`d like to record so, maybe, next year we will get back into the studio...

As a band, we’d love to record an album.

Can you tell me how Four Dead Crows got together? How did you all find one another?

Paul and Rob were in a covers band covering Red Hot Chili Peppers and Creedence Clearwater Revival songs for a while and, when that fell through, Paul contacted Dan (our bassist) - who he knew through friends at college - and we jammed for a bit. We put an advertisement out for a singer online and Danny responded.

He came to a few practices and everything clicked from the go.

I wanted to ask about the band’s name. Is there a particular inspiration behind it?

Well. A lot of people believe that seeing a dead crow is some sort of harbinger of death, but It can also symbolise the end of bad things and the beginning of all things new and good. We felt this reflected where we all were, personally, at the time - and suited the theme of the band.

Gloucestershire is where you are based. Is there a strong music scene there?

Gloucestershire has a great local music scene with some really great venues.

Places like the Guildhall where they hold the Underground Festival - which supports up-and-coming acts.

Also…Café Rene. They organise the annual Blues festival.

There are so many cool places to check out great live music. We have some really great local bands that all look after and support each other.

It seems the 1960s and good-old-fashioned Rock/Blues is vital to your sound? Who are the artists you all grew up to? What is it about the decade/genres that speak to you all?

Yeah. It’s had a profound effect on how we approach playing. I think it’s a time when music was being revolutionised; new sounds were being made and the yard-stick was constantly being shifted. We try to adopt this ethos within the band. We don’t want to take the easy option on writing: we are always pushing ourselves, musically, to do something different.

It’s the reason we`re all influenced by bands like The Jimi Hendrix Experience, The Doors; The Beatles: bands who weren’t afraid to try something that little different.

IN THIS PHOTO: Creeper

Which new artists do you recommend we check out?

Rob and Paul are currently listening to Creeper - who are a Horror-Punk band. Danny is listening to Shakey Graves.

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

We’re Playing the 100 Club (in London) on the 20th October; The Firefly (in Worcester) on 26th October - and the Cleeve Sports and Arts Centre on 5th November.

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

Paul’s would be Origin of Symmetry – Muse

It’s such a massive, grandiose-sounding album. It feels like an event listening to it in its entirety.

Rob: Led Zeppelin – Led Zeppelin

Every song on that album is a masterpiece; all of the songs are crafted so well.

Danny: Tom Waits - Mule Variations

The beats and the opening riff to Big in Japan is fu*king great. Come on Up to the House is a masterpiece.

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

Network!

As a band; we`ve been to gigs where some younger bands are perhaps too shy to speak to the other bands on the same bill. The best advice we can give is to speak to the other bands. That way, you can organise gigs with each other; promote one another's releases etc.

Also; get out and gig. Gig as much as you can!

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

I don’t think any of us have even though about Christmas just yet. I’d imagine it will be spent celebrating with family, though! We are going out for Hallowe’en dressed as The Rocky Horror Show with Rob (our bearded drummer) in drag - so there is that to look forward to…I guess...

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).

Paul:  New Kind of Kick – The Cramps

Danny: Big in Japan – Tom Waits

Rob: Blossoms – At Most a Kiss

_________

Follow Four Dead Crows

 Facebook:

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Twitter:

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YouTube:

https://www.youtube.com/channel/UCHApx-_FEkvWWkozlqvfWFA

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INTERVIEW: ZoZo

INTERVIEW:

PHOTO CREDIT: Steve Shotonwa

 ZoZo

________

HER debut single is out, so…

it was a good moment to speak to ZoZo about I Won’t Leave Your Bed Tonight. She talks about her studies and what she has planned next in her career; the music she was raised on – and those artists she is listening to right now. I was eager to learn more about her music and the themes that go into it; what compelled her decision to get into music – and what London is like with regards inspiration and creativity.

ZoZo looks ahead to Christmas and talks about gigs; how she feels about the situation in Catalunya (as she is from that area) - and why she moved to the U.K. years ago.

________

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

Hi, Sam! Great thank, you.

I’ve just released my first official single, I Won’t Leave Your Bed Tonight, so that’s all that’s on my mind really! I’ve also just started studying a Masters in Songwriting and Production at Tileyard - so I have quite a lot there, too.

Busy time of the year!

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

Yes, sure. My name is ZoZo. I grew up in Catalunya and moved to the U.K. six years ago to pursue my love for writing and music. I describe my music as Dream-Pop with lots of synths layers and cinematic sounds. My lyrics touch on everyday life - along with stories and secrets we don’t tell.

I Won’t Leave Your Bed Tonight is your new single. What is the story behind it?

The song revolves around having a connection with a guy but you only seem to meet up and hang out at night. I only ever knew him while he was drinking and, as a non-drinker myself, I was aware of the way he/we came across to others in venues. I woke up in the middle of the night, once, and realised I didn’t know this person at all, really, and wanted to leave - but I didn’t until he had a clearer mind and ‘remembered who I was’.

Will there be a video for the song coming up?

Yes! There’s currently a lyric video on my YouTube, but there will be an official music video coming in a few weeks, around November!

Excited for this one!

The song is released via Killing Moon. What is it like working with the label and are there more song coming?

They’re great and I’ve been free to express myself the way I wanted to. There’s more singles coming after the music video - no dates set yet but more singles from ZoZo coming soon yes!

How did you first get into music? Was it something you got into at an early age?

My dad is a Classical pianist and always played beautiful music all-day-long, echoing through the house. I grew up with a lot of cheesy ‘bad’ Spanish Pop - which I loved as a kid and would pretend to be on stage dancing in front of the mirror! It was never something I thought I’d end up doing until I bought a guitar the day I finished school at eighteen and just couldn’t stop writing songs.

I’d always written lyrics and sang to myself in the woods but, finally, really got into music properly in my late-teens.

Who are the artists that inspire you most, would you say?

I love artists like Christine and the Queens, Aurora; Lorde, Rhye and Shura. I only discovered them in the past four years. Earlier on, I used to listen to a lot of ABBA and Coldplay. I think all these artists portray their art so genuinely - and are just great musicians with amazingly catchy songs!

Recently, you modelled for Ofio (and their autumn/winter collection). Will you be doing any more fashion shoots and what was the experience like?

Yes. It was great!

I’ve known them for a year or so. I did some modelling when they first launched last year. I specially loved this last shoot as it captured the warm autumn colours, which I love. It was a great shoot in Holland Park; the colours are so vibrant at the moment! I hope to do more with Ofio in the future. I used to do theatre and have always been fascinated by visuals, so I’d love to more modelling. There’s a lot you can express in a photo and I feel visual art and music go hand-in-hand.

Always up for collaborating with photographers and interesting brands!

You are a Catalan/Scottish girl living in London. Why did you decide to come to the U.K. and what do you think about Catalan’s fight for independence at the moment?

I decided to move for music. I studied music in Brighton for two years and then moved to London because I was getting more and more gigs here. I think it’s one of the best places to be for what I want to do. I developed my sound over the past years while living in this crazy place - and I’m really happy with everything surrounding me.

Catalunya…I grew up there, so I feel strongly about the whole situation that’s going on right now (and over the past decades). I’ve never been very political or patriotic so my views come from having grown up in the country; living with the local people who have lived through Franco’s dictatorship. It’s horrible what happened three weeks ago when the Catalans went to vote; horrific.

Spain has to change and independence definitely seems the way forward for Catalunya.

What is London like in terms of opportunities and inspiration? Is it a city you feel alive and comfortable in?

I adore London!

Yes. I love people watching and discover new places every day. There are lots of opportunities but I also think you really have to go out there and chase them (like everything). It’s an amazing place for new music and every type of artist to express themselves.

I couldn’t see myself living anywhere else (for a long time, for now!)

Next month, you will be playing at The Old Blue Last. Are you looking forward to that gig and are there going to be any more gigs before 2018?

Yes. I’m really looking forward to it! I haven’t played a live set in a few months, so it will be exciting to perform some new songs and upcoming releases on the 7th. I don’t have any other gigs planned before 2018.

We’re putting on a Xmas showcase with my MA. on the 14th December at Nambucca - so you may catch me playing some songs there; more info closer to the time on my socials!

IN THIS PHOTO: Billie Eilish

Which new artists do you recommend we check out?

I love Billie Eilish and Sigrid: really catchy songs with great production and attitude!

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

These three albums mean the most to me because they just transport me to another, strange world - I’ve listened to them on-repeat at certain points in the past two years - and I can remember exactly where and what I was doing.

Music is amazing!

Christine and the Queens - Chaleur humaine

I just love the textures and simple, but really catchy, production on all her songs. I’m fascinated by androgyny and love that she portrays that freely in her music, videos; dance and lyrics.

Lorde - Melodrama

Lorde and Jack Antonoff, who co-wrote most of the album, are just brilliant songwriters! I love this album because of the amount of experimenting they did in the production. There’s similar piano parts in a couple of the songs - which made me go back and re-listen to them again. They’re very clever at putting strange, interesting sounds and vocal/harmonic changes together.

It’s a whole journey I was listening to on-repeat at the beginning of the summer as I made the decision to release my first single. It takes me back to feeling excited but nervous!

Aurora - All My Demons Greeting Me as a Friend

Runaway was the first song I heard off the album. The middle eight made me cry almost instantly. All of her songs have that strange feeling where you’re smiling, but could almost cry at the same time. Her lyrics are both childlike and very profound (and grown-up) which I love. I feel like I connect very well with her quirky ways and enchanting music.

I think my music could be a mixture of all three - they’re very inspiring.

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

Write loads, all the time. Go out and meet people. Perform a lot and network.

Record every little idea and start producing simple demos. I really found my sound after I started producing and I started writing differently. ‘Persistence’ is probably the best word to describe artists: you just have to do it.

I’m still trying: we’re all trying!

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

Yes. I’m going home to Catalunya for a few days. I’m in the middle of planning my next single and thinking of the video concept - so I may be filming and editing that over the Xmas period.

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

Yes. Billie Eilish – watch

Such a cute, catchy wee tune!

Thank you! ZoZo

_________

Follow ZoZo

 Facebook:

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Twitter:

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SoundCloud:

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FEATURE: Unlocking the Music Box: Music’s Role in the Fight Against Alzheimer’s

FEATURE:

 

Unlocking the Music Box:

IMAGE CREDIT: Denise Cole  

Music’s Role in the Fight Against Alzheimer’s

________

THIS is not the first time I have explored…

PHOTO CREDIT: Pinterest

music and memory in the past couple of weeks. Last week, in fact, I looked at the connection between music and memory; how certain songs bring back fond recollections and put us in a safer space. I argued, when looking at my musical tastes, how I always pine for the teenage years. The years before then, I’d say, was the last time I was truly content and happy. Remembering the music from that time brings those times flooding back – all the adventures and happenings from around that time. I wonder whether there is a part of the brain where we store certain songs: connect them to memories from the past so they do not get lost with all the trivial nonsense we filter on a daily basis. There is a lot to be said on the subject and more exploration to do. In my mind, music is the most powerful form of communication we, as humans, have. It is harrowing when one reads the statistic around Alzheimer’s. Before going on; the statistics on Alzheimer’s – from Alzheimer’s Society:

What is dementia

Dementia describes different brain disorders that trigger a loss of brain function. These conditions are all usually progressive and eventually severe.

Alzheimer's disease is the most common type of dementia, affecting 62 per cent of those diagnosed.

Other types of dementia include; vascular dementia affecting 17 per cent of those diagnosed, mixed dementia affecting 10 per cent of those diagnosed.

Symptoms of dementia include memory loss, confusion and problems with speech and understanding. Dementia is a terminal condition.

Who is affected?

There are 850,000 people with dementia in the UK, with numbers set to rise to over 1 million by 2025. This will soar to 2 million by 2051.

225,000 will develop dementia this year, that’s one every three minutes.

1 in 6 people over the age of 80 have dementia.

70 per cent of people in care homes have dementia or severe memory problems.

There are over 40,000 people under 65 with dementia in the UK.

More than 25,000 people from black, Asian and minority ethnic groups in the UK are affected.

How much does it cost?

Two thirds of the cost of dementia is paid by people with dementia and their families.

Unpaid carers supporting someone with dementia save the economy £11 billion a year.

Dementia is one of the main causes of disability later in life, ahead of cancer, cardiovascular disease and stroke. As a country we spend much less on dementia than on these other conditions.

How does the UK compare to other countries?

There are an estimated 46.8 million people living with dementia and the numbers affected will double every 20 years, rising to 115.4 million in 2050.

Another 7.7 million people will develop dementia around the world every year.

What about treatments and research?

There is no cure for Alzheimer's disease or any other type of dementia. Delaying the onset of dementia by five years would halve the number of deaths from the condition, saving 30,000 lives a year.

Dementia research is desperately underfunded. For every person living with dementia, the annual cost to the UK economy is over £30,000 and yet only £90 is spent on dementia research each year.

There are not enough researchers and clinicians joining the fight against dementia. Five times fewer researchers choose to work on dementia than on cancer.

Alzheimer's Society is committed to spending at least £150 million over the next decade on dementia research to improve care for people today and find a cure for tomorrow. This includes £50 million to develop the UK’s first dedicated Dementia Research Institute

Those are shocking statistics and the fact so many of will be vulnerable to the disease should compel the government to generate more investment into finding a cure. I am sure there will be a cure one day but, until then, it is sad seeing how the disease takes hold. Alzheimer’s is no longer a disease that affects the elderly: more middle-aged and younger people are being affected by it. Alzheimer’s leads to nerve cell death and tissue loss throughout the brain. It leads to, over time, a shrinking of the brain and a complete attack of all its functions.

Admiration goes to those who care for those with Alzheimer’s as it is tough dealing with someone who has the disease. It is hard to know what to say and one needs patience and compassion in that situation. If it is difficult for those charged with caring for Alzheimer’s: the toll it takes on their loved ones is staggering. Watching someone you love succumb to the disease and lose a lot of who they are is too emotional to put into words. Many – who see relatives go through it – feel helpless and unsure how to talk to the person. Alzheimer’s is not a binary disease and takes on many different forms. Everyone’s case is unique so it can be hard formulating a cover-all therapy and treatment for people who suffer from it. I wanted to look at Alzheimer’s because, as we are aware, new studies are coming to light...

According to a study that looked at translational neurodegeneration - there are scientists and medical professionals expounding the therapeutic and augmentative powers of music. I will quote from an article written early in the year – one that talks about musical therapy and results seen when used on patients:

“Increasing articles have demonstrated that MT can improve multiple domains of cognitions in AD patients, including attention, psychomotor speed, memory, orientation and executive functions [10, 23, 25, 26]. Bruer RA and other scientists found that listening to the music could increase the global cognition of AD [25, 34]. And Ozdemir L pointed out the effect of MT for AD could last for at least 3 weeks after intervention [26]. After 6-week intervention, Gómez Gallego M et al. found that listening to the music which patients like could significantly improve the memory and orientation of AD. At the same time, improvements were observed in depression and anxiety in AD patients. In addition, anxiety was reduced in mild ones, and delirium, hallucinations, agitation, irritability, and language disorders were reduced in moderate AD ones [22]. Kim HJ et al. demonstrated that multi-domain cognitive stimulation including music therapy could improve the word-list recognition and recall test scores”.

PHOTO CREDIT: Getty  

Maybe the results and transformative powers of music are not going to change the course of Alzheimer’s and cure the disease. Every brain is different but we do know people who do not suffer from the disease lock special music memories away. When we hear that piece of music; it brings images to mind and a lock that no other stimulus is capable of doing. It is profound watching how a mind can be opened and lit up when listening to music. I theorised how we unconsciously store music we love to a special part of the brain – attached with that is a collection of unique memories and times associated with that piece. Alzheimer’s is not something we are afflicted with from birth - so every patient would have accrued a bank of special music memories and kept them tight. It is hard to say how Alzheimer’s changes music perception and remembrance but it is clear those who suffer Alzheimer’s will not completely forget music and those sounds they connect with past times. I will continue but, when thinking about music and memory in Alzheimer’s patients; an article by Live Science spiked my thoughts:

“Music's ability to tap into procedural memory and pull on our emotional heartstrings may mean it can do more than simply allow dementia sufferers to access pristine memories from the past. In 2010, the researchers discovered that Alzheimer's patients had a much easier time recalling song lyrics after the words had been sung to them than they could after the words had been spoken. "It suggested that music might enhance new memory formation in patients," said Nicholas Simmons-Stern, also at Boston University and lead author of the study.

 PHOTO CREDIT: Haley Zapal

Since then, the researchers have been investigating whether patients can learn vital information, such as when to take their medication, through song. According to Simmons-Stern, as-yet unpublished results lend hope to the idea, suggesting music will be a powerful tool for the treatment and care of dementia patients in the future. However, to have the intended effect, the music must ring true: "The lyrics need to fit the music in a way that's natural and enhancing, and the process of fitting is extremely important," he said. Repetition of the lyrics is also crucial.

Despite this progress, the scientists still aren't sure whether music aids in patients' ability to form new memories by harnessing procedural memory, strengthening new knowledge by tying it emotions, or doing some combination of the two. It may not be surprising that they are only now getting a handle on music's influence on the minds of elderly people; they have barely studied its effects on the rest of us. "I think that music as a scientific area of study has not been thought to be legitimate or mainstream until very recently," Budson said.

Even in the firm hands of science, music is slippery: Like love, it is such a complex neural stimulus that scientists struggle to determine the interplay between lyrics and tune, sound and meaning. Simmons-Stern said what they know is this: "Every patient, and pretty much anyone, could benefit from having more music in their lives."

This research shows that, not only can Alzheimer’s patients remember stored musical memories and find comfort through it – music, in itself, can act as a diary and alarm clock; it helps with daily routines and can be a helpful pneumonic device. The battle as to whether music can help form new memories in Alzheimer’s suffers is raging on. With medication and traditional therapy; music therapy is an experimental tool that we are learning more about. The benefits have been shown and it is clear, through the years, more research is being carried out. The articles I have already source chart the years between 2012 and 2016. This year, new studies are coming to light. Bodies like Alzheimer’s Association are continuing to probe and bring new evidence to light. Alzheimer’s robs the sufferer of the ability to retain information short-term: that frustration that comes where the person repeats themselves and forgets the person in front of them. It is cruel and indiscriminate but it is the long-term memories that could be unlocked through music therapy. If a patient can recall a selection of long-term memories (some people who have the disease can) then can that ability, help improve short-term memory? Music is brilliant when it comes to unearthing those oft-forgotten times – potent enough to connect us to very specific locales and scenarios. So, then…are there other benefits when it comes to music aiding those with Alzheimer’s?!

A piece by The Arbor Company – who quote from the Alzheimer’s Association – talks about live music and how dancing (and exercising at these events) can provide further benefits:

“Researchers believe music stimulates many parts of the brain at the same time, such as those areas affecting language, mood and movement, along with the senses of hearing, sight, sound and touch. Research at the University of California at Davis pinpointed an area of the brain which stores memories by linking them to familiar songs and the emotions associated with those memories. The affect a song will have on someone can often be determined by a person’s past emotional experience with that song. If the song reminds someone of breaking up with an old boyfriend, their response could be less positive than a song associated with happier memories. Alzheimer’s patients might show distress in such a situation by acting agitated, tense or making grimacing facial expressions.

Music popular when a person was between the ages of 18 and 25 often promotes the most positive response. However, typical childhood songs or music that is unfamiliar may also be effective, often due to a lack of an emotional connection. Depending on the type of music, music therapy may help accomplish a variety of things. Stimulating music with a quick tempo and percussion songs can motivate patients to take action or stay awake. Sedating music might prove more soothing. This type of music works well with patients who feel agitated or overloaded by their environment. In later stages, the disease causes patients to stop showing affection to others, but through dance or swaying to the music they may move closer to others or make affectionate gestures.

Patients in early stages may benefit from going out dancing or to hear a concert. Respect their likes and dislikes, even about music they once liked. Brain changes may affect their perception of the music. Playing an instrument may be enjoyable for those who once played. Note and play favorite pieces, such as songs played at a wedding, which serve to spark happy memories. As the disease progresses, playing music may help improve balance while walking. Music can also be used boost the mood of a person suffering from Alzheimer’s, while more soothing music often helps with nighttime behavior issues. In later stages, the same favorite pieces might jog a person’s memory when discussing past events. Music often motivates advanced Alzheimer’s patients to participate in exercise. Relaxing music also soothes and provides comfort”.

We know music is invaluable to those going through anxiety disorders and depression. Not only can a variety of songs produce different emotions/reactions: a consistent and structured exposure to music – in a suitable environment – can help relax the sufferer and help with their recovery/treatment. Not only that but music is a sociable industry: getting out to gigs and picking up an instrument can be really helpful and pivotal when it comes to coping with mental illness. There is a lot more work to do but the rise of Alzheimer’s means action needs to be taken. There are great charities and bodies directly involving themselves with sufferers.

PHOTO CREDIT: Getty  

Money is being spent and there is daily research carried out to help fight and cure the disease. Until the day comes everyone is free from it: what other forms of therapy and education are there?! Music’s role in the siege is growing and more is coming to light as to how it can not only help recover some memories – it has a physical component where the disease sufferer can, through attending gigs or listening to music, remain active and improve their mental health. The eradication of memories and the sense of self is one of the most disturbing and poignant sides to Alzheimer’s. Seeing some, who goes through Alzheimer’s, lose their nature and identity can take a lot away from loved ones and those who care for them. There are no easy answers and quick fixes but, year by year, we are learning more about Alzheimer’s. Medicine and therapy are developing and people are getting a better sense of what Alzheimer’s entails and its complexities. I feel music has a real place and importance to play. I have sourced articles where know what effect music has and how it is being utilised to help those who go through Alzheimer’s. I feel there is, even more, utility available from music: greater physical, emotional and cognitive benefits from the full spectrum of the art. I feel, with every breakthrough and discovery, those who have to live with the brutal reality of Alzheimer’s are being afforded…

IMAGE CREDIT: Denise Cole  

A small, but crucial, ray of light.

INTERVIEW: Jessica Murae

INTERVIEW:

 Jessica Murae

________

IT is exciting discovering a talented…

young artist from Watford. I have not featured a Watford musician since I wrote about The Staves – that was over a year ago, now! Jessica Murae has provided me an excuse to dig into Watford and find out about its music. Murae herself is an emotive voice who is inspired by singers like Stevie Nicks and Florence Welch. I ask her about her latest single, Wild, and the story behind it; her previous track, Still Cold – and how it feels having that song included in Salute Music Makers’ Top-100. Murae talks about her creative process and whether she is making more music at the moment; the gig dates approaching – and whether she will get any downtime before the end of the year.

I ask Murae what her fondest memory of the year has been; the new artists she would recommend to us – and a trio of albums that have inspired and influenced her own music.

________

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

I’m all good, thanks! I’ve had a busy week trying to organise a gig I’ve got coming up - but it’s been a fun one.

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

I’m an Indie-Pop singer-songwriter from Watford with an obsession for vintage clothing and Instagram-ing. 

PHOTO CREDIT: Charlotte Epstein

Can you give me a sense of what you’re working on at the moment? Will there be any new material this/next year?

Yes! I’m currently finishing my last single of the year called Like Magic; it’s in the final mixing process and I’m hoping to release it in November with a visualiser video. It’s quite different to my previous tracks: it’s very ambient and does not have a lot of lyrical content; I’ve been mainly focusing on the production this time.

Your song, Still Cold, made it into Salute Music Makers’ Top-100. How did that make you feel and how is the voting coming along?

It’s been a crazy experience.

I was surprised, at first, but I honestly feel very honoured. There have been some artists in the final-hundred that I have followed for a while just as a fan - so, to be in the chosen alongside them has been a great honour. I’m working hard on the voting process. I have a strong group of loyal people around me who are helping me.

Wild, released in June, is your latest. What inspired the song and how has the (positive) reaction to the song affected you?

I wrote the song at a time in my life when I wanted to do something spontaneous. I wanted the song to feel very free and open: the ending is a huge representation of that where I’m mostly ad-libbing. The reaction has been incredible. It’s been pushing me to get more music out there this year - and I’m very excited to get working on the next E.P.

How do songs come together? Do you set time aside to write or is it more natural?

Both.

Sometimes, I will keep a day or two free in the week just to sit and write music: other times, I will wake up with a melody in my head or overhear something someone’s said - and feel inspired to write a song about it.

It’s not often a very structured process for me.

Can you tell me how you got into music? Did you grow up around music as a youngster?

I started singing from a very young age with, mostly, musical theatre in mind. This came from my dad, who is an actor. It wasn’t until my late-teens that I started writing music. My taste in music has always been indie pop with a huge 1970s influence - which came from my parents.

My dad was always playing Pink Floyd in the car - and I came to love that music from a young age.

You have been compared to the likes of Stevie Nicks and Florence Welch. Are these artists you look up to?

Absolutely! They’re fabulous songwriters and have a very spiritual side to their writing which, I think, makes them so different to modern Pop artists. Their lyrics are have been constructed in such a way it’s like you’re reading a poem - and not just a generic song.

Watford is your hometown. What is it like for a musician there? Is there quite an active scene for musicians?

It’s definitely growing...

We have a Watford Musicians Collective on Facebook and have the loyal The Horns pub - where The Staves and Chasing Grace have come from. It’s one to always turn to if you’re looking for new people to work with. The LP Cafe is also a popular venue which is seeing more and more live music - and is a perfect hub for local musicians.

If you had to select a memory from this year that sticks in the mind – which would you select?

Filming the video for Wild.

It was a CRAZY day. I had some great people helping me; however, I really blew it when I forgot the costumes. The polka dot jumpsuit you see in the video was definitely not supposed to be in there…

Which new artists do you recommend we check out?

I’ve really been enjoying an R&B artist called Sabrina Claudio. Her voice is like velvet.

Girl band Paradisia are another incredible group who I found through Spotify. Their cover of Bruce Springsteen’s Dancing in the Dark is insanely beautiful.

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

I’m performing at Notting Hill Arts Club on Wednesday 18th October and then taking a little break to work on the new E.P.

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

Tapestry by Carole King

It taught me a lot about songwriting. Her voice is so honest: it’s like your listening to her personal story each time.

If You Wait by London Grammar

This album has taught me that simplicity is beautiful and okay. Hannah’s voice represents that perfectly. It gives me goosebumps every time.

Rumours by Fleetwood Mac

You knew this one was coming…there’s not much more to say other than that I’ve been listening to this album since I was seven-years-old - and I’ve never grown tired of it. 

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

I really feel like I’ve still got a lot to learn but, I guess, if you’re just starting out then go to as many gigs as you can and learn from them. Network and build a strong set of songs to get started. 

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

I’ll be writing over Christmas. I don’t like to stop: I’ve always got new ideas on the go.

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).

Yay! Give Paradisia a go - Dancing in the Dark

_________

Follow Jessica Murae

PHOTO CREDIT: Charlotte Epstein

Official:

http://jessica-muraemusic.com/

Facebook:

https://www.facebook.com/jessicamurae/

Twitter:

https://twitter.com/jessicamurae

Instagram:

https://www.instagram.com/jessicamurae/

YouTube:

https://www.youtube.com/channel/UCm4uBKlk2kwNwwcqXNDphvg

SoundCloud:

https://soundcloud.com/jessicamuraemusic

Spotify:

https://open.spotify.com/album/7yF2y5Sftae0x3MHHVaxr3

TRACK REVIEW: Farrago - Better Than Real Life

TRACK REVIEW:

 

Farrago

PHOTO CREDIT: Sebastian Trustman

Better Than Real Life

9.1/10

Better Than Real Life is available via:

https://www.youtube.com/watch?v=fs6ZVwNzYEU

GENRES:

Alternative-Rock; Folk

ORIGIN:

London, U.K.

RELEASE DATE:

 10th September, 2017

The E.P., Oh, Beautiful Darkness is available via:

https://farrago.bandcamp.com/album/oh-beautiful-darkness

___________

THEIR name might translate...

roughly, into ‘a confused mess’, but there is little obfuscation in the ranks of Farrago. I will talk more about the band soon but, before then, a look at a few aspects. This review was pushed back a week because Ian, their founder and lead, was in hospital – not injured or sick: becoming a dad, it seems. If that weren’t enough; he has been getting band promotion sorted and organising everything else. I want to talk, strangely, about workload and balancing commitments; blending Indie, Folk and Rock into something new and inspiring; London bands and why it is hard to tear myself away from the city; releasing on a band’s/artist’s own label; the interesting start some acts have – how a rare opportunity for recording history can drive an act forward. Let’s start with workload and how tough the modern industry can be. I, myself, have been inundated with requests – and will talk about it in a feature next week – and find it hard tackling everything effectively. There is one of me but, regardless, it seems popularity is a bittersweet thing. On the one hand, it is good having attention and making it to people’s minds: on the other; it can be hard committing effectively and not burning out. I fear a lot of modern artists are being asked to do too much and that, in turn, is causing physiological and physical ramifications. I am not suggesting Farrago are bursting at the seams but it seems their life is as busy as anyone’s. Are we, as a business/industry, expecting musicians to do everything for themselves? In other industries, there is more care and less pressure. It has got to the point where artists are going all-out in an effort to gain success and attention. I guess competition is high – and the Internet means there is a larger choice – but does that mean artists should go to such extremes to get their music heard? Every artist has a certain workload and commitment but those who do not have a label behind them have to work extra hard regarding promotion and campaigning. Farrago are on their own label but the effort required to get their music out there; gigs booked and keeping on top of everything is staggering.

Each campaign-cycle consists emailing, constant contact and vigilance. It is a staggering amount to do, often, to promote a single work. The Farrago guys seem together and happy but, I wonder, whether artists need more time to focus on their material and kicking back when possible – extra support and finance provided when it comes to the other side of the business. That would make sense because I am seeing so many acts stress and tire unnecessarily. In any case, there should be more money and resource set aside for our musicians. The government is severely lacking and ignorant when it comes to the realities of the music industry. Maybe there is no instant fix but I am concerned music, today, is taking too much away from people. That might sound like a negative and scary way to start a review – Farrago are coping wonderfully and not letting things get on top. The thought occurred when communicating with Ian and the work ethic it takes getting an E.P./song to reviewers. With Farrago, of course, there is incredible musicianship and a lot of detail in their tracks – the desire to have people hear them is strong, for sure. The attrition rate in music, coupled with the hefty competition, is having a detrimental effect – is there something that can be done?! I have mooted there should be financial support provided but we need to go further. People do their best work when they can balance work and personal life; when there is room to breathe and as little stress as possible. That might sound like an impossible task but I am worried we are putting too much pressure on the shoulders of the new breed. Let’s hope changes can come about because, looking at a band like Farrago, and you know how much work and time was expended creating a song like Better Than Real Life.

What has disappointed me about this year’s mainstream best is the lack of quality albums that blend Rock and Folk. Last year, when extolling the benefits of Billie Marten’s Writings of Blue and Yellow, I was impressed by the combination of sounds and angles. There were traditional Folk embers – acoustic guitars and something pastoral – but some electric strings and cellos; a violin here and there; incredible piano ay times – a voice capable of swooning, striking and sweetening. It was no wonder that record became my favourite of the year. This year, for some reason, there is nothing that rivals that or creates the same impressions. I have yearned for something emotive and beautiful that bonds me to a rare talent. Maybe that will come in the next couple of months but I worry this year’s best albums have lacked a Folk-cum-Rock/Indie album that gets into the heart. To be fair; Billie Marten’s album erred a lot more on the side of Folk (than Rock) but, even considering that, how many genuinely stirring Folk albums have there been this year?! Lucy Rose’s latest record is a contender but there are not many joining that. Farrago are an interesting band who create music that satisfies my demands. Looking at them and they do not – not in an insulting way – have the same kind of look and style of a modern-day Rock act. The guys vary in age and, thinking about that, it is interesting looking at the demographic and variations in Farrago. To look at them and they have a real down-to-earth and relatable side. That is not meant to be insulting: the band are easy to connect with and not your marketed, slick bands you seeing grinning from the pages of a music magazine. Farrago are real and candid; they are normal and without ego and pretention. If Farrago appear grounded and tangible in terms of their image then their music is on a different plain. It mixes Folk, Indie and Rock and seems unlike anything out there.

What amazes me about their music is it has a tenderness and heart but can elevate, rouse and dizzy without warning. The players are exceptional and there are few others out there who have the same blend in their locker. Cinematic sounds, lush guitar and soaring violins; silky bass, expressive percussion and soulful vocals – every component is considered and expertly performed. A lot of the band music I have been hearing (in the mainstream) has been straightforward Rock or Indie. That is okay to a degree but I have been searching for an album/E.P. that integrates Folk and Alternative sounds into one. Farrago have been working hard and honing their sound since the beginning. That beginning came in 2009 when Ian and his partner, Ruth, played their way through Australia, New Zealand and India. They came back to London in 2012 where Ruth decided to move into books – Ian played solo before getting the band together. I will talk about that band start later but, before moving on, a further word on Farrago’s unique mixture. To look at them and it is almost like they are a stringed assortment – albeit, a modern-day equivalent. There is a Classical edge and elegance to them that is backed by music that stirs the soul and situates itself into the heart. Many will say there are other bands out there like this but nobody has the same sound and sensation as Farrago. There is something about the guys that elevates them above the competition. The incredible music has come through years of performance and practice but there is a natural instinct to Farrago that impresses me hugely. I wonder what the next move of the band will be. Whether they decide to record an L.P. – or spend next year releasing singles – I am not too sure. They have achieved a lot this year and it will be interesting to see where they go from here. I wonder whether they will add new layers and colours to their sound; how their music will evolve – whether the guys will change anything as they go forward. What they have now is their strongest collection of songs – the Oh, Beautiful Darkness E.P. is a scintillating and stirring work from an incredible force.

Uncle Onion Records is the label releasing Oh, Beautiful Darkness. It is Ian’s/the band’s own label and gives them the freedom to release what and when they want. I have spoken about artists being put under pressure and how much expectation is put at their feet. A lot of new acts chase record labels and want that backing and finance. Getting under the radar of a big label is not all it’s cracked up to be. On the one side of the fence, the artist gets professional support and has people on their side helping get the work out there. I think record labels exert too much influence and force on an artist. It is good having commercial support - but are artists being stripped of their freedom and thoughts?! The autonomy some labels exert is scaring some off. There is a lot of work required when setting up your own label but the benefits can be obvious. A band/artist can put out music they want – and not have to conform to the mainstream or fit into a particular ethos – and release it when they like. A lot of modern artists, when signed to a label, have to undergo a promotional campaign that means endless interviews and teasing songs; releasing lots of music from an album before the complete product sees the light of the day. Music, in that condition, is less about organic and personal revelation and more about marketing and strategy. I worry, because of the sheer weight of competition on the scene today; artists have to release their music this way. Say what you want about artists forming their own labels but it is brave and gives them a say in where their music goes. Farrago would probably fare well signed to a Folk label and would not be controlled and directed too firmly. I feel they would still have to compromise too much and might not have the flexibility they warrant.

It is interesting discovering why artists establish labels and the reasons behind it. For Farrago, they are a special band who all have their own commitments and are not the sort that wants to be under the thumb of a label. I am not saying all big labels are supervillains and unscrupulous but it can be tough negotiating a situation where both parties have equal say. Under Uncle Onion Records, the group are free to gig when they want and bring their music out when it feels right. I am curious whether that lack of big-money input means artists – who create their own brand – have to work extra-hard to find the money to promote their music. Remaining unsigned is no longer scary for modern musicians: many favour it and find the lack of commercial pressure refreshing. Starting a small label provides others with the chance to put music out on their own terms and not have to follow the schedule of a big label. So many artists are turning against the supposed dream and following their own path. There is no denying Farrago have a sense of freedom and movement and are creating music that means a lot to them and is what they want to do. I feel big labels often steer artists towards the mainstream/a particular mould and that can lead to homogenisation and familiarity. I shall leave this subject alone but I am glad Farrago have their own say and are making music with intense character and personality. Long may that continue as they head into 2018. I have alluded to the rather interesting start Farrago has a few years back…

Back in 2009, when Ian and Ruth started busking around the world, they couldn’t have imagined they’d be releasing an E.P. in 217. That seems like a long gap (eight years) but the fact they began as duel buskers; getting a band together and reaching the level they are now – that is quite an impressive feat and accomplishment. I wonder what compelled the couple to travel around New Zealand, Australia and India. It seems rather sensible but one speculates whether there was a need to find new musical meaning and see whether their sounds could translate further afield than the U.K. I am not sure how profitable their busking expedition was but they would have learned a lot from the time there. Not only did they drink in the vivid sights and sounds of the nations but would have heard local sounds – some, you can hear in the new Farrago E.P. India, especially, plays an important role and I sense a degree of the mystical, peaceful and spiritual in Farrago’s songs. The panoramic and wide-ranging sights of New Zealand and Australia would have made a creative impact. There are few who can deny the beauty and captivation of the three nations. India has that legendary quality and, although it very crowded, there is something extraordinary everyone takes away with them. The same can be said of Australia and New Zealand: incredible nations that spike the imagination and inspire the mind. This would have been the case for Ian and Ruth; they would have taken a lot away and been compelled to strive forward. I wonder whether the band is tempted to return to these nations very soon – as a tribute or way of coming full-circle, almost. In any case; it is when Ian and Ruth came to London (in 2012) things started to crystallise and solidify. Farrago is the result of experimentation and discovery; bringing together members who have shared intentions and passions.

I want to get down to the music itself but, before I do, a word about Abbey Road Studios. Farrago’s E.P. was engineered by two students from the Abbey Road Institute – which started as a chance meeting at an open mic. at the Magic Garden, Battersea. That is quite an honour and I can imagine Farrago spending a lot of time at Abbey Road. They have the orchestral grandeur and serene beauty that seems perfect for the legendary studio. The fact the E.P. was engineered there means the band will want to get into the space and record in the future. I am not certain whether they have plans for new material next year but is Abbey Road a possibility? Stepping into that epic studio-space is the height of any musician’s career. The history and legacy of the place is enough to scare many off but it is hugely inspirational and compelling. There is a blend of larger and smaller studios and some of the world’s best engineers under one roof. Maybe it is expensive laying down tracks at Abbey Road but it seems Farrago have a real taste for the studios. I feel, if they were afforded the chance to record an album at Abbey Road, they would be able to add more elements and instruments to their music. That might sound like changing the line-up but, in truth, it is bringing additional musicians into certain numbers. Farrago’s music is epic and extraordinary as it is but I wonder what they could create were they to really take advantage of Abbey Road’s size and technology? To me, the band is strongest when they balance intimate and humble with those bigger moments. Maybe recording all their material in that studio might take some of the former away – it would be too grand and fulsome, perhaps?! Anyway; it is amazing the band has experience with Abbey Road Studios and let’s hope that association continues. I am not sure whether they are in contact with the engineering students but those are useful contacts to have.

Better Than Real Life suggests a degree of fantasy and escape. The opening strings are spirited and racing. Acoustic guitar and harder elements push away from a traditional idea of Folk - and provide a more accessible frame of mind. By that, I mean the band lace in Pop elements and Rock contours to give a more lustrous and engaging sound. It has a definite skip and sense of intent as the song gets underway. The hero, whether casting himself in the lead role or not, sees the man on the mountain staring at the stars. Perhaps, from a lyrics viewpoint, there is more ‘Folk’ there - in the way we associate traditional Folk to concern itself with nature and something a bit dreamy. The man has no need to question why he is there and why he is looking from the mountain. Maybe there is a metaphor and a sense of searching for something bigger in life. Before long, the hero gets lost in waves of sounds and is taken to another land. The song starts to provoke images of fantasy and drifting off to another land but, to me, the song concerns fulfilling dreams and getting that start in music. Considering how Farrago began life; it is tempting seeing Better Than Real Life as those pre-conception days. Part of my mind was in areas like India and New Zealand – where Ruth and Ian spent time busking and exploring years ago. From there, via more traditional jobs, they set the band up and made their way to where they are now. If one follows the song, it is forgivable why one would draw those conclusions. Whatever the reality behind the song, it seems the hero wanted to disconnect from a certain way and embrace another one. Dreams and escape are better than real life/the world and those brief moments of darkness are brought into the light. The guitars keep strumming and racing forward but the band brings together different shades and elements; the composition gets richer and bigger as the hero’s voice strikes hard. There is a definite need to make things better and evade all the worst elements of life.

Maybe things, pre-music, were causing a huge strain. The composition is kept fairly sparse – they have introduced more Classical elements into other songs – but does pack quite a punch. The song never loses its energy and there is a constant skip in the step! Again, whether looking at his own life or someone else, our hero (Ian) is keen to dispose of the negatives and all the baggage that surrounds that. I am not certain whether Farrago are talking about the disposal of a ‘regular’ life and stepping into music. Many see the profession as a gamble but it is more fulfilling and nourishing than the mundane. Allowing music into your everyday life in such a direct way is perfect when trying to find real meaning and direction. Perhaps it is that realisation that has led to the song but, whatever its origins, one cannot help get caught up in the thrall and dance. Better Than Real Life is all about trying to make something better and making the most of the positives – that is what I got from it, at least. The vocal is constantly engaging and delightful. It goes through different emotions but retains its positivity and determination. Violin makes a big impact and gives the song another dynamic. Percussion and strings unite to keep the kick and merriment strong to the very final note. There is an addictive quality about the song - that means it gets in the head and will have you singing along. One of the great things about the song is the fact it can be reinterpreted and still sound awesome. As it is; it is brilliantly engineered but has a certain lightness and lack of polish. Better Than Real Life could, by the band or another act, suit a bigger sound or a different genre. It has that flexible quality that would do well on the road – Farrago giving the song a new take every night. As it is; the song does what it intends to do: it gets the listener involved and intrigued and provokes discussion. On one hand; there is a simple interpretation: fantasy and that outside of real life is easier to deal with (and more pleasant) than the normal and regular. I feel there is something deeper working away that is personal to Farrago. Their formation and development has been a unique one and I think Better Than Real Life is an exploration of their time in music and where they are now – how they are living the life they want to and, although it is not a boring nine-to-five job, it is much more rewarding than that.

I did not really discuss London much and why it is hard to disassociate from the city. I have been interviewing a lot of artists from other parts of the world but always find myself coming back to London. I am keen to demonstrate music is more than London: there is the assumption everything revolves around the city and that is where all the best music comes from. That is wrong, obviously, but we need to get away from the London-centric mindset that is seeping in. Farrago are not a band who prattle on about London – nor did I select them for review because they come from here – but there is a definite allure when it comes to the capital’s musicians. I am not sure what it is, to be honest. Farrago are among the hardest-working bands in London. Their E.P. launch was organised by Ian and had Tom Hyatt and Russell Joslin with them; featuring Sarah McCaig in support. The video for Better Than Real Life was played at the gig for the first time. The launch was at The Finsbury – organised by Chris and Lost in the Manor – and there has been a lot of hard work ensuring Oh, Beautiful Darkness made a big impact. The band are making waves at the moment and their numbers are rising. The year is coming to an end so they must be thinking about the future. Ian’s recent paternal responsibilities will impact the amount that can be created and shared in 2018. I know a new arrival will affect a creative mind...but let’s not hope it does not have TOO much of an impact. One of the most distressing things about music is how being a parent influences songwriting. The artist always says how much meaning and direction it gives their life and, whilst I have particular opinions on that subject – it only gives THAT much meaning if you lived quite an empty life beforehand – it does creep into music too strongly.

I know a son/daughter is going to affect the mind but I hope Ian and the band use that experience as a way to get their music to more people – rather than dominate the lyrics and direction. What I mean is the leader has a new role and responsibility in life. Whilst he will want to be dutiful and there; he has a band and there is music to spread to the masses. Having a child provides a burst of inspiration and energy – amazing considering how little sleep he will be getting! – and will broaden the horizons. I hope Farrago take advantage of the world and get to perform at some fantastic locations. Their E.P. being out there means a lot of new faces will be familiar with the Farrago sound. London will be fascinated and many venues will open their door to them. The band has a strength and translatable quality that means they could easily get gigs in Australia and areas like that. Who knows how successful they could be if they did a mini-tour over there?! The U.S. seems like a great country to get attention but, I wonder whether the lack of resources will affect ambition? Being self-released means Farrago have to deal with all the runnings and costings themselves. Oh, Beautiful Darkness is a fantastic E.P. that deserves a lot more listening and exposure. The group are still hungry promoting at the moment but, when the New Year beckons, they will be thinking about their next move. They have a great opportunity to keep the heat on and mark themselves as one of the best bands around London. It is great the city has love for them but there are so many other parts of the country the guys could find love in. I hope they consider more U.K. dates in 2018 because, once you get a burst of Farrago’s special and memorable music…

YOU become an instant and firm fan.

Pic 1, 4, 5, 6, 8, 10, 16 by Sebastian Trustman http://www.sebastiantrustman.com/

Pic 2 and 3 (album cover) Rhythm painted by Elise Mullen, seeded by Daria Lanz.

www.7030inbetween.com

Pic 7 by Eskile https://www.behance.net/eskile

Pic 9, 11, 12, 13, 14, 15 by John Banyard http://www.johnbanyard.com/

_______

Follow Farrago

Official:

http://www.farragoband.com/

Twitter:

https://twitter.com/farrago_

Facebook:

https://www.facebook.com/farragoband/

YouTube:

https://www.youtube.com/channel/UCNVz-a15k3v1zdQFWeFy_fA

SoundCloud:

https://soundcloud.com/farragoband

INTERVIEW: Kim Logan

INTERVIEW: 

 Kim Logan

________

THE Nashville-based Rock and Roll artist Kim Logan…

has brought us her newest double-sided release, Pseudoscience: Chapter 3. From it, we have the tracks Ladyboy and Hitch Your Wagon – Logan explains and talks about both tracks and how they fit together. The 'Pseudoscience' series has been going a while so I ask how the third volume came to be – and whether there is going to be a fourth. She tells me about her musical background and attending Berklee College of Music; spending a decade in a Classical/Opera setting and how her unique music – that sits in an intersection of past Rock and Roll with present Americana fetishisation – formulated.

Logan discusses Nashville and working with great local artists; the new tour dates she has coming up; whether she will come to Britain in the coming months – and what her live shows will entail.

________

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

Hey! I’m well - and my week has been BUSY!

I’m about to take on the biggest show of my whole career in original music: a night at Nashville’s Marathon Music Works, producing and starring in a  Hallowe’en-themed Rock and Roll circus with the Music City Burlesque. 

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

Well. My name is Kim Logan and I’m a Florida-born songwriter and musician; raised on Opera and theatre, but now, on the road with my band playing our takes on Soul, Psych; Blues, Jazz - and many other genres fused into Rock and Roll. I am also the owner of my record label and publishing entity, Swamp Thing Records, and I’ve put out a pretty extensive - though, young - discography of my original recordings. 

The double-sided Pseudoscience: Chapter 3 is here. Can you tell me what inspired the work and the themes it explores?

Ladyboy, the first track, was inspired by this relationship I was in, on-and-off, for the past three years with this androgynous being - who is also an intensively touring musician. I just tried to paint the image with words of what it feels like when we’re together…it was complicated, as all artist relationships are, but it was FUN and never feels quite over. He’s actually quite an archetype that I have watched myself be drawn to almost constantly.

I was explaining some of the poetic ideas I had about this guy to my guitar player and producer Gyasi, who is also this dynamic androgynous presence, and the song just kind of came out of that part of my mind - that’s living in the East Village of Manhattan in 1977.  Gyasi’s riff was perfect. We go way back to the freshman dorms at Berklee together, so he just gets me. 

Hitch Your Wagon - the B-side, if you will - was something I wrote a while ago - and breathed new life into when I paired it with this project with Gyasi. He played every instrument on the recording and, like Ladyboy, we laid it down on a 1984 Tascam 388 analog tape machine...so it just sounds warm and sparkly (and perfect). I wanted to take a Country song I had written in earlier times and give it the full and heavy psychedelic treatment - so we jumped into that space. 

Ladyboy and Hitch Your Wagon are the new tracks. Will we see any more material in the coming months?

Yes! Chapter 4 is in-the-works for recording at the top of the New Year - and there will probably be one more after that (before Pseudoscience becomes an L.P.).

I’m hoping to have that all tied in a bow by the end of 2018. 

I get a sense your work has got more ambitious and varied as your career has progressed. Have you felt yourself growing as an artist over the past few years?

It totally has.

I’ve always (just) been absolutely honest about what I put out. I can write and sing all over the map genre-wise but I only release what is speaking to me loudest at the time - what generally goes along with what I have been most interested in hearing, wearing and reading during the recording process. My first record was Southern-Psych./Rockabilly stuff. What I’m doing now is, essentially, from the same skeleton - but I’ve developed my songs, lyrically, into something closer to what I naturally write as poetry…so, that feels good.

My backing-band, whom I take on the road (‘The Hydramatic’) has been a huge inspiration for me on the technical side of playing and finding old records. They can play absolutely ANYTHING and have widened my scope into areas I had never gone deep enough into with Motown, Hip-Hop; Disco, Funk and Jazz. That came out in our-sort of impromptu E.P., Fresh Juice, which we put out earlier this year. 

That’ll eventually be a full L.P., too... 

Berklee College of Music is somewhere you must have learnt a lot. How important was your time there in regards your musical development and education?

Berklee has been a long road for me; one that has been difficult to officially wrap up because of my busy touring schedule - which has begun to include international trips and longer periods away from the normalcy of office-type work. But, I’ve learned skills and tools for almost every facet of my music career from Berklee - and have met some of the most extraordinary partners and connections through the larger community.

Whenever I think I would go back and do life over again, and not go to Berklee because of the RUINOUS student debt...I remember that just the sheer fact of meeting Gyasi, alone, was worth the price of admission. 

How did you get from a Florida-raised classically trained singer to a Rock artist in Nashville? What was the decision behind embracing the city and genre?

Like many of us who built our careers here in Nashville, we came in a wave following Jack White, The Black Keys and the Kings of Leon. Country music and the Blues are the foundation blocks of Rock and Roll - and we all chased that to Music City. Even though Country music is still the most pervasive genre in the whole American South; Rock and Roll has more of a presence in Nashville than any other city I've visited - except, maybe, L.A. 

It's hard to find a more solid Rock and Roll community than what we have in Nashville...and I'm proud of that.  

Give me a flavour of the artists you grew up with. Whose music got in your heart at an early age?

I’ve always been surrounded with a super-worldly music education; being fortunate enough to have a large family that turned me onto different genres constantly but, of course, there were the standouts that really blew my mind: The Rolling Stones, The Beatles; Aerosmith and Led Zeppelin were my earliest consciousness of records, thanks to my parents.

Bonnie Raitt, Amy Winehouse; Jack White and Lady Gaga all played formative roles in how I began to see myself as an artist and songwriter at various times in my stages of life. 

IN THIS PHOTO: Gyasi

Who are the new artists you recommend we check out?

My friends are my favourite bands - and some of the best Rock and Roll and songwriting in a very long time - and bubbling up in my haunts of Nashville, New York; Oxford, Atlanta and Chicago. Gyasi’s debut solo record is coming out this November. The JAG, Lucille Furs; Low Cut Connie, The Yeah Tones; Sara Rachele, Ron Gallo; Mojave Nomads and Loud Mountains are all buddies that make music I really believe in. 

IN THIS PHOTO: Sara Rachele

What tour dates do you have coming up?

This huge show in Nashville is tomorrow night (20th October), and then, I’m headed down to my home state of Florida (and around Georgia, too!) for some dates over the holiday season - including a few Sofar Sounds events and an opening slot for John Prine in my hometown! 

All dates are kept up-with on www.facebook.com/kimloganmusic!

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

I toured to the U.K. three times in the last year so I definitely think I will be returning in the near-future. I’m scheming a plan right now: to ride out my full allowance - of ninety days’ time - overseas with a massive solo, AND full band tour, of the U.K./E.U. in spring. 

I can imagine your show would be quite an extravaganza! What could one expect if they came to our one your shows?!

Basically, a Rock and Roll Opera...

There are so many variety arts in the background of all of my band members and collaborators - and I definitely run the thing like a mixture of an Opera diva and a circus ringleader. It’s interdisciplinary, it’s multimedia: it’s weird and sexy; loud and really fun. 

Come see us!

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

I think Back to Black by Amy Winehouse; Elephant by The White Stripes and Exile on Main Street by The Rolling Stones 

That’s my desert island list - and I’m sticking to it. 

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

Stop looking for a record deal. Get help from label services people who believe in you and help you on a case-by-case basis. Don’t sign away the art you extracted from your brain. It’s precious.

The music business is a free-for-all right now - and just do ‘you’ in the best way you can…

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

I’ll be hiding in my hometown in Florida, like I always do.

It’s a surreal Christmas down there; resting somewhere around eighty-five/ninety-degrees-Fahrenheit with all the oranges and grapefruits ripe on the trees. Christmas, to me, means the beach; mimosas and time to myself - away from the world to write and sleep.

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’ve been obsessed with the song Love Me Forever by The Black Angels for a long time. (Go ahead and give it to 'em). 

_________

Follow Kim Logan

Official:

http://www.kimlogan.net/

 Facebook:

https://www.facebook.com/kimloganmusic/

Twitter:

https://twitter.com/kimloganmusic

Instagram:

https://www.instagram.com/kimloganmusic/

YouTube:

https://www.youtube.com/channel/UCzorfFCWHFBG-NPTgpb_F6w

SoundCloud:

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Spotify:

https://open.spotify.com/artist/3GSKpbKZfN9fIucqq2Iprh

INTERVIEW: Nicola Hardman

INTERVIEW:

 PHOTO CREDIT: Richard Taylor 

Nicola Hardman

________

IT has been a while since I have featured…

an artist from Liverpool. Nicola Hardman tells me about the fantastic new music coming from the city; back-story regarding the songs Little Fish and Just Human; the artists she was raised on – and why she decided to release a double A-side. I ask her about the albums that mean most to her; what she would say to any new artists emerging – and the tour dates we can all look forward to.

Hardman talks about her creative process and how her music has changed in the last couple of years; why Just Human’s lyrics were penned in two parts – and whether we can expect a music video (or two) given the release of new material.

________

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

Hi, thanks for asking. It’s been a total bag of mixed emotions - mainly excitement, stress and lots of honey, lemon - and herbal tea to keep the voice soothed!

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

I’m a Liverpool-based musician, of sorts. I play the piano and sing songs I write. I do play some covers too - but I’m mainly interested in writing music and performance.

Tell me the stories behind the songs Just Human and Little Fish…

These are two very different songs of mine I have released this month (on 14th).

Just Human is a new political track which I wrote in the wake of Brexit and shares my concern for the future - not just of the U.K. but for the mentality and idea that ‘nationalism’ may becoming something that is causing so much hatred, generally.

Little Fish is an original re-release which featured on my debut album, Full Beans, in 2015. It is a theatrical and experimental track with various imagery and messages.

Is it true the words/music for Just Human was written in two separate parts?

Yes! I had written the hook/music on the piano a good few years ago and exhibited it in a short film of mine. The music, itself, fitted with the emotions of the short film scene - but it wasn't until the ‘Brexit’ circumstances that I wrote the words to the song - and then realised that they were the words I had been waiting for to fit my song.

This is not something that usually happens when I write songs at all - so I couldn't be happier the two found each other.

What was the reason behind launching a double A-side?

When I released Full Beans, it was the only option for me, mentally, at the time. I did not want to release a single, first, as the build-up to the album was extremely cathartic for me - and it was necessary to have an album at that time. As my career has progressed, I have discovered myself more as an artist and really homed in on my sound as the type of performer that I am with my keys and vocals.

As I have been performing in this way for the last two years, I wanted to release my new song Just Human as a single in my solo style - and I had always known that Little Fish would be released as my first single outside of the album.

So, I just decided that it would be both fun and exciting to have a double-launch as my Little Fish song has become known and supported throughout my career.

Do you plan on releasing videos for either/both songs?

As a matter of fact, yes!

I’m working on one as we speak but, for now, it is a little secret to be excited about sharing!

 Last year was a busy and memorable one for you. How has this year been? Do you have any particular standouts?

I knew this year would be a great one - no matter what level of ‘great’ that meant to me - because I knew that I would be working very hard to release the singles. For me, starting the year with the N.Y.E. party at the Royal Liverpool Philharmonic alongside my friend and peer Ian Prowse (who had been so kind in giving me the opportunity after me bugging him to play regularly at his Monday nightclubs at The Cavern), was a cool start.

I really worked hard to ensure some festival performances, too, and getting shortlisted to play at Threshold festival - supporting the great Kalandra - was thanks to Liverpool Acoustic. That was an immense gig! It was really exciting to be featured on MADE in Liverpool TV - and my song, Little Fish, got to number-two on an unsigned artists music chart too - which has all been wonderful experiences and confidence building material.

Who are the artists you grew you listening to? Give me an idea of the musicians you count as influences…

Weirdly, I was a bit of a musically-sheltered child, to be honest with you, as we didn’t have MTV or any music channels like that in my family! So, I had to depend on other people’s music such as friends and family - and it wasn’t until I was about sixteen that I got a hold of my friends’ music channels at their house when I stayed over - and started playing music with other people.

Some of my very first influences were Alanis Morissette, the Red Hot Chili Peppers; Sting, Fleetwood Mac; The Rolling Stones, The Beatles; Radiohead and Michael Jackson! After this, I then found a plethora of various artists to fall in love with - and the list is endless.

I love so many types of music.

Liverpool is your base. Is it quite an active city - and what is it like recording and gigging there?

It’s very active: especially now, more than ever. Having only really properly moved back to the area three years ago, I’ve never known it to be more receptive to live music, especially. Yes, there are circles and cliques - and you still hear people churning out Beatles covers in every corner of Mathew Street – but, if you look, there are more open mic. nights than ever. I feel we are seeing more opportunities for original artists to do their thing and share their music with a more vibrant and supportive network of artists.

It’s really great when you realise that people putting on these nights actually want to hear original music more than covers - and some of them still pay you for it!

IN THIS PHOTO: Rachael Jean Harris

Which new artists do you recommend we check out?

In Liverpool? I’m lucky because I actually got the opportunity (through being in the scene a lot) to host one of those open mic. nights I was talking about; so I have been able to meet quite a few brilliant local musicians and singer-songwriters. My night is strictly for female performers - called We Want Women - hosted in Lennon’s Bar. I’ve met so many wonderful artists for various reasons; artists like the ones who supported me at my launch: Rachael Jean Harris, Vanessa Murray - and others such as Camilla Sky, Maddie Stenberg; Sara Wolff are all excellent.

IN THIS PHOTO: Sara Wolff/PHOTO CREDIT: Alex Stephens

Some other artists on the Liverpool scene who challenge and push boundaries like Jamie Clague, Faniel Dord and Jon Coley have been intensely interesting to encounter.

I’ve been taken away with intrigue in the music of bands like Lilium, OVVLS; Three from Above, Acadian Driftwood and, more recently, Lunacorona.

It sounds like I just love everyone, but sincerely, there are so many talented musicians out there…and that’s just Liverpool!

IN THIS PHOTO: Lilium/PHOTO CREDIT: Rebecka Slatter Photography

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

So; here’s my confirmed list so far!

Sat 21st Oct – Northwich – House of Quirk

Fri 10th Nov - Liverpool - The Pilgrim

Friday 1st December – Liverpool – The Epstein Theatre

Sat 2nd Dec – London – Maddens (East Finchley)

PHOTO CREDIT: Matthew Lally Photography

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

This is super-hard (and mean) to only give me three -  so I’ve gone for initial finds!

Alanis Morissette - Jagged Little Pill

One of the first albums I listened to that really spoke to me on a personal level which I could understand and make sense of - also, one of the few strong female artists to inspire me.

I love the honesty contrasted with the metaphorical scenes she creates - as well as just pure brilliance in her songwriting.

Radiohead - The Bends

As for (undoubtedly so many people) this album from Radiohead just hits every single emotion - and plays it over and over until there is no more left until you reach the end of the album…and then immediately have to put it back on. I adore this band and they were one of the first (bands) I really felt were performing those songs for their listeners to engage with and share in.

What I love about the album is the perfect combination of small and personal with huge and evocative.

AFI - Sing the Sorrow

This album really is one of AFI’s best pieces of work. I don’t love everything they have offered but this album is an exception-and-a-half. I love the enveloping darkness and acceptance of sadness (or frustration) in this album.

The songs are crafted beautifully and transported me to a dark place of support through some hard times.

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

1.  Have the confidence. You don’t think you have to write your songs and get out and share them because, if you weren’t so reserved about it, then you probably wouldn’t be as good (as you probably are).

2.  Be great at what you do and own it: don’t copycat or follow what someone tells you is the ‘new sound’.

3.  Do it because you want and need to…

PHOTO CREDIT: Richard Taylor

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

I am going to be performing on Xmas Eve, but then, I’m lucky to be taking some time to see my loved ones and rest this year.

Do you have any goals for 2018? What do you hope to achieve in the coming year?

I have a number of mind-brews that I’d like to do: one will be the release of at least one music video and the rest will happen with the strength of intention. I know that I want to tour further afield next year - and write, write, write!

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).

Excellent. After the advice you just asked me to give about musicians coming through now, I thought of a gorgeous Cat Stevens song called If You Want to Sing Out, Sing Out - which always makes me smile.

I’d love for everyone to listen to that and feel really good and inspired. Thank you!

_________

Follow Nicola Harman

PHOTO CREDIT: Matthew Lally Photography 

Facebook:

https://www.facebook.com/nicolahardmanmusic

Twitter:

https://twitter.com/nicola_hardman

Instagram:

https://www.instagram.com/nicola.hardman/

YouTube:

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

SoundCloud:

https://soundcloud.com/nicolahardman

Spotify:

https://open.spotify.com/artist/2VWsZFLXkcmf2EK5edMZSd 

INTERVIEW: The LaFontaines

INTERVIEW: 

 The LaFontaines

________

IN a world of dilutes and flukes (sounding like Dizzee Rascal, here)…

it is refreshing encountering a band like The LaFontaines. Kerr (from the band) speaks to me about their new work – Too Late was released yesterday; Common Problem was already out – and what it was like playing the legendary Barrowlands. I ask Kerr about the band’s new album, Common Problems (it is out 27th October), and how they have progressed as a unit – and what Glasgow is like as their muse and home.

He talks about the future of the band and the inspiration behind their music; the great venues they have played this year; the music they are all into – offering some unique advice for artists emerging onto the scene…

________

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

Kerr: Hi. It’s just Kerr answering this - but I would imagine that we are, collectively, fine. My week, on a personal level, has been a solid six-out-of-ten. Still got a full bill of health and I’m no less skint than I was last week – result.

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

We are The LaFontaines and we come from the very beautiful, but equally dark, town of Motherwell. We’re all local boys from roughly the same area who happened to have an interest in music – albeit, at vastly different ends of the spectrum. Myself and Darren (the guitarist) were the main instigators in getting the ball rolling, I suppose: the other two were just daft enough to jump on-board.

You are signed to Wolf at the Door Records. How important is that for you guys? What is it like being on the label?

Not that important: nothing has changed other than the fact we get to put a cool wee Wolf symbol on the back of the album artwork.

We still move, act and shake like the independent titans we are.

How did it feel selling out Barrowlands so early in your career?! That must have been incredible, surely?!

The Barras is, hands-down, the best venue in the U.K.! Selling that place out on our last headline run was the pivotal moment of our debut album, for me. It validated everything we had been building up to over the years as a band. Going from King Tuts’ to Classic Grand; to selling out the O2 ABC then, finally, the Barrowlands was something special.

That’s why it was so important that we went there again on this run - there’s just something about that room, man!

Your debut album got into the top-ten in Scotland. Common Problems is your new album. Have you made any changes to your sound for this one?

This record is probably a lot darker.

CLASS, we had all our lives to write and, up to that point, everything was pretty new and exciting. This time, we’ve seen a lot more of the world as a band; we’ve toured pretty much everywhere you can go, and the world is in a pretty shaky state at the moment. So, lyrically, there are a lot of changes. Musically, because we already have a pretty unique sound: I’d say it’s just more of the same.

Just some good f*ckin’ tunes, man.

 PHOTO CREDIT: Ryan Johnston

What themes and topics inspired the songwriting throughout?

Life!

I don’t understand how, in 2017, people are still writing about being in the club. There is so much f*kin’ chaos going on that, surely, somebody should take a weekend off from getting ‘turned up’. Na; each to their own and all that, but I’d say I am inspired by what I see and live through. So, everything is pretty socially-conscious and currently pretty dark…with some humour to soften the blow.

Can we expect any singles from the record do you think?

Yeah. We have just dropped Common Problem - and Too Late comes out Friday 20th Oct. I encourage everyone to illegally download them now.

So far, you guys have already played some great gigs and created memories. What has been the fondest moment for each of you?

By far, the best place we’ve been as a band has been Morocco.

We went to film a video for our track, King, in the Sahara Desert and it was unbelievable. Only spent the one day and night in the actual desert - and the rest of the time was spent driving about seeing the most unreal scenery - the snow-capped ruggedness of the Atlas Mountains to the manic streets of Marrakesh. It was a total culture-shock. We were there for one week and it was never boring at any point. I loved the people and all the different types of music I was exposed to over there.

Ten-out-of-ten.

Glasgow is where the band is based. How important is the city and its people to your music?

It’s everything.

We’ve been to a lot of beautiful places, met some amazing people from all different backgrounds and cultures; but still, my favourite city in the world is Glasgow. It just feels like home. I love the folk and I don’t even mind the utterly s*ite weather: it makes the four days of summer that much sweeter.

Which artists all inspired you when you were growing up? Do you come from musical backgrounds?

As a band, I'd say we draw from all our individual preferences - rather than a collective interest in one type of music. Darren is all about his synths; Jamie is the Soul man; John loves a bit of Pop...and I listen, exclusively, to Nickelback.

Do you have any future gigs planned? Where can we catch you play?

We are going on a U.K. headline tour this November - Leeds, Cardiff; Manchester, Milton Keynes; Glasgow, Newcastle; Birmingham, London; Sheffield and Nottingham.

It would be really nice if you came and seen us play.

IN THIS PHOTO: Anderson.Paak

Who are the new artists you suggest we check out?

Anderson.Paak. We toured together throughout Europe and the U.K. He is, by far, the coolest human I’ve ever met.

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

“The music business is a cruel and shallow money-trench; a long, plastic hallway where thieves and pimps run free - and good men die like dogs. There's also a negative side...” If that quote appeals to you, get involved.

If not, stick in at school, kids.

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

There are rumours that we’ll be playing the New Year’s celebrations in Edinburgh this year – but those could just be vicious rumours. Apart from that, I am going play computer games for two weeks-straight and not feel guilty about it once.

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).

Kerr: Francis and The Lights (ft. Chance the Rapper) - May I Have This Dance

The others will be more than happy with your selections, I imagine.

_________

Follow The LaFontaines

PHOTO CREDIT: Ryan Johnston

 Official:

http://www.thelafontaines.co.uk/

Facebook:

https://www.facebook.com/thelafontainesmusic/

Twitter:

https://twitter.com/TheLaFontaines

Instagram:

https://www.instagram.com/thelafontaines/

YouTube:

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

SoundCloud:

https://soundcloud.com/thelafontaines

Spotify:

https://open.spotify.com/user/thelafontaines

TRACK REVIEW: Glassmaps - I’m Sorry

TRACK REVIEW:

 

Glassmaps

I’m Sorry

9.2/10

I’m Sorry is available via:

https://soundcloud.com/glassmaps/im-sorry/s-mZvDp

GENRES:

Rock; Alternative

ORIGIN:

London, U.K.

RELEASE DATE:

1st September, 2017

___________

IT is interesting so much of my current…

endeavour revolves particular areas. At the moment, I am (mostly) caught between London, Canada and Australia. Now, when looking at Glassmaps, I am back in Australia – and London, too. Although Joel Stein’s moniker is stylised – not something I can easily produce on a keyboard – there is a lot to love about the man. I will look at his track, I’m Sorry, soon, but, for now, an investigation and insight into the songwriter. I wanted to talk about artists from Australia and leaving that life; stepping away from a successful band; making relatable aspects stand aside from the competition; how hard work ethic can lead to incredible live dates; looking at love through music – and having to accept the truth – and mixing different colours/decades into an album. So music, for Joel Stein, is dispositive and reaffirming. He has changed a lot since his band-days in Australia. From the 2004 formation in Sydney – through to the London dislocation a couple of years ago – Howling Bells enjoyed a successful and inspirational career.  I will talk more about the band but it seems odd so many Australian artists are coming to the U.K. For Glassmaps’ creator, that happened quite a while ago, now. I am idealising Australia – I know it is not all sun and sea – but I am pining for the draw and allure of Australia. I have reviewed artists from Melbourne and Sydney through to Brisbane and Hobart. There is something about the nation that attracts me and beckons the reviewing side. A lot of Australian acts are coming my way and, each time I look at an act from there, there is something unique and engaging. Not to stray too far from the path of focus but looking at Joel Stein’s past and one can understand why he wanted to join/form a band in Australia. It is a great place for musicians and somewhere that intrigues the imagination. The incredible landscapes and varied areas; the fantastic people and wonderful history. So, then…why are many artists coming to the U.K.?

I guess there is greater wealth and variation here in Britain. Maybe there are more creative and commercial opportunities available over here. Naturally, many come here because that is where life takes them: other times, there is the need for greater stability and progression. The weather here, especially today, would suggest there is a lack of judgement when abandoning the clement and calm of Australia. Maybe we are in that mindset that suggests people would tire of the U.K. and chase the warmth and adventure of Australia. There are benefits of both countries but I feel, in the case of Joel Stein, there is more of a career for him here. Although there are a lot of great Australian acts, we do not often associate the nations with big labels and the best new acts. Maybe that is due to the fact our media does not spend a lot of time there. I feel, however, there is great music in Australia but nothing that rivals the finest of the U.K. (and U.S.). Here, we have some huge labels and radio stations that broadcast over the world. Australia has international brands but their scope and popularity are not on the same level as here. Many artists go from somewhere like Sydney to London because there is a richer and more stable fanbase ready here. For Joel Stein; he would have weighed up (years ago) the benefits of both nations and made the decision to come here. Now he is here; he is embarking on a new path and reaping the rewards of the British music scene. Not in a cruel way but there is nothing THAT standout regarding Joel Stein. He writes subjects that are similar to a lot of songwriters and has a story that does not leap from the page. The reason he is so special is how he has adapted from one way of life and created a new one – a big leap and fantastic new project that is among the most compelling at the moment. He is firmly based in the U.K. and is seen as a talent who can go very far.

In explaining and rationalising Glassmaps; it is important looking back at Joel Stein’s previous lifestyle. Howling Bells is a band many of us are familiar with. The band formed in 2004, in Sydney, and gained moderate success in the U.K. following their self-titled debut in 2006. Juanita Stein, Glenn Moule, Joel Stein and Gary Daines recorded the album, Heartstrings, in 2014. Although there is no word of any follow-up album; it seems Joel Stein is engrossed in solo work and has no intention returning to the fold. It seems their ‘current’ album did not fare as well with critics than their earliest work. Critics felt there was a listlessness and repetitiveness in Heartstrings; a sense of weakness at times and a lack of focus. Although there are great moments, the L.P. lacks the bite and nuance of their debut, for example. Despite the slight decline; the lifestyle of Howling Bells would have been something to envy. Every band has a great story but it seems the Australian band were ones to watch. That is still the case but imagine those early days and the adventures they would have had. Getting attached and engrossed in that mould would have been easy and comfortable. In Australia, Howling Bells enjoyed success and performed some incredible gigs. In fact, when I talk about the band, I give the impression they recorded all their material in Australia. They started life there and would all have been based there in those early days. By the time their debut came out, they were in London and aware of the landscape here. It seems, therefore, not a huge leap to go from a popular band like Howling Bells to a solo life. Joel Stein knew the pace and makeup of the U.K. and what was required as a solo artist. It is still hard to fathom why so many come from Australia to here; go from a band into a solo life – it seems an opposite attack would be more romantic.

I am not down on this country but have yearnings to visit Australia and capture a lifestyle that is less hectic and stressed. What is interesting about Glassmaps is it is a natural development from Howling Bells. The Glassmaps template is not an enormous departure: Stein takes colours and skills from his band and brings it into his new work. Maybe he has got all he can from the band – and not completely detached from the guys – but it is still quite a risky move. If you are in a group that has enjoyed popularity and has an established lifestyle – leaving all that and stepping out on your own can be nervy and hazardous. You do not have the stability and backing of your bandmates and have to start anew, in a way. Stein is an experienced musician and knows the landscape of the business. Even so; he as to re-establish himself and grow from the ground, up. Whilst Glassmaps does inherit blends of Howling Bells: so many different contours come into Stein’s solo output. I will step away from this point but have seen other artists go from a band to stand on their own feet. It is impressive to see and I am always drawn to their bravery and need for a change. For Joel Stein, based in London, he would have learned a lot from Howling Bells and that, in turn, would be the foundation on which he launched Glassmaps. Now, away from the Sydney-formed band, Stein is venturing out and putting his music to the world.

Strangely Addicted is Glassmaps’ new album and one that is full of stories and revelations. It is one of those personal records that seems to resonate because we can all appreciate what is being said. I will talk about I’m Sorry but consider another release like Hypnotised. That song bursts with harmonies and Beatles-inspired bursts. There are 1970s elements and Classical hints; a real array of sounds and sights. The key theme is being captivated by the charm and sexuality of the girl and not being able to step away from that. If the composition dynamic is rare, the story being told is one many of us would be aware of. A lot of my reviews have been about the familiarity of music and how few manage to distinguish themselves. One of the worst things about modern music is how many artists attach themselves to something ordinary and overdone. We have all felt the pangs and twists of attraction; the heart-skipping rush of love and the sting of loss. These are not new aspects and many songwriters are not adding anything original to the party. This means a mass of new songwriters are failing to stand out. Glassmaps might be written off when reading the stories behind the songs. There is nothing staggering about songs like I’m Sorry and Hypnotised – their inspiration does not shout at you and really lodge in the mind. It is just as well the music and lyrics themselves transcend the predictable and remain in your thoughts. The greatest trick is writing music that connects with the average listener but does not repeat what is already around. This is really hard to do because there are so many songwriters around. Many are doing the same and it is always challenging deciding which are worth listening to. Although a lot of Howling Bells’ music was written by Juanita Sein: Joel continued a lot and would have learned a lot from his sister. Coming out on his own; he is taking from his personal life and what he has gone through in the past couple of years.

I wonder how much of his solo material would have started during the band’s time. A few of the songs would have gestated then and grown into something recordable. It is only when he stepped aside from Howling Bells when Strangely Addicted took full shape. Hypnotised is a song that documents the addiction of love and attraction but laces so many interesting aspects into the blend. It is not surprising many have hooked onto a song like this. It has a solid and familiar core but – and why it stands aside – is the personality and unique insights that come from the song. Stein has his own perspective and is someone who does not repeat everything that has come before. He has a love of 1970s music and earlier stuff; a full chest of records and genres at his disposal – all unified and conspiring in a terrific track. Other moments on the record stand aside and one gets a really personal and intense workout. Away from the sweaty and lust-filled songs; there are times for introspection and some wondrous offerings. I shall not go into too much detail – I have not the time to review the whole album – but I know there is nothing cliché about Joel Stein. He will not be seen fitting into the mainstream too readily: keen to explore his own path and write music the way he wants to. He understands the commercial need for relatable themes but never compromises his own music and water things down. The lyrics and vocals will connect with many people but it when one throws the composition in the songs rise above the rest. I have talked a lot about the D.N.A. and anatomy of Glassmaps’ music but not explore the live dates and how well Stein has done as a performer.

One might associate Glassmaps with being a solo venture but, when stepping onto the stage, there is a red-hot, slick band. His summer has been notable with some incredible dates and memories. Stein provided main-stage support to The Killers at Hyde Park and The Great Escape festival in Brighton. That is a pretty big deal and for a new outfit; few manage to scoop those accolades so early. The fact Joel Stein has spent years in Howling Bells would have helped secure that slot. The band Stein has assembled is slick and organic and helps expand the music. One gets that when hearing the Glassmaps album but there is something different about the live performances. Rather than provide rather samey and repeated sounds: Glassmaps transform slightly and add something new to the songs. It is small wonder they are a popular live proposition and have secured those big dates. I guess streaming services and radio promotion is key when getting your music out there but one cannot underestimate the relevance of live performance. Seeing Glassmaps share the stage with The Killers would bring the music to a huge amount of people. Many of us ignore how important live music is when getting the music to labels and new fans. Glassmaps is already a popular force but those big summer gigs would have introduced unfamiliar listeners to the music of Joel Stein and his crew. Not only would the huge gigs have brought Glassmaps to new people but it would have helped secure new dates for Joel Stein. Many promoters and venues would have seen the performances and been gripped by what they saw. I am not sure how Glassmaps’ 2018 is looking but one knows there will be some great dates in the diary. Glassmaps has supported Michael Jablonka at The Lock Tavern and had an eventful year. This will only grow and I know Stein is looking ahead. I am not sure whether he plans on remaining here in the U.K. – his album was recorded in the U.S. – but there is a chance to tour internationally and spend a lot of time overseas.

In terms of his home; he is settled in London but will want to stretch his wings when it comes to gigs. Having spent a lot of time in Australia - that must be somewhere he is keen to return to. Melbourne and Sydney are big areas and many will want to see him play there. Having recorded in the U.S., one can imagine Las Vegas (where Strangely Addicted was laid down) and L.A. are going to be in his mind. America is going to be a big market for Stein and I wonder, when he gets gigs out there, that will bring his music to the international forum. Glassmaps is gaining traction but one feels 2018 will be a pivotal year. I am not sure what Joel Stein has in mind but gigs and big dates are highly influential when it comes to getting the music to the masses. This year has been a really exciting one for Glassmaps. I will move on now to look at the subjects that are tackled on Strangely Addicted. The reason I wanted to champion I’m Sorry is because it carries a sense of heartbreak and confusion. I’m Sorry is tackling the realisation you are not with the one you want: the need to get with someone else or readdress your life. I have spoken about the danger of addressing common themes and how hard it can be standing out. What I love about the song, and will show, is the real sense of emotion and physicality in the song. Its story is not like anything out there. The strain and turmoil going through the mind of Joel Stein comes out in a song that gets into the heart. It is a song that connects with me because, although I do not have the same love conundrum, the sentiments of being in the wrong place speak to me. I cannot connect with that sense of being somewhere not ideal and wanting to move on.

I am in a situation where I am pining for someone and unable to articulate that desire to her. It is a situation that is causing a lot of hurt but, when hearing the likes of Glassmaps share experiences, it gives me some motivation and guidance. I am not one who takes his lead from music but it is always interesting seeing how musicians address concerns we all have. Love is the most popular and represented subject in music: every artist has a different slant but there is a sense of the unspectacular in many corners. Those who can write something tangible and keep the listener compelled must be congratulated. Joel Stein has taken a lot from Howling Bells but, when listening to Glassmaps, there is new inspiration and sounds. He would have gained songwriting experience with the band but gone through changes and personal challenges since the formation of his pseudonym. Accepting the truth and reality of things is not easy to take. Many of us have to accept some hard truths and aspects in life but Stein has found himself in a relationship that seems like a compromise – not the girl he really wants to be with. That yearning for someone else is something I can get behind. Love is a common comestible but talking about it with new light is much needed in a music industry that is showing some staleness and overfamiliarity. One of the reason I’m Sorry – and songs on the album – benefit from a blend of decades and sounds. I have alluded to it but, rather than write something too commercial and ordinary: Stein brings a compendium of different shades and ideas to the music. This will see him succeed and grow as we go into 2018. Many musicians are making strides and stepping out. I feel Joel Stein’s solo project is going to be among the chasing pack in the coming year. He has already achieved so much and, with his album due, that will only expand and evolve.

PHOTO CREDIT: Rachel Lipsitz

The stirring and impassioned piano introduction to I’m Sorry reminds me, in a sense, of Coldplay. It possesses the same drama and emotion one will find on a record like Parachutes. Regardless of any familiarities; it is a perfectly hard-hitting and rousing way to open the song. Even before Stein approaches the microphone, it seems the introduction offers a sense of apology and argument. It is a strong and solid sound that gets into the bones and projects images of strains and debate (among lovers). Stein, when talking about the song, suggested it was not a wallowing and explosive song but one where he finds resolve to progress and move forward, Taking this all in; the opening seconds of I’m Sorry take all of the swirling emotions and questions together and feed them through the tender (yet firm) opening. Aside from some needless tautology – “It’s 3 A.M. in the morning” – the hero is sitting alone and weighing things up. It appears the lovers are on the same property but he has stepped away to get some space and think about things. It quickly becomes apparent the heroine has left and walked out the door. Maybe she is not happy with the way things are going and wants to get away. Stein is making sense of all of this and taking things in. She can see it in the hero’s eyes: things are not going well and he wants to be with someone else. Stein’s voice rises and holds under the pressure of everything. It is a beautiful and quivering vocal that is backed by that rousing and Classical piano. I wonder whether there has been conversation concerning the break-up or they are taking time aside to breathe. Neither party is happy with events - and it might be best they spend time away from one another. The introduction piano comes back in and seems to visualise the walk-out and fall-out. The hero apologises things are the way they are and he feels like he does. I am not certain whether it is a mutual decision but it appears things are beyond easy repair.

Whilst the early-hours-lament gets into his skin; the heroine is walking the street and getting away. The piano splits between the hero thinking about things and deciding what he needs to do: the girl walking through the night and wondering where she goes next. It is hard accepting a relationship has outlived its utility but that seems to be the way things have gone. The girl was sure Stein was the one for her; that everything she believed in was true. Maybe he has been unhappy since the start but there is that desire for future contact and reconciliation. Although the hero does not want to be in a relationship; he does not want to sever ties and abandon her. He might not be able to have it both ways and, when love does hit the rocks, it is hard keeping a cordial and friendly vibe between former lovers. Anyone who has experienced breakups will know the struggle adjusting and moving past the fact. Stein seems more comfortable with the situation but his voice continues to question and tremble. He is sad things have taken the turn they have but is relieved he can now move on and be with the one he wants. Evolution and progression are top of the thoughts – maybe having time alone or being with a girl who is better suited and compatible. Stein’s vocal – backed by the piano and percussion – remind me of John Lennon’s solo material in the 1970s. There are elements of The Beatles’ best work with a sprinkling of contemporary R&B. All of this together is a heady brew that gets under the skin and provokes the listener to think carefully – what they think about the situation and the images unfolding. Many will relate to what is being said and can empathise with the hero. Towards the closing stages; little tingles and whistles work in the background. Stein has raided the room of unusual instruments and brings an array of sounds into the fold. The composition boasts more colours and turns; there are backing vocals and wordless chants; the chorus keeps coming back and the emotions still run hot. Flecks and shivers bring the song down and, when reviewing the story, one wonders whether things worked for the best and both were able to move on. I guess Stein needed to be away from his girl and be with someone else. It is a hard realisation but one he has to broach. The aftermath is quite severe but Stein will see it as a positive and freeing situation.  

Strangely Addicted is a ten-song record that will arrive on 10th November. Make sure you get a copy and experience all the different stories and sensations available. I have heard the L.P. and can recommend how strong and stunning it is. Joel Stein began his recording life in Australia but has moved to the U.K. and gained huge success as part of the band, Howling Bells. I am not sure whether he is still part of the band and what plans he has with the guys. Maybe the band will record another album but it seems Joel Stein is busy with Glassmaps right now. Critics are raving about songs like I’m Sorry and Hypnotised. They are offerings that draw you in and keep you mesmerised. I am a fan of songwriters who manage to talk about everyday emotions/stories but bring something fresh to the plate. The narcotic decrescendo of I’m Sorry sits alongside the unique threads on songs like Inner Place and Summer Rain. Strangely Addicted was recorded and produced by Stein in Las Vegas. It was captured at the home-studio of The Killers’ bassist Mark Stoermer – where Stein was recording with Howling Bells. When he was there, he saw a room filled with unusual instruments like double bass and a three-stringed banjo. Recording the whole album on an old Telefunken microphone; one gets a real vintage blast throughout. Members of Howling Bells feature on Glassmaps’ album so it is highly likely the group will be involved in the future. Maybe he has the best of both worlds right now. He is able to connect with his band but steps away and record his own material. Stein’s obsession with those instruments and that space meant he lacked sleep for weeks and was engrossed in that world. It was new to him and a different way to record. Stein brings some established and esteemed faces to the record and, released on Lost in the Manor Records, Strangely Addicted showcases a hungry artist who wants to build a huge legacy.

I feel Stein has a lot to say in 2018 and, when his album is out there, there will be big gigs requests. THAT is the moment when his career will really take off. Once a record is out, the songs will feature on radio and spread across the world. I wonder where Glassmaps will head next year. London is still a big base and there are many venues he has not explored yet. Stein is familiar with the city and will want to go to other areas. So many terrific spots around the U.K. will want to bring him in. Brighton, Manchester and Leeds are areas I know would love to see Glassmaps perform; Glasgow and Liverpool other choices. The international market is where he can really cut his teeth and gain followers. I have mentioned the U.S. and Australia but the European market is big right now. One only can imagine which nations will line up to have Glassmaps come visit them. It is exciting to wonder and I will watch Joel Stein’s progression with great interest. I’m Sorry is a song that perfectly articulates the themes of the album. There is that struggle against misplaced love and the desire to be somewhere else. There are less stressful offerings on the record and the London-based musician takes the listener through an array of situations and settings. Make sure you get the album and discover why Glassmaps is gathering huge momentum. That trajectory and popularity will rise as 2018 comes into view. From his days with Howling Bells – whether he is still with them or not – Joel Stein has grown into a confident and stunning musician who has gained fresh impetus with Glassmaps. An amazing artist with plenty more to say – now is the time to get involved with a man who…

IS among the best U.K.-based artists right now.

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Follow Glassmaps

Official:

http://www.glassmaps.co.uk/

Twitter:

https://twitter.com/Glassmaps

Facebook:

https://www.facebook.com/GlassmapsMusic/

Instagram:

https://www.instagram.com/_glassmaps/

BandCamp:

https://glassmaps.bandcamp.com/

Spotify:

https://open.spotify.com/artist/6cgAV348gFMe2QHUzVTPRV

YouTube:

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

SoundCloud:

https://soundcloud.com/glassmaps

INTERVIEW: Gabriela Francesca

INTERVIEW:

PHOTO CREDIT: Elena Kulikova  

Gabriela Francesca

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LOTS of colour and energy is what one…

experiences when they hear and see Gabriela Francesca. I ask the U.S. artist about her new single, Blah Blah Blah, and whether there is a personal derivation. She tells me about its creation and whether she has any plans regarding a visit to the U.K. In addition; I wanted to find out whether her Mexican heritage plays into her music and how she has developed as an artist – and which musicians have helped shape her.

Gabriela Francesca talks about her upcoming material and how she will be rounding off this year; why she is keen to head to Big Bear – and what she would say to any hungry young musicians coming through.

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

Hey there. I’m fantastic, thanks! It’s been great.

I’ve been getting in the Halloween mood, but L.A. is still nice and warm…so I had a gorgeous beach-day on Sunday.

It’s a nice balance!

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

I’m Gabriela Francesca. I’m a singer and songwriter working and living in Los Angeles. 

I’ve heard your new single, Blah Blah Blah, and it is pretty hot! Can you tell me the story behind it?

Thank you; I appreciate it!

Blah Blah Blah was written after hearing some interesting rumors about myself through the grapevine. I’ve always kept my head out of and above gossip, but it got a little ridiculous, so I decided to entertain the trash-talkers and write a song! I wanted to write a theme for anybody who’s been gossiped about or picked on - to remind them that they are so above the hate and that at the root of it - those people are so bored with their own lives that they have to seek excitement in someone else’s.

It has a summer-time vibe but seems to convey deeper messages. That is quite a hard balance to strike. Was it an easy track together and what was it like working with (producer) GEO?

I feel like, with the cheery Disco vibe, we were able to include really hard-hitting and honest lyrics without making it a sob-story - or a song about being salty. It’s more of a song where I’m poking fun at people who gossip about me - and telling them I see through them - that I know they’re my biggest fans! It was actually a very easy song to write. It was something that was on my mind when I came into the writing session with GEO and co-writer April Bender.

We discussed it and had a good chat about the general frustrations of the rumor-mill; decided that a Disco vibe would fit really well - and then we just got to work! It was a blast and came together really smoothly.

When listening to the song; I had thoughts of gossiping and back-stabbing; the sunshine of L.A. and blowing off those who perpetrate rumours. Did you have a clear storyline when writing? What was it like writing with April Bender?

You nailed it!

We definitely had a scenario in mind when we wrote it. I’m a very visual learner and writer, so it always helps for me to imagine scenes; almost like in a music video. I could just imagine girls sitting down at brunch somewhere very Instagram-able; drinking their mimosas and spewing gossip. That’s what happens when you have nothing going on in your life: too much time on your hands and daddy’s credit card set loose in Los Angeles!

Trust me...those people are everywhere.

Gossip always gets back around to whoever started it, and, that’s another message I wanted to share in the song: people who gossip really hate to be recognized. They’re not comfortable with confrontation or being called on their actions (that’s why they do everything behind people’s backs); so it was really a blast to create this whole scenario of me calling out the "Bitches who brunch". April is an excellent writer and just all around great person, and we’d written together before, so it was a total blast. We’re always on the same page - and I absolutely love what she brings to the table.

She’s such a pleasure to work with. 

PHOTO CREDIT: Jon Adjahoe

This will be your third single. I guess, it’s fair to say, personal relationships and experiences go into your music – they are not cliché and like anything else. Is it easy tailoring common themes and making it very much your own?

What’s funny is, I usually am worried that some of my themes or topics are TOO personal to me - and will not resonate with a larger audience. They’re all from real-life experiences and feelings I’ve had, real moments, and, when I first start to write a song, I often worry whether it will be relatable to anyone but me.

As the song comes together, I realize that my sentiments and stories are not just my own: they’re shared commonly by many, many people and can fit many scenarios, even if they seem different than mine. My first single of the year, Hallucinate, was written about a very specific relationship in which I felt I had been abandoned and left high and dry - and as the song unfolded, I realize it kind of became a theme for anybody who’s been ‘ghosted’, or who has mourned an unfinished relationship.

I think, as long as writers write from a place of truth - instead of trying to concoct a story that people will think is ‘cool’ but has no truth behind it - there will always be someone who resonates. A songwriting mentor I had always said: “Don’t write about a cake you haven’t tasted”. Truth always comes through in songs to an audience.

Human experience is not a solitary thing: we, as human beings, share so much more than we think...

You are on a roll. Can we expect an E.P. later in the year/next, perhaps?

I think, for now, I’m focusing on putting out singles.

I have a ton of songs ready to go and so much in-the-works; so, I think, next year, I’d be open to putting out an E.P. with a mix of new and released songs - just to have a body of work that all gels together. Right now, however, each single is a special individual story and world - and, so, I’m enjoying crafting and releasing each record one by one. 

PHOTO CREDIT: Elena Kulikova

As a first-generation Mexican-America, raised in Chicago – how much of your family background and heritage informs your music and sounds? What is it like working and recording in L.A.?

I grew up with a ton of Latin music so, although I don’t particularly make Latin music or Latin pop, Latin rhythms and rhythmic influence is definitely present in my music. I always love to incorporate them whenever I can. Overall, I just grew up with an appreciation for other cultures different to my own - and I think that openness and appreciation is there whenever I search for new inspiration for my music (or new directions to explore). 

Working and recording in L.A. has been great for me. I’ve always appreciated a good change of scenery and L.A. has presented a lot of new possibilities for collaboration and opportunity. 

Give me a sense of the music you grew up listening to. Which artists did you fall for at a young age?

In my household, I grew up listening to a lot of 1970s songwriters; Latin music, Country music and 1950s Pop music: James Taylor, Jim Croce; Harry Chapin, Simon and Garfunkel; Celia Cruz, the Gipsy Kings; Shania Twain, Elvis Presley; The Beatles, Connie Francis; Paul Anka…artists I still love to this day.

My brother, Justin, however, gave me my first two C.D.s when I was ten-years old: Songs About Jane by Maroon 5 and X&Y by Coldplay. That’s when I truly knew what it felt like to fall in love with a band or artist: to feel like they were speaking straight to you through the music. I must’ve listened to those two C.D.s, on-repeat, for two-years-straight. 

PHOTO CREDIT: Elena Kulikova  

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

Right now, I’m very focused on putting out new music for people to hear...

The issue of playing shows without a lot of music released is, if you play a great song, people are going to ask where they can hear it or buy it and if it’s not released - that’s kind of the end of their relationship with your music. Hopefully, this summer, I can start looking at tour dates! I’d love to play some shows in L.A. later this winter or in the spring - because the shows I have played out here have been a blast. 

Does the U.K. feature in your plans? What do you think of the artists over here?

Absolutely! I am a traveler at heart.

I was in the U.K. for two weeks last winter exploring with my best friend and we had the time of our lives. I’d love to come back to play music and explore the scene. Some of my favorite artists are from the U.K. (Coldplay, Amy Winehouse) so my opinion of U.K. artists is very high!

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

X&Y by Coldplay

The Best of Gipsy Kings by the Gipsy Kings

The Boy Who Knew Too Much by MIKA

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

We’re all in the same boat! It’s not always easy to stay inspired or motivated but we’re in it for the love and all we can do is shoot for the moon: we owe it to ourselves and to our art. Remember why you chose music in the first place. Remember, somebody out there NEEDS your work: it deserves a chance to touch someone. 

I’d also say that it’s important to dismiss comparisons to others. One thing that has really helped me has been making sure I have time away from work and the music industry as a whole. Find things that make your inner-child sing; find ways to be selfless and help others and find ways to escape. Changes of scenery and new experiences will always feed your creativity.

Artists are storytellers - and you can never have too many stories to tell.

PHOTO CREDIT: Jon Adjahoe

Do you get much chance to chill away from music? What do you do in your free time?

I do, absolutely.

Consciously stepping away from music and my work helps me to replenish creativity and find inspiration. I am an avid yogi and I also love to dance. I take samba lessons twice a week. I also study French privately with a teacher. I’ve been vegan for nearly half-a-year now, so I love exploring new restaurants in the area and trying out new recipes in my own kitchen. Of course, in L.A., we have some beautiful scenery; so I do love a good hike or beach day - but my favorite way to escape is to drive a few hours out of L.A. into the San Bernardino mountains and (spend) some time in Big Bear: one of my favorite little towns on Earth.

Who knew I was a mountain girl?

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

Speaking of Big Bear, my family and I have some plans to spend some at a cabin in the mountains for the holidays.

I guess I’ll get a white Christmas right here in Southern California! I’ll, hopefully, have some music lined up for before and after the holidays for release - so I can take some time to enjoy family company during the actual holidays. I figure everybody else will be doing that too - and focused on celebration - so that’s another reason I’ll probably refrain from releasing music or performing those weeks. 

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

I Got a Name by Jim Croce.

I listen to this song every time I drive up to Big Bear so, recently, I’ve been playing it every morning while I walk my dog. It’s a song I’ve loved since I was very young - so it really helps me start my day with a lot of love and warm positivity. 

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Follow Gabriela Francesca

 Facebook:

https://www.facebook.com/gabifranmusic/

Twitter:

https://twitter.com/gfrancescamusic

Instagram:

https://www.instagram.com/gfrancescamusic/

YouTube:

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

SoundCloud:

https://soundcloud.com/gabrielafrancesca

Spotify:

https://open.spotify.com/artist/7pLCicdf9ktQOpQ67NL9II

INTERVIEW: Beth McCarthy

INTERVIEW:

Beth McCarthy

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HER new single is fresh off the press…

so it is the perfect time to speak with Beth McCarthy. She tells me about her new single, Mr & Mrs Brown, and why Cottingham Folk Festival was a highlight of the year. I learn more about McCarthy’s musical past and how whether there will be an E.P. arriving soon. She tells me about some of the artists/albums that have inspired her and what she has planned for later in the year.

I find out about upcoming gigs and what it was like appearing on The Voice; what the music scene is like in Yorkshire (where she is from); how she got into music – and whether her parents’ tastes influenced her own direction/sound.

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

Hi! I’m really well, thanks. My week has been a little crazy. I’m over in the U.S. playing shows in Chicago and Florida - so not your average week!

Exciting, though…

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

My name is Beth McCarthy and I’m a singer/songwriter from York. I’ve been singing and…well, songwriting with my acoustic guitar (who is called ‘Jeff’, in case you wondered) for seven years now. I was a contestant on The Voice U.K. in 2014 as part of Team Ricky Wilson (Kaiser Chiefs) - and have, since, been doing all I can to make this crazy music dream a reality!

So far, I think it’s going pretty well. 

Tell me more about the single, Mr & Mrs Brown. What is the story behind it?

Back in February 2017, my big sister got married...

Being the musical maid-of-honour; it became my job to write her first dance for her (the pressure of that, by the way, was HORRENDOUS). I asked my sister and her future-husband to write a letter to each other that they would read after the wedding - and wrote this song from those letters. I wanted it to be personal to them: not just another love song. So, Mr & Mrs Brown is the story of my sister and her husband!

The title is what they are now called - as man-and-wife…original, I know.

Listening to the song and it captivates me with its loving and passionate vocal. There is something soft and sensual about it. Has it taken a lot of hard work creating a voice that carries so many emotions?

That’s very kind of you! I’d say it’s taken a while for me to really get to know my voice and how to use it. I’ve never had the most technically brilliant voice, or a big ‘diva’ voice, and I think a pivotal moment for me was when I stopped trying to compete with those kinds of voices and started to appreciate what I could do with my own!

It’s easy to pick apart the imperfections and cracks in a vocal but they’re what make it real - I’d choose making somebody feel something with my voice than impressing them with it any day.

Can we expect any more material later in the year? Are you planning an E.P. or album?

I’m touring the U.K. in November, so you can definitely expect another single release around then. After that, I’m making big plans for 2018. I don’t want to say too much about what’s to come but, right now, is the most excited I’ve ever been about my music so...

Keep a look out!

It seems the Cottingham Folk Festival was a year-defining highlight for you. What was it about that gig that stuck in your heart?

There are some shows that remind you what you’re doing all of this for - and that was one of them.

The gig was a support slot for Lucy Spraggan - who is a truly incredible artist and songwriter - and I really have to give credit to her because she has created the most amazing fan-base. Everyone in that room was there to listen and support anyone who stepped on the stage; not just Lucy.

It’s like the whole audience was rooting for you before you’d even started singing and that’s one of the best feelings.

I guess appearing on The Voice would have been a highlight, too? How important was that experience with regards your ambition and drive?

The Voice is definitely a highlight.

It’s a strange experience as it really doesn’t compare to anything else - but it was a huge positive for me.  It gave me a great platform to build from; introduced me to some great people and taught me a lot about the industry - the good and the bad parts! Thing is, a lot of people think that when you go on a show like that, you’ve made it - that you come off and you’re given management/record deal - and everything is worked out for you - but that really isn't the case.

It’s almost like you’re sky-rocketed up into success that you’ve never had before and then, as soon as you’re out of the competition, you’re left to figure out where to go next - and most of the time, the only way is down. It taught me a lot about staying motivated and, actually, how important it is to love what you do - because it’s HARD to keep going sometimes!

But, if you continue to love what you do and enjoy the journey you’re on… you really can’t fail.

What has this year been like? It seems like you have been pretty hectic…

Hectic is probably a good word to use! Hectic but amazing.

I started the year with a number–two single in the iTunes Singer-Songwriter Chart - which was just insane. I, then, played a U.K. tour and have been out to the U.S.A. twice - to play shows in Chicago and Florida. I started working with Ont’ Sofa as my management, who have already made such an impact on my life, and I’m so excited for what we have to come.

All the while, I’ve been writing my heart out into a load of new songs that I really am so proud of. So…this year has been amazing: but next year will be even better!

Talk to me about how you got into music? Was there an artist that inspired you heavily?

I actually got into music because I wanted to perform!

I’ve loved being on stage since I was young and went through all sorts of outlets of performance - from acting to musical theatre; to being in a crazy Rock band as a pre-teen. I ended up settling on singing and writing with an acoustic guitar (a little mellower than electric guitars and heavy drums!) and went straight into playing gigs at thirteen.

I can’t really pinpoint a particular artist that made me want to do what I do: I think I was always more inspired by great performers than I was music. I loved people like Elvis Presley, Michael Jackson and Freddie Mercury - who were all incredible frontmen - so I guess it goes back to that love of performance and (just) wanting to get up in front of people!

Was there a lot of music in the house as a child? Did your parents expose you to a lot of music?

My dad has always been really into Rock music so I grew up listening to AC/DC, Meatloaf; Deep Purple and Queen. My sister always loved acting, so I think I got into doing shows and performances because of her. Other than that; I wouldn't say we had a hugely musical household. My parents have always been super-supportive of my music, though, and come to almost all of my gigs.

I think I got them into music rather than the other way round!

You are based in Yorkshire. It seems a lot of our most promising artists come from the county. Is there something in the Yorkshire water, do you think?

Yeah - or maybe it’s in the Yorkshire puddings…

What are you doing this Christmas? Do you visit family or have other plans? Sorry to bring it up…but have you made plans?

I always take Christmas off to spend time with family.

There’s such a huge clan of us that it takes the whole holiday just to see everyone! It’ll also be the first Christmas with my new puppy - so I think I’ll be spending most of my time snuggled with him on the sofa watching Love Actually!

IN THIS PHOTO: Talmont/PHOTO CREDIT: Harvey Pearson

Who are the new artists you suggest we check out?

I know so many talented people that – but I could be here all day listing them!

You should definitely look out for Scott Quinn, Isaac Tyler; Talmont and Ella Grace - they’re all part of the Ont’ Sofa team and have some really exciting things coming up. Also, a good friend of mine, Antonio Lulic, is about to drop an E.P. - so keep an eye out for him, too.

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

Just love what you do; be yourself and don’t give up. Also; let yourself be happy: life is better that way.

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’ll say Here We Are Again by Ella Grace - because it’s her new single and it’s BEAUTIFUL (so, people should hear it)

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Follow Beth McCarthy

Official:

https://bethmccarthymusic.com/

Facebook:

https://www.facebook.com/bethmccarthymusic/

Twitter:

https://twitter.com/bethmaymccarthy

SoundCloud:

https://soundcloud.com/bethmaymccarthy

Instagram:

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

Spotify:

https://open.spotify.com/artist/2ba5BHaaNzyzG5ZEfKXIF2

YouTube:

https://www.youtube.com/channel/UC51Jwy26FL8JU5Wt7UlIpJg

INTERVIEW: LEXIS

INTERVIEW: 

 LEXIS

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DRAWING from her love of Eastern and Western music…

LEXIS is someone who fuses a blend of sounds and sensations into the pot. Back to the Start is lo-fi and hushed and beckons the listener in. Lexis discusses her Persian background and the variety of music that has experience and the D.N.A. that goes into her own music. I learn more about how LEXIS almost became a doctor and decided to pursue music; how the 1970s and influential and pivotal in regards her creative drive and tastes – and the music she grew up on.

LEXIS looks ahead to new music and gigs; I ask whether mainstream music lacks real spark and imagination – she talks about albums like Rumours and how they have influenced her.

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

I’m good, thanks. I’ve had a great week releasing the single and I also moved out of my flat - so it’s been pretty busy.

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

I’m LEXIS. I’m a singer-songwriter from Solihull, near Birmingham.

Tell me a bit about Back to the Start. How did the single come together and what inspired it?

Back to the Start is a track I worked on with a Dutch producer called Coenraad Dingemans. It’s one of four tracks we recorded for my forthcoming E.P. The song reflects on a personal experience of a relationship growing apart - and I wanted it to deliver a message of hope that things could go back to a time when things were calmer and more straightforward.

I was lucky to work with some very talented musicians and old friends including Rikki Glover and David Klinke on Guitar; Philippe Clegg on Bass Guitar; Simeon Rodgers on Drums and Zartosht Safari playing the Persian Ney - which is a type of flute.

It was a really fun record to make...

The song has a 1970s sound and some Persian elements. Did it seem natural blending those elements into the song? What is it about the 1970s, especially, that appeals?

I think the 1970s was such an inspirational decade for modern music.

I love how sugary Pop artists shared the charts with artists like Fleetwood Mac and Bob Marley. My parents moved to the U.K. in the 1970s and I was lucky enough to listen to vinyl records they had kept hold of from that era - so it felt really natural blending the different elements into the song.

You have Persian roots and were born in Solihull in the 1980s. What was your upbringing like and what was it like growing up in the area?

I had a pretty normal upbringing. I loved my childhood and I’ve got so many great memories growing up in the area.

How much of your heritage and parents’ D.N.A. go into your music, would you say?

I feel very British and I identify a lot more with Western music than Persian music. However, the Eastern blend makes the record more true to me and distinctive. 

Did you grow up in a musical household? Typically, what type of music/albums would you be listening to?

My brother and I were really musical. I played piano and guitar and he played piano and violin; so there was always music being played at home. My parents had this vinyl record player in their kitchen and a large collection of vinyl records. I remember; I would play Queen and Fleetwood Mac o-repeat when they were out.

They also had some traditional Persian music - which I remember them listening to.

Is it true you almost became a doctor? What compelled the decision to pursue music instead?!

So, I actually completed my medical training but I’ve always had a passion for music - and I couldn’t live without it! I won a songwriting competition whilst doing my medical degree in Birmingham - which led to me to move to London to study music and songwriting.

You studied at the Institute of Contemporary Music Performance in London. How important was your time there and what did it feel like being surrounded by so many like-minded artists?

It was a hugely influential and poignant time for me.

I made friends for life and met so many talented musicians; some of whom have helped me put together my forthcoming E.P. I don’t think I would be where I am now if it wasn’t for that experience and meeting so many talented and inspiring people.

Can we expect an E.P. very soon? Can you reveal anything about the titles and stories on the E.P.?

My E.P. is ready to go so keep your ears and eyes peeled. The stories reflect on personal experiences and my roots - and you’ll hear Persian and string instruments.

I can’t wait for people to hear it.

Your music has a unique edge and is a lot more ambitious than what is out there. Do you think the mainstream lacks real character – or are you a fan of the artists playing at the moment?

Thank you. I think there are a lot of talented artists in the mainstream who are also great musicians and songwriters. There will always be trends in music but it’s really challenging for independent artists to compete with the mainstream acts who are backed by big record labels.

Having said that, I believe there’s always space for something new and different to come along!

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

I hope to arrange some dates in the run-up to the E.P. launch - so watch this space.

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

Fleetwood Mac’s – Rumours is a timeless masterpiece and reminds me of my childhood

I feel that Oasis’ Definitely Maybe defined the Britpop era and growing up in the 1990s

Laura Marling’s Alas, I Cannot Swim is a beautiful acoustic Folk album which really inspired me to get into songwriting

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

Be yourself, have fun. Never give up and support fellow artists.

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

I’ve not made any plans yet but I’d like to focus on more songwriting over the winter months (and releasing my E.P.).

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).

Saharan King is a cool record from an unsigned Birmingham band called Lycio

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Follow LEXIS

 Official:

http://www.thisislexis.com/

Facebook:

https://www.facebook.com/thisislexis

Twitter:

https://twitter.com/thisis_lexis

Instagram:

https://www.instagram.com/thisislexis/

YouTube:

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

SoundCloud:

https://soundcloud.com/thisislexis