FEATURE: ‘The J-Word’: Why Jazz Remains a Misunderstood Genre

FEATURE:

 

‘The J-Word’:

IN THIS PHOTO: The Comet Is Coming/PHOTO CREDIT: Fabrice Bourgelle   

Why Jazz Remains a Misunderstood Genre

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IT seems the mere mention of the word 'Jazz'…

IMAGE CREDIT: Jazzradio.com

is like uttering some kind of curse. There are certain genres that have struggled to assimilate into the mainstream through the decades. Like the spectacled child standing shivering and exposed in the playground – waiting to be picked for the football five-a-side – the poor old genre of Jazz often gets selected as a forced consolation. I am a fan of Jazz but worry it is still seen as a rather boring and ignored style of music. It is maligned and snobbishly overlooked by those who feel they have a grasp on music. If one looks at the critics’ favourite albums of any year and how many Jazz albums make it into the list?! It is hard to say why many feel the genre lacks appeal. For me, I think the fact it has not burgeoned and gained mainstream passage is the fact reputation and assumption goes before patience and endeavour.

IN THIS PHOTO: Laura Jurd's band, DinosaurPHOTO CREDIT: Getty

Many assume they hate Jazz and it will offer no surprises. I bring this up because I am seeing a lot of prejudice come through for certain genres. There are certain age groups and demographics who refuse any taste of Jazz because, in some way, it repulses them. I am not a huge devotee of the genre but I cannot understand the attitude afforded Jazz music. In recent years, bands like Here Comes the Comet and Dinosaur have been nominated for the Mercury Prize. Those two bands, one can argue, take a rather ‘interesting’ approach to Jazz. Rather than a more conventional and streamlined take on the style - think John Coltrane and Miles Davis – they bring more acidic hallucination and a psychedelic angle. I call Miles Davis ‘streamlined’ (more on him a bit later) but I mean his Kind of Blue material. Dinosaur’s prize-nominated, Together, As One, is an eight-track release of various-lengthened songs. Each composition is immerse and transportative. One listens to the record and can close their eyes and drift – imagining the scenes and projecting your own interpretations.

IMAGE CREDIT: Jazzradio.com

The same can be said of Here Comes the Comet’s Channel the Spirits. When defining the album, - speaking with M last year - band member Betamax Killer spoke in these terms:

“Channel The Spirits was meant to be a soundtrack to planet Earth’s doom. To stare death in the face and explore a symphony of human emotions. Panic, hope, defiance, fear, brotherhood and a release from cultural restrictions. We hoped to discover the underlying human power beneath the mundane day-to-day routines of modern life. Through the process of making the record we have been on a journey together through the distant realms of our collective mind. It feels like we have become creative space explorers”.

Modern Jazz is not that far departed from the older, more traditional forms we are all familiar with. Jaimie Branch’s Fly or Die is a perfect integration of styles from the Long Island trumpeter. One gets a hit of Noise-Rock and Psychedelia; Jazz and Hip-Hop all in one. It is an extraordinary record that is the definition of what modern Jazz is all about: the assimilation and unification of various themes and genres against a backbone of conventional Jazz.  

Loneliness Road is the latest album from Jamie Saft, Steve Swallow and Bobby Previte. It sees Iggy Pop collaborate and is an inter-band conversation where the members show their mastery of their respective instruments. Falling between the seduce and sophistication of Bill Evans and the urgent rush of Alice Coltrane – one of the strongest Jazz albums of this year. Diana Krall’s Turn Up the Quiet and Linda May Han Oh’s Walk Against the Wind are respectable and standout records from the year. The latter, especially, boasts huge fluidity and poetic expression – the sound of a woman’s path through life and development. The performances are uniformly exceptional and add so much colour, candid energy and emotion to the music.  Whether one likes to admit it or not: all of us have an attachment to at least one Jazz piece.

IN THIS PHOTO: Louis Armstrong/PHOTO CREDIT: Getty

Take someone like Louis Armstrong, for example. He remains one of the most influential trumpeters and composers from the world of Jazz. What a Wonderful World is one of the most popular and requested songs in the world. It seems to resonate in so many people and is an accessible, touching and universal number that cuts to the heart. People might be a little wary of lionising Miles Davis, John Coltrane; Charles Mingus and Thelonious Monk. Their music seems to define what Jazz is and, if you don’t like it (or get it), you cannot say you appreciate Jazz. Maybe that is an over-simplification but one need not know every passage and album (from those artists) to approve and understand what they are about. I am a fan of Miles Davis but would say Kind of Blue, Birth of the Cool and Sketches of Spain are his finest – In a Silent Way and Bitches Brew are essential works.

I think one of the big problems when it comes to Jazz is the critics who are charged with proffering the genre. Many, when looking at the list of best Jazz albums of this year, seem to reduce their assessments into tropes and diminishing sentences. A few albums I have seen on a list have been labelled as records to listen to when having a cup of tea – perfect background music that you can enjoy when doing other things. I think this reductive and dismissive attitude, whilst unintentionally diminutive and patronising, seems to mirror the views of many out there. Jazz, like all great music, is not meant to linger in the back of the mind and prohibited from focal attention. I agree some Jazz albums are not palatable and popular enough to convert those uninitiated and hesitant. The best Jazz records are those that keep the ethos and roots firm but update and evolve the form. I have mentioned modern artists like Here Comes the Comet who, in a way, have more in common with bands like The Stone Roses and The Beatles – as they do Mile Davis and Louis Armstrong.

PHOTO CREDIT: Getty

If one feels they ‘hate’ Jazz then one would hope they have had enough exposure to make that determination. It seems the popular go-to decisions for many: I have not given it a chance and, therefore, it sucks. I think a lot of us get into the presumption all Jazz sounds like a single artist/album then, yeah, you are going to fall into that mindset. The fact is no genre, even Jazz, is limited in scope and appeal. A lot of the modern equivalent is far-reaching, progressive and exciting. Those who claim Jazz is a boring genre would do well to properly investigate what is happening right now. There are two sides to Jazz that need to be defined and distinguished. There is the more romantic and reflective side and the cross-referencing, cross-pollinating brand. Maybe those who favour the former are of a certain age and taste: those who chase the more modern and experimental alternative slightly younger and more hip. That would be an over-simplification but Jazz is at its broadest and most accessible right now. If one listens to the finest Hip-Hop artist around and you’ll see how influential and important Jazz is to them.

IN THIS PHOTO: Kendrick Lamar/PHOTO CREDIT: Alan Gwizdowski

This has been the case for decades. Whether samples into De La Soul’s incredible L.P., 3 Feet High and Rising, or Kendrick Lamar’s To Pimp a Butterfly – Jazz has been invigorating and connecting artists in all corners. It is not a coincidence some of the best albums ever – whether Jazz is used as a sample or an original thought – take so much from Jazz. It has never been a genre limited to certain tastes and rigid in its sound. This is definitely true today. The reason it is still fighting against resistance is the fact the mainstream still refuses to fully embrace it. In a way, when integrated into Hip-Hop and Rap, it is almost like an ingredient in a dish – rather than the main meal itself. Jazz warrants fonder and worthy study as it is not a dirty word…not anymore. I don’t think it ever was but we have to stop labelling genres and thinking we know everything about them. Jazz is misunderstood and underappreciated. I am not saying everyone should obsess over Jazz and go right through the ages but reappropriation is required. If the average listener gives it a chance they will find, without having to dig too far, there…

IN THIS PHOTO: John ColtranePHOTO CREDIT: Getty

 IS much to love.

FEATURE: Love Me Do: The Birth of The Beatles

FEATURE:

 

Love Me Do:

The Birth of The Beatles

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HISTORIANS and aficionados of The Beatles…

have their own interpretations surrounding the band becoming 'The Fab Four'. I guess a moniker is the way one can determine when an artist has truly arrived in music. Whether one assumes it was literally the first Beatles record that defined and announced their birth; their finest earliest album; the moment they cracked America – there are subjective and different viewpoints regarding the canonisation of the world’s greatest band. To me – and why I wanted to kick this piece into the wider world – was the vital landmark that is Love Me Do. On 5th October, 1962, the song was one of Paul McCartney’s earliest songs – written whilst he was cutting class from the Liverpool Institute back in 1958. I will quote from Ian MacDonald’s definitive and sacrosanct Beatles manuscript, Revolution in the Head. Here, like all their other songs, he charts the course and genesis of the track – where it stemmed from; which take we hear on record; how it fared in the public; his impressions of the song. From pages fifty-eight through to sixty; MacDonald charts the progress of the song’s creation and the place it plays in The Beatles’ cannon. To me, those opening few seconds, not only beckon and proclamation the greatest force of nature the music world has ever seen – it runs to a deeper, more personal level. To me, it is the tributary of the river that is my love of The Beatles. That harmonica blast (John Lennon playing that one) causes shivers, memories and fond reminiscence. I remember encountering the album Please Please Me (I shall come onto that) and being blown away by the sheer simplicity, live sound and class dripping from every song. In my estimation; Love Me Do is the first landmark release from the band – the time they transcending from promising boys (playing covers) to a truly original band who could change the world. Love Me Do employs two chords (G and C). Most Pop numbers of the time revolved around three common chords: the fact Love Me Do had two made it, in its reverse-evolution and base appeal, a more progressive and evolved thing.

IN THIS PHOTO: The Beatles recording at Abbey Road on 4th September, 1962

Breaking a trend by making music more simplistic might seem counterintuitive and risky. The boys knew they could not repeat what was out there and expect to gain the recognition they warranted. The song was started by McCartney during his educational day but, struggling to finish it off, showed it to Lennon – who added the middle eight and helped ensure it saw the light of day. Back in September 1962; Love Me Do was one of half-a-dozen songs being rehearsed by a band who were a bit nervous about releasing singles. The record label (Parlophone) preferred the inferior How Do You Do? as a single for The Beatles. The Mitch Murray-penned song was more commercial and toe-tapping but The Beatles disassociated themselves with the song – not wanting anything to do with it and thinking it did not represent what they wanted to say. Tackling and confronting the decision-making bosses is a bold decision for a band who were, in 1962, not a known commodity. It would be a few more months before the public took them to heart so that decision to rebuff the single suggestion showed the Liverpool foursome were determined to have their say and take their career where they wanted it to go. The “vernacular title” (as MacDonald sums it up) and dockside harmonica impressed producer George Martin. He knew there was something unconventional and original emanating from Love Me Do. Pop music of the early-1960s was more concerned with guitars, big choruses and fitting into the packs. The Beatles came along with a song that imbued the nature of early Blues recordings and 1950s sounds – the band were inspired by artists like Buddy Holly and Elvis Presley; not desperate to remain rigidly in the 1960s and jettisoning their tastes. There were a few issues surrounding the recording of Love Me Do. Legend has it – although interpretation has been interrogated and questioned – McCartney was dissatisfied with Ringo Starr’s drumming: he was hurrying into the chorus and failing to lock-in the bass-drum with the bass guitar.

McCartney, playing bass, felt there was an arrhythmic and undisciplined approach from Starr. Martin shared these concerns and felt, against a loose-swinging expressionist like Starr, a more conventional and studied drummer would give the performance more professionalism and reliability. A week after the fraught rehearsals; the band sojourned to Abbey Road Studios (Studio 2) and laid down the track. Andy White, a session drummer at the time, ‘sat in’ on drums whilst Starr reinforced percussion with rudimentary tambourine smashes. Two versions of Love Me Do were issued: the first (mixed bottom-light to distort and hide Starr’s bass-drum) went out as the A-side to The Beatles’ debut single; the second found its way onto the band’s debut album, Please Please Me, and opened its second-side. What amazes me about the song is how it contrasts what the band would go on to create and how distinct it was juxtaposed against the colour and excitement of the time. Love Me Do is a primitive and raw song that is a balustrade against a rainbow sky: a black-and-white rug in the kitsch and Art Deco kitchens of the suburban cool. Sales figures were cautious when the song arrived: many unsure how to approach it and what to expect. The “modal gauntness” seemed extraordinary against a Pop scene that demanded songs get to the mind quickly and traditionally. Some claimed the arrangement has been tampered with (by Martin) and the lead vocal had been given to McCartney rather than Lennon – hardly a surprise considering it was McCartney’s baby. Beatles fans, in retrospect, realise the song didn’t capture the live energy of their shows and seems awarded slow and contemplative. The easy hook (‘Ple-e-e-ease’) and untraditional chorus phrasing from McCartney; the passionate harmonica from Lennon; the raised-brown solo clash from Starr that followed Lennon’s performance. It seemed George Harrison was the only player who remained anonymous and lacking character. That would change but was understandable considering the eventfulness surrounding Starr and his technique; the fact Lennon and McCartney were the main songwriters and leaders.

Even if the open-fifth vocal harmonies were drowned in reverb; the production was cracker-dry and lacked the sheen, sparkle and timbre one would encounter on records at the time. The song, as Macdonald notes in his book, was a blast of autumnal air against the homogenised smog of the 1960s Pop scene. There was a hangover and awkward transition from the late-1950s and masters like Presley and Holly. So much of Love Me Do separated The Beatles and spotlighted a band that was going to make a huge impact. The harmonica wailing from Lennon contained no bent notes – the sort one might hear on U.S. blues recordings; the sort Dylan employed in his music – and has more in common with the working-class Blues and Folk of British artists from the North. That was a revelation from a public who were used to – when they heard harmonica – to something more jazzed, syncopated and florid. Lennon’s erstwhile and singular performance defined him on that record. McCartney’s lyrics might seem rather generic and unspectacular when you consider what the band went on to be. In any case; it was his story and song that lit the fuse – one that started the fire and showed these four lads from Liverpool were not going to stamp out covers and be like every other group of the day. Love Me Do was, in MacDonald’s terms, “awed by nothing” and signified the move from the elder-respecting stuffiness of modern culture – overthrown and besieged by the youth generation and a tipping towards a more energetic and reckless style of song. One might see a song like Love Me Do and balk at how basic it sounds when compared to Beatles songs such as Strawberry Fields Forever and A Day in the Life – songs that arrived only five years after Love Me Do. The band, even by 1963, was starting to experiment and grow their sound. That 1962 introduction single was never going to be the studio-pushing, genre-defying track that defined Sgt. Pepper’s Lonely Hearts Club Band; the head-bender conclusion to Revolver or the majestic L.S.D. melts one could find on The Beatles (‘The White Album’) – or should that be marijuana?! In any case; Love Me Do is an epochal song because it changed the face of music.

IN THIS PHOTO: The Beatles captured in Liverpool (1962)

I think of Love Me Do in terms of the album, Please Please Me: the former the creator and mother of the progeny. Love Me Do appeared on The Beatles’ debut album – although, as we know, a different version to the single – and was part of a musical revolution. The album is a stark polemic of the complex and pioneering works such as Sgt. Pepper’s Lonely Hearts Club Band. Although there were some flaws and rough edges on the record – a couple of the covers missed the mark; Harrison’s singing on Do You Want to Know a Secret a little flat; A Taste of Honey lacking the quality it could have – it is an extraordinary record that still inspires musicians today. The brief was simple: record an album in a single day that would, essentially, replicate the live energy and spontaneity of The Beatles’ shows. It was recorded far less expensively than albums of the times (£400 at the time; about £7,500 these days). Following the success of Love Me Do and its flip-side, P.S. I Love You, there was a need to get an album out to capitalise the spirit captured on those songs - the band's second single, Please Please Me, became the album's title-track. P.S. I Love You distilled McCartney’s gift for melody was balanced against Lennon’s comparative laziness – singing and projecting the minimal intervals of everyday speech (another MacDonald thought). Although a naïve song that adds a little to the ‘letter’ sub-genre of music; its expressive chorus and verses elevated the song to the consciousness of the masses. Those songs formed the bedrock of Please Please Me. George Martin needed ten further songs to accompany the band’s two singles. It was intended, at first, to be a morning and afternoon session – the evening session was added later – and captured at EMI in Abbey Road Studios, essentially, as a long-drawn band live performance. The band started at 10 A.M. Monday, 11th February, 1963: finishing at 10:45 P.M. the same day – with breaks and breath; a thirteen-hour (more-or-less) sessions that got the L.P. recorded and captured.

Six of the fourteen songs featured on the album are cover versions: of the original cuts; the majority had Lennon singing the lead vocal – the same was true of the covers. Each band member got a vocal lead (Ringo Starr taking the helm on Boys) whilst the lead-off track, I Saw Her Standing There, gained its own life and gravity. Its unconventional phrasing and lexicon (“She was just seventeen/You know what I mean”) – the original pitch saw the second line “Never been a beauty queen” – replaced with something less cloying and predictable – amazed fans and its explosive tone set the scene for the record. Mixing more tender and calm numbers against thrilling cuts: Please Please Me ended with the now-legendary and logic-defying version of Twist and Shout. By the time the guys had completed the definitive take of There’s a Place (the penultimate track), they knew what was left: the spectacular finale of Twist and Shout. The fact the session run until late at night was because of Lennon and poor health. Suffering a cold and sore throat; he spent breaks gargling milk and soothing his throat with honey and medicinal substance – whilst the rest of the band supped coffee. The 585-minute recording session would never have a better moment than the opening notes to Twist and Shout.  The fact they had recorded all day means recording a fireworks-take of Twist and Shout would have been hard: throw in an ailing Lennon and it made the job that much more difficult. As it was, somehow, he stepped up the microphone and nailed it in one take. It has to be done in a single take because that performance blew his voice beyond recovery – he has nothing left after that. George Martin wanted a new take but Lennon’s voice was shredded – the version you hear could not be topped, in my mind. The jubilant and relieved whoop from McCartney as the track ends shows what excitement and deflation there was in the room – the fact they had done it and managed to record the song that day. Apparently, when the take was completed, there was cheering and jubilation in the studio.

The engineers, staff and band were enthralled and buzzing from the energy that has been projected during that take (I imagine Lennon would have needed a week or so off after that song!). Love Me Do is the first blush of The Beatles and their debut cut – in my view, the most important offering from the band’s chest. Please Please Me responded to the building heat and popularity the band were accruing. If 1966 – 1967 was the peak of their creative powers: 1962 – 1963 was the start of things and the shaping of the biggest band on the planet. Match and contextualise Love Me Do in Please Please Me and you discover a group who were genuinely making music history. It all started with that John Lennon harmonica clarion of Love Me Do – the first notes of the Paul McCartney song that traces its lineage as far back as 1958. The song seems inexplicably forward-thinking and staggering today. That is a fifty year period (from its release) and still acts as a guide to musicians who want to add spice and difference to the Pop market. The Beatles went on to make better songs but few had quite the same impact and effect as Love Me Do. It stunned a complacent public and shook the charts up. Labels and bosses had not experienced a band like The Beatles – there has been nobody quite like them ever since! Put the song on and let it take you somewhere special. I can only imagine the sights, smells and sounds that came from the studio when John Lennon, Paul McCartney; Ringo Starr and George Harrison – ably assisted by George Martin – captured that moment of history. Fifty years since its release; Love Me Do still wields immense power and  (is a song) that…

HELPED define the music of the 1960s.

TRACK REVIEW: Jena Rose - Loved

TRACK REVIEW:

 

Jena Rose

Loved

9.4/10

 Loved is available via:

https://www.youtube.com/watch?v=JsTT0ZxTZTY

GENRES:

Pop; EDM

ORIGIN:

Texas, U.S.A.

RELEASE DATE:

10th August, 2017

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WE might be heading towards the tail-end…

of 2017 - but that does not mean Jena Rose is going to idly sit around! A week from tomorrow; she will be announcing her full U.S. spring tour (2018) and that will include doing it with a worldwide platinum act, no less! The video for her forthcoming single, Sweet Love, will be released on Friday – the remixed version available next month. Right now, there is a lot of love being shown for the single, Loved – it seems love is a big consideration and focus for the young Texan songwriter. I will talk more about that (love) soon but, right now, I wanted to discuss female Pop singers in the modern market; the music coming from Texas at the moment; the pressure put on youth and young talent; expressing oneself through vocals and music; writing your own songs (and how rare that is) – how it can be possible to separate from the crowd in a genre that is defined by homogenisation and limitations. There is a lot to discuss regards Jena Rose but, when thinking of her, a couple of things strike the brain: she is very young and very beautiful. This is not a precursor to a discussion about sexism and age in music but Jena Rose has natural assets and positives at her disposal. Music – Pop, especially – still puts a lot of emphasis on looks and beauty – selling sex and promoting artists who have a sense of beauty and physicality. In the ‘Spotify Age’; a lot of artists – who do not have huge talent – have their aesthetics and body put ahead of the actual sounds. With Jena Rose, that will never be the case. She is still in her teens, yet, has an immense talent and determination that will see her go all the way. I have just come off of Twitter and seeing another terrific teen talent, Billie Marten, finish a tour of the U.K. I have discussed her a lot this year – having created my favourite album of last year, Writing of Blues and Yellows – but she is an eighteen-year-old who has immense beauty and charm – but lets her music and raw talent speak volumes.

I worry there is a lot of pressure and expectation put on the shoulders of young singer-songwriters – especially females. I am seeing a lot of tender/ingénue artists emerge who are moulded and directed by record labels. Commercialism and dollar-expectation mean, even before a note has been produced, there is a rigid game-plan and ideal for each artist. I am pleased to see songwriters who rebel against that and choose to define their career through their terms. Jena Rose is someone who could easily have fallen through the cracks of the machine. She has an immense beauty, kindness and sweet disposition. One can imagine, in the hands of the label men, morals and values being stripped in favour of exposition, sensuality and fame. In years to come, when her career hots up, there will be a lot of T.V./film attention coming the way of the Texan talent. She will be called upon for acting roles and the music side of things – having her records featured in productions. Later today – and not meaning to meander down the garden-path of inconsequentiality – but I am writing a piece about The Beatles later today. It is fifty-five years since their first number-one, Love Me Do. Even though, in 1962, there was little understanding of The Beatles and what they would become; one knew, on that first hit, they were going to be huge. The lyrics of Love Me Do might seem quite trite and cliché – compared with their later songs – but, at the time, it was new, revelatory and seismic. Now, in a comparable Pop market, how does one experience that sort of leap and progression? It is harder when there is such saturation and proliferation. Someone like Jena Rose excites me because, in a scene where there are so many manufactured artists, she is a natural and organic woman who is pushing Pop in new directions. One listens to a song like Loved and there are no processed vocals and preordained agendas – a song that comes from the heart; through the speaker, to the listener.

I am a little ambivalent towards Pop and tend to tread very cautiously. Sure, there are some brilliant artists around right now but I find, when looking for something deeper and less manufactured, one needs to look elsewhere. It is people like Jena Rose who are showing Pop can resonate and connect with those who want something more soulful and mindful. I have been musing about Soul and how the modern interpretation still retains ideals of legends of old. Jena Rose is not a pure Pop artist: there are soulful undertones and Country strands that mix into a dizzying and velvet blend. One hears teenage and explorative innocent, mixed with a vivacious and strident confident, that goes into her incredible music. I will return to this theme in the conclusion but, when thinking about the state of Texas, one gets definite impressions of what the music will sound like. Jena Rose hails from Plano which, as a city, has a unique charm. The Heritage Farmstead Museum and the Interurban Railway Museum – tracing the history of the Texas Electric Railway – sits in a city that is modern and forward-thinking. Among some of its notable residents – N.F.L. players such as Kyle Bosworth (Jacksonville Jaguars) and Jake Brendel (Miami Dolphins) – is a lot of inspiration for young songwriters. I guess we think of Texas as being an extension of Nashville: a hub for Country music and a very distinct sound. Unlike the Tennessee city; Texas is a lot more varied and deep than many would think. There are some brilliant Country artists like Erick Willis, Red Shahan and Flatland Cavalry –playing around areas like Lubbock, Austin and Dallas. Jena Rose is part of an alternative scene that adds colour and personality to the Texas landscape. Bee Caves, Jackie Venson and Tele Novella; The Bishops and White Label Analog are among those defining Texan music. It is a packed and multifarious state that is proving hospitable and popular with young artists.

I can see Jena Rose locating to L.A. in the coming years because it seems like her pull and ambition, coupled with the fact Los Angeles provides more scope and opportunity, might see her follow that course. I am not sure but, right now, she is among the prime and finest of Texas. I have talked about the modern Pop market and how much pressure there is on the shoulders of young artists. It would be incongruous to say every new artist is expected to act, dress and look a certain way; however, those artists who rise to the top are rarely in a negotiating position where they can express themselves in a particular way. Jena Rose, on paper, could fall prey to the neon clutches of the commercial jaw. She is gorgeous and has a sensitivity that seems beguiling: an intelligence and strength that few of her contemporaries possess. Rather than leer after big-label deals and have her voice processed and distorted – she is following her own mind and creating music the way she feels is right and honest. It is her integrity and determination that sets her apart from the masses – those who want to get millions of Spotify streams and create music that does not tax the brain. Music rewards those who are self-sufficient but, at the same time, there is a commercial perversity that sees a young star and takes them by the hand – leading them, like Sleeping Beauty being fed through an industrial-sized fan, into the murkiness of the anodyne and radio-friendly. Not that one has to sell their soul and dreams to be a success but, if one looks at stars like Selena Gomez and Taylor Swift, there is a particular dynamic and methodology that must be constructed. They are artists who have an army of songwriters, producers and talent working their music and pre-planning their promotion. The figurehead is often the sum of multiple organ transplant and transfusions – less of them in their own body; a composite of others and their ideas.

Jena Rose is a young woman who will be a fan, I assume, of artists like Lady Gaga, Rhianna and Taylor Swift: it is hard to avoid their influence and compelling voices. I am actually a fan of Lady Gaga and think she is one of the exceptions in the Pop market – someone who has more control than you’d imagine. Jena Rose acts as a beacon and shining light to those who feel the only way to craft identity and influence is to conform and surrender. Her incredible pen and voice has as much power and potency as any of the mainstream best – without needing dozens of others to make the music happen. One knows, as her career blossoms, there will be offers and nefarious tease; money and chances heading to the foot of her door – ways she can build her career and get further in the industry. I know Jena Rose is someone who will not be easily led but I feel she has the maturity and fortitude to find major success without having to promulgate looks, youth and the vanilla. Jena Rose is someone who has music coursing through her body and soul. It is an integral part of her being and a destination she was always going to fall in love with. She bonding with music’s purpose at the age of nine: as a shy child, as she says, other musicians’ songs/voice seemed to articulate a conversational confidence that she could not articulate. The dichotomies, ethos and rationalisations they vocalised seemed to touch the young Jena Rose. We have all been in that situation as children: unsure how to come out of our skin and connect with the wider world. To me, music has been a lifeline and island on which I can moor anchor and settle myself. Not being the most overt and sociable soul – hence, the reason most of my free hours are spent bonding through electronics – music, like Jena Rose, seems to provide a degree of acceptance and direction.

PHOTO CREDIT: Alexandra Thomas

In a way; it means I am less lonely and misunderstood: my favourite artists are able to keep me calm and comforted when I need it most. I am not sure whether now, as a teenager, Jena Rose has the same anxieties and reservations as she did back then – I assume she has only managed to get into music because she found inspiration through her idols. Jena Rose started playing classical piano at aged five (unbelievable!) and, at her Plano home; she would take a rather structured and rigid attack. Like all the great voice and songwriters through time: Jena Rose is someone who realised taking a conversational and dry approach to their craft would never break beyond the ordinary and boring. Classical attitudes are fine but they can be rather imperious, formulaic and stilted. The festination she felt was liberated when, a few years down the tracks, she took up contemporary styles. It goes, as the young artist recalls, a night when her parents went out for an evening meal. Alone with the piano and the limitless expanse of creative sky; Jena Rose began tinkering at the piano. The tentative kiss turned into a passionate and insatiable tussle. The creative juices flowed and, before she knew what was happening, a chorus, verse; bridge and structure was laid down – she has given birth to an actual healthy and boisterous song! Her music teacher was stunned and amazed her student could create something so quickly. Maybe it is her influences and heroines that have dictated her course and singularity. Rather than idolise the plastic and sugar-rich Pop artists; Jena Rose, instead, fell for the beauty and wonders of Sara Bareilles. Music, to the young songwriter, is a way to express herself and reveal her hidden messages, thoughts and feelings. As a young woman making her way through the world; she negotiates a labyrinth of romantic confrontations, misdirected passions and hard-hitting choices. She has a fallible heart and that is subject to exploitation and deceit – boys who will come and offer her the world; only to leave her broken and exposed at the roadside.

There will be princes who provide pure motives but siphoning them from the slew of toxic pretenders is a challenging (and daily) obstacle course. I feel a natural connection with Jena Rose because she has a faith and kindness that, one suspects, is easy prey to those who think of nobody but themselves. It is rare finding a young songwriter who takes their own lead and refutes the Disney villains who pose poisoned apples and chalices her way. I guess her location and upbringing is as powerful as any temptation to follow dollars and the mainstream. She was raised with music in her D.N.A. The fact she bonded with the piano as a young child means she already knew the music/direction she would pursue. I imagine there are some commercial artists in her record collection but I can imagine, if I visited Jena Rose’s home, there would be music (vinyl among them) from the finest and most original female artists from the past couple of decades. Even though Jena Rose has a modern fabric to her music: one hears embers and spectral suggestion of iconic Folk and Pop singers. It is important we proffer artists like her so the scene can afford itself greater naturelessness, meaning and personality. I listen to a Jena Rose single and am instantly absorbed into her world. She never speaks with cliché vowels and predictable tenses – her words could be cribbed from her diary pages; unfettered and fantastic thoughts that make you yearn and support the heroine. I will explore her music more, soon, but, right now, I wanted to look at a couple more themes: love and its popularity; an American songwriter in the modern world. Love, as a meme and fountain, is the most popular and predictable for songwriters. There is a reason why that is so: everyone has encountered love and a sense of passion. Whether you are a frustrated bystander – an unrequited desire that goes unfulfilled – or immersed in a burning, white-hot relationship – it is a thing we can all relate to, in some degree or other.

PHOTO CREDIT: Alexandra Thomas

Jena Rose is young and experiencing the confusions and turbulence of tender years but has – as we hear on Loved; she brings fresh hope and aperture to the subject. Jena Rose has a lot of love for her family and loved-ones; she is someone who is potently aware of all forms of love and its hierarchies – how it can nourish the soul or destroy the heart. Forthcoming single, Sweet Love, is – not the Anita Baker track – but the desire for something simple and un-destructive. Maybe she has witnessed too many fools and ill-conceived relationships. One wonders whether the song is borrowed from the remnants of her own years: maybe it is an iteration of another songwriter; something drawn from fiction, to an extent. Jena Rose, as I have discussed, is able to define her depths and words through the lead and guise of other artist. I am not sure whether her approaching single is a declaration for compassion and a true love. Maybe she is looking at her favourite songs/artists and employing a degree of personal detachment. It will be fascinating to see the song come through but, in Loved, one hears a very personal and particular story emerge. You can look at those two songs and see the word ‘love’ appear on both occasions. It can be dangerous relying on that word as a certain musical curator might discard such songs; assuming they will be asinine and commercial. Jena Rose is not somebody who recruits menial verses and easy choruses: her music rises from her heart and is as unique as one could hope to find. It is unavoidable using the word ‘love’ as the songs concern passion and relations in different forms. New material will use new terminology but, right now, there is the compunction to document what matters most to her: expressing thanks for faithful love; the burning need for a secure and simple love. I have mentioned The Beatles and, if we are returning to that well, their first few singles did not stray far from that word – Love Me Do, She Loves You and P.S. I Love You and were all early singles. Those looking for relatable and familiar themes; mixed with wise and unexpected lyrics should align themselves with the Texan-born songwriter. Hypnotic vocals and EDM elements; daring melodies and independence distinguish the young songwriters form her peers.

Loved begins with piano notes that put me in mind of two things: Joni Mitchell and a night-time adventure. I discover feint scents of Mitchell, as explored and revealed on Blue. The combination of stately definition and sensitive curiosity come out in the early piano expressions. Many songwriters might come in with a sweet and saccharine key that would seem, in their mind, to define the song and what needs to be said: love is the most powerful thing and I am in a happy place. Instead, we hear something more contemplative and questioning. There is a kiss of the moonlight that emanates from the fingers. Jena Rose takes the listener to the outside as the stars twinkle; cats creep with devilish glee whilst the aroma of jasmine lingers like a haunting refrain. One is powerless to resists the swarm of images and poetry that rips the clothing and teases its tongue down the body. A sinewy and graceful river-flow gets the song off to a flying start! The black-and-white of the piano keys is reflected in a video (optimal viewing-listening conditions involves one watching the video) that sees the heroine yearning and pondering in equal measures. It is hard to escape the huskiness and womanly prowess of the vocal. One might expect one so young to have a more twee and cutesy sound. We get something, instead, breathy and coffee-flavoured; a tone that can cause shiver and buckle the heartstrings. Our heroine ponders rainy days and crying her tears away. Previous Jena Rose songs have hinted at what is coming through in Loved. Here; the young woman watches the footage of old love flicking from the screen. The brief flings and false-start endeavours; the promising romances and near-misses all conspire and entangle in a frisson of broken glass shards and new promises – the heroine wanting to move on and not be subjected to the kind of boy who leads her astray. It seems, now, there is someone in her mind that differs from the clowns and clones. Maybe he is more grown-up and realises there is more to Jena Rose than looks and sex appeal.

She is a deep and considerate human with so many sides and fascinating personality traits. She has a vulnerability but, even though she is young, there is a burning flame inside her that flickers with maturation and sagaciousness.  She does not usually let her heart run ahead of the safe route. Like a curious child racing towards a sweet shop (better images allude me); Jena Rose is venturing into new and exciting areas. She has never been in this position where a man/boy has arrived and keeps her awake at night. The voice never sticks with a single sound and line. High-pitched notes swoon with the darker and huskier elements. It is a cacophony of emotions and variations that go into an enigmatic song that alludes to a new and precarious bond. Things are fresh and, normally, the young woman does not open her heart so fondly and readily. The caution bulb is on but, more powerful than that, the blood runs hot and the loins – in a non-salacious manner – burn and lust. Jena Rose keeps things settled and considered; never becoming too infantile and sexual with her words and mindset. When she is employing wordless vocals and teasing her voice; I hear whispers of singers like Whitney Houston. There is something soulful and unadulterated about Jena Rose’s voice. Inspired by the queens and giants of Pop and Soul; one witnesses the spectrum of colour and personality come through in her voice. The video’s hero has short/cropped hair and looks like the kind who could lead a girl astray – one assumes the song’s actual inspiration is not the actor who features in the video. In any case; one is hooked by the tongue-licking and ethereal softness of Jena Rose’s voice. Recalling the boy and how they came to be; one hears that sigh and fondness ooze and stem from the flowering and sweet vocals. Our heroine feels lonely and is fatigued pushing love away. The boy makes her feel free and liberated; easy and comfortable in her own skin.

If one assumed a structured and predictable piano-led Pop song was going to continue; they will be surprised by a new, vivacious side-step. Jena Rose’s vocals are processed, cut and vibrated as wasp-sting electronics and cracking vinyl sounds give the song a fresh and rushing buzz. Things get harder and hotter as the pretence and seduction is replaced with something to-the-bone and confident. The girl becomes a woman and steps out with red lips and painted nails. In a black dress and a smile that suggests a kiss is not out of the question – we see the rapid and uninhibited evolution from shy and questioning girl to a lioness woman who knows what she wants…and is not stopping at any red lights chasing it down. This boy has awakened something shy and reluctant in her heart. The EDM touches take the song from the boudoir and parlour of sophistication and romance to the bright-lit, neon-flickering rapaciousness appetite of love. I will not go as far to say sex overrides the mood but there is a definite castigation of the old ways. The vocal flecks and breaks up like static and strobe lighting. It is hard getting to grips with the whirlpool of voices and notes that rush into the mind and run in different directions. It is a stark contradiction to the measured and compassionate refrains we witnessed in the early moments. The lovers are “never getting older” as they embrace one another and make promises – maybe, keeping their hearts true and not straying from one another. At every avenue; Jena Rose never loses sight of herself and the way she has been treated in the past. Her present is enforced by the zombies of the past; she is not willing to close her heart to the possibility of change – her new guy seems a refreshing and fragrant king who can vanquish the horrors of dark days.

PHOTO CREDIT: Alexandra Thomas

The verses return to the more demure and tamed sound that we experienced in the opening. Even though the pace is calmer and less rampant; the heroine lets her voice swim like a fish and fly like a bird. I hear touches of modern and classic Soul greats. One witnesses someone who has a real conviction and confidence in her voice. Learning music from a young age; it is understandable hearing a singer who can project the maximum amount of wonderment and range in her voice. Backing vocals – Jena Rose sparring with herself – puts me in mind of Beyoncé and Destiny’s Child. Queen Bey and her commanding presence can be found in Jena’s Rose fuc*-with-me-and-I’ll-end-you spirit. Even though the girl is in control; there is plenty of faith and trust in the man. Before the next pistol-whip chorus; the heroine talks about pushing the boy away. She has done this for so long but one feels that was not a lack of attraction and respect. Having scars and tattoos from previous failures; she is not going to run into a relationship without knowing whether it can stand the test of time. Things seem clearer and there is a real understanding the cloud has been lifted and there are no hidden skeletons. Loved moves from Folk/Soul ease and beauty to EDM rampancy; to soulful R&B back to EDM – the chorus swaggers back in and provides more clarity and relevance than its maiden voyage. The contrast between the red dresses/black-dressed heroine – symbolising love and death, to a degree – and the young woman sitting serenely at the piano gives the song two concurrent and intermingled personalities. The Dr. Jekyll and Mr. Hyde capriciousness of love see the sexy and sweating vixen part of the same body as the mature and sensitive girl. In that case; it is a song that can appeal to the mainstream lovers and those who want to unearth a song they can dance to – Loved can fit into club rotation and score a sunny drive down an open highway. Also, for people like me, there is the intelligence, quality and songwriting brilliance one experiences in the great Soul and Folk songs. Jena Rose keeps her lyrics simple but mixes that into a melting pot where quixotic notes and spellbinding shivers lead to an incredible and memorable song.

I am looking forward to seeing Jena Rose rise and progress. I have mentioned her upcoming our announcement and a surprise platinum artist who will be joining her. She has Sweet Love next week and has an E.P. arriving soon. Lost at Sea, a piano ballad dedicated to her grandmother, is another song we can expect to see soon. With Grammy-nominated writer, Druski; she has seen those songs given an extra sheen and elevation. The beating heart and core is from Jena Rose herself. She takes control of the songs and ensures they are what SHE wants to hear. The inclusion of Druski is there to give the production and sound an extra layer of professionalism and silk. Next year will be the busiest and most important for Jena Rose. There will be the E.P. and new material; touring commitments and the chance to explore more of the U.S. I wonder whether there will be West and East Coast dates among her scheduled appearances. I can imagine Jena Rose is someone who has one eye on the Californian sun. Not in the sense she will abandon her roots and embrace something cheap and alluring – more, there is a larger market and wider community she can get involved with. Texas is a wonderful state for music and a part of the world producing great artists. I said I’d talk about songwriters in modern America – and forgot to – but Jena Rose, in a lot of ways, defines the complexities and nascent mysteries of the American songwriter. On one level, she is a pure and sweet-cheeked woman. There is caramel, sweetness and chocolate streaming from her gorgeous tongue. One gets a real allure and comfort from the tender tones of Jena Rose. Beauty and fashion are a part of her personality: there are few as striking and entrancing as her! Sexuality is not a part of her marketability: instead, a maturity and intelligence are more powerful muses and contours. There is contrast in the soul of Jena Rose. She is someone with a passionate heart and welcoming soul. Jena Rose wants love and acceptance but has encountered some rogue lovers and cheating minds.

The corpses of those experiences go into her music but, from the ashes of ruinous love, comes a songwriter keen to enter a new phase and find safety. There is something very mature and assured about Jena Rose. Maybe there is still a youthful naivety that means she will always wish for the best – when form and reality shows there are more needles in the haystack than there are bandages. Jena Rose is relatable to young fans and those who want accessible Pop and contemporary sounds. Songs like Loved have a real sense of melody and can be extrapolated by those who prefer their Pop music instant and warm. On the other side; there is real talent, artistry and intellectualism working in every fabric of the song. Jena Rose, in spite of her limited years, is someone who has confidence and an established sound. There is no denying the confidence and sense of place she has already. I would love to see her come to London as I know there is a fanbase in the U.K. There are a few venues I can suggest she comes and places. The Lexington and The Finsbury are two smaller venues that would welcome her in. Manchester’s Deaf Institute would be a good fit – the city, as a whole, is somewhere she would fall in love with. London is a big market and a place she could do very well in. Hoxton Square Bar & Kitchen has a modern and cool vibe; Union Chapel has a grandeur and beauty that could perfectly bond with Jena Rose’s wonderful music; The Bedford (Balham) is a great stage – all corners of the capital could be explored and exploited. I suggest Jena Rose go beyond London as there is money and opportunity in other cities like Leeds, Brighton; Manchester and Glasgow. If she did a bit of research, and polled the people, she would get a sense of the demographics and fan-numbers waiting for her. Whatever her U.K. plans; we might have to wait until she has finished seducing America. Loved will lead to Sweet Love: maybe the young heroine is entering a creative phase where she wants to be settled and not play the silly games of teenage love. It is thrilling watching the young woman spread her wings and open her plumage. There are few Pop artists like her and, in a music scene where there are too many familiar faces; it is rewarding and sensational seeing Jena Rose…

ADD a one-of-a-kind personality you will never forget.

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Follow Jena Rose

Official:

https://jenarosemusic.com/

Twitter:

https://twitter.com/JenaRoseMusic

Facebook:

https://www.facebook.com/JenaRoseMusic

Instagram:

https://www.instagram.com/jenarosemusic/

SoundCloud:

https://soundcloud.com/jenarosemusic

Spotify:

https://open.spotify.com/artist/05cgS2xJt75RhmFWgpgfE7

YouTube:

https://www.youtube.com/JenaRoseMusic

INTERVIEW: Akiva

INTERVIEW:

 Akiva

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WITH so much tension emerging in the…

political arenas of the U.K. and U.S.; it is only natural musicians would want their say. Akiva are based in Bedfordshire - and are one of the most intriguing and engaged bands around. I ask them about their new single, M.O.D., and the connection it has to the Ministry of Defence’s ‘Be the Best’ slogan – and how they feel about that. The guys discuss their feelings about President Trump and recruitment of military personnel; whether the world is in stable hands – and why they have been compelled to react.

They chat about their musical idols and how Akiva formed; the story behind M.O.D’s awesome animated video; what comes next for them – whether there will be more material surfacing very soon.

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

All good, thanks. Been a good week. 

Our new single, M.O.D’s been getting some good feedback - so we’re all pretty happy.

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

Yep. We’re Akiva; a four-piece Electro-Indie outfit from Bedfordshire. We’re into analogue synth. loops; drum-beats with a groove; rolling basslines; Stones-y guitar sounds and big choruses. Our sound was probably originally inspired by all that Electro-Indie crossover stuff that came out of the nineties: The Charlatans, Primal Scream; Unkle; Black Grape; Doves, Stereo MC’s etc. – and, also more recently, the likes of The Horrors, Jamie T and Beyond The Wizards Sleeve. We’re also big fans of trying to use music to get a message across - particularly in the volatile climate we currently live in. 

We were recently described as ‘George Orwell-meets-The Killers’ - which is not far off.

Tell me about M.O.D. and the inspiration behind the song?

M.O.D. was originally written when we had that massive spate of soldiers being sent back from Afghanistan in coffins and paraded through Wooten Basset. At the time, it felt like it was happening almost every other day. There was a massive amount of respect shown for them by the public - and it was pretty emotional stuff to watch on the news every night. The tragedy of it was that it felt like all of those deaths were completely avoidable and unnecessary - particularly, in light of the fact that that war doesn’t seem to have achieved anything...

Talk to me about the video and the animations employed. Was that quite tough to put together?

Yes, but we don’t get to take any of the credit for that part!

We hooked up with an animator called Wayne McCauslin to put the video together. We put an early release of the track out to a load of music video-makers and animators - and Wayne came back with a really powerful pitch that we instantly loved. He completely understood the song, the message; our taste in music and what we’re generally about. We loved some of the stuff he’d done before, too. We’d play his other videos with the sound turned down and stick our tracks over the top - and it just felt like whatever he did would fit with our music.

We spent a couple of months going back and forwards with Wayne’s ideas and our feedback - but we didn’t really ask him to change anything he came up with. He got it right from the beginning, so we just went completely with his vision. We think he did an amazing job. It’s funny: it feels like we’ve known him for ages now, although we’ve never actually met or even spoken on the phone as everything was done by email (he lives in Germany and we’re in England).

It’ll be funny when we do finally meet up (I haven’t even got any idea what his accent is…).

Does that Ministry of Defence ‘Be the Best’ slogan, juxtaposed against the funeral parades we saw in Wootton Bassett, rile and disgust you as a band?!

We have to be careful not to get too high and mighty about this. It’s easy to have a pop at politicians - and we understand you need an army and people to protect the country. What our armed forces did in World War II, for example, was incredible; brave and inspirational - and we all owe them a massive debt. However, in the last fifteen years or so, it’s all just felt so pointless. Very few people think the wars we’ve been engaged in have actually protected us against anything. Yeah, that ‘Be the Best’ slogan did rile - that’s why it’s referenced in the song.

‘Be the Best’ was a marketing slogan trying to persuade very young lads - who didn’t know what to do with their lives - to go and stand in front of bullets for no obvious reason. In the '00s, the average age of a new army recruit was nineteen. I understand that all organisations have to do a bit of advertising to get people interested. It’s one thing using that sort of emotive language to sell someone a car: quite another to ask a kid to put their life on the line, for no apparent cause.

Politics and polemics of war play heavy in your aesthetic and mindset. What is your view regarding the way Britain is changing and the divides you see around you?

Yeah, massively so... 

I remember talking to my granddad as a kid about World War II; he was in the Navy. At that time, almost everyone had a living link in their family to someone who had fought, died or been involved at some level. We all lived in a very peaceful time but the memory and awareness of just how devastating and destructive conflict could be (was) very apparent and it affected how people thought and behaved. That living link has all but gone now and as this has disappeared: it feels like that awareness of the consequences of war has evaporated as well.

People don’t take anywhere near as much care in what they say. Highly divisive and threatening rhetoric gets flung around now in such a casual manner: it’s pretty scary where it might lead.  I don’t think it’s just Britain, either – this seems to be happening everywhere at the moment.

The same goes for the U.S. Do you feel Trump is a man who needs to be stopped? Why do you think he is someone who, apparently, speaks to a lot of Americans?!

Trump is obviously a disaster-zone.

He’s a complete imbecile with a lot of power and extremely divisive opinions - which makes him very dangerous. However, I do also think he’s a symptom of a wider problem at the moment, rather than the cause. If he gets ousted, there could equally be another populist lunatic taking the reins. Growing inequality over the last few decades has played a big part in that. There are a lot of people who are stuck in a rut with no obvious way of getting out and chancers with intellectually lazy, flawed populist ideas are now starting to appeal to them. Trump is the aristocratic, son of multi-millionaire; whose vast wealth is purely a result of his huge inheritance. 

Despite this, he managed to win the votes of millions of broke, working-class Americans. He has no idea what their experience of life is like and he certainly won’t make their lives any better – yet, they still all voted for him. Something, somewhere, must have gone very wrong with our political system for that to be able to happen.

Bedfordshire is where you are all based. How did Akiva come to be and what is the inspiration behind the name?

We all went to school together. Rob and Dave are brothers and were at junior-school with Malc. I moved down from the North and met the others at secondary-school. We started out by messing around with guitar riffs and trying to learn the odd cover - that we could play to our mates in the school talent shows and stuff. In the sixth-form, we started to take it a bit more seriously and set up camp in Dave and Rob’s foam-plastered garage - much to the disappointment of their neighbours. That’s when we formed the band properly. 

We were originally called ‘Hush’ but changed our name to Akiva in 2004 - when we released our first album. Akiva is the name of a character in an old Second World War film called Kelly’s Heroes.

Your music mixes in classics, Rave suggestion and Grunge undertones – packed inside intense and to-the-point lyrics. Who were the artists you all grew up with and source as influences?

The Grunge thing comes mainly from Nirvana - who were the first band we all got into. We were very young, then. We loved Kurt Cobain, the energy and those noisy guitars - but we didn’t really identify with the whole ‘I-hate-myself-and-want-to-die’ thing. That’s why bands like Oasis, Primal Scream; The Charlatans and the Prodigy appealed to us so much more. They had the same energy and Punk spirit - but it was all so much more uplifting. The Rave scene had that energy, too. Malc used to go to a lot of raves and my brother started D.J-ing old-skool, Drum & Bass and breakbeat - so I got a lot of those influences passed down to me.

We loved the feel and sound of a lot of Rave and old Dance tunes; however, for us, guitar music was always the first love; mainly because of its powerful ability to send a message. People like James Dean Bradfield, Ian Brown and Thom Yorke were big inspirations as they always had something important to say. 

Also, and probably most significantly, it was going back and discovering The Who and The Rolling Stones that made the biggest difference for us. That late-1960s combination of swaggering, upbeat guitar tunes with powerful, politically-tinged messages in the lyrics – incredible! Sympathy for the Devil and Won’t Get Fooled Again became our blueprints for what a song should be...

It seems your music is as influenced by the cornerstones of legendary music and Question Time/BBC Radio 4 alike. Would that be a fair assessment?!

Yeah. It seems weird for a band to say they’re influenced by Radio 4 , but I think if you going to write about something, you have to do your research and you have to understand what it is you’re talking about. We read a lot and listen to and watch a lot of programmes about news, politics; economics and history - because we want to understand things. We want to know what’s going on in the world and why. Songs with personal themes (love, loss; pain, regret and aspiration) have always been those that appeal to people the most; however, for us, it’s combining the personal and the political that makes the most powerful music. It doesn’t work with the political on its own (no-one wants to hear a song about the Government’s fiscal policy!) but, when you combine love and class-conflict..you get A Design for Life. When you mix anxiety and the Vietnam War...you get Gimme Shelter.

This was very much at the back of our minds when we wrote M.O.D. - and framed what we were trying to achieve.

George Orwell is a hero for all of you. What is it about him and his writing that connects with the band?

George Orwell was a visionary and a genius. Nothing short.

1984, in particular, is a bit of Bible for us. It’s pretty mind-blowing to think that he wrote this nearly seventy years ago - yet it couldn’t be more relevant today. The stuff about Big Brother and surveillance was prescient: look at the Edward Snowden revelations. I also remember when George W. Bush first declared the ‘War on Terror’, thinking: “Who is he actually waging war on?! Terror isn’t a country or a person it’s a concept. How can you win a war against an idea?!”. George Orwell had this nailed in the 1984 plotline: the state constantly declares itself at war with unknown and intangible enemies to create fear and uncertainty in the population. This allows them to maintain control and stay in power.

This is exactly what Bush did. Despite being one of the most incompetent presidents America has ever seen; in 2004, he managed to get re-elected - largely, in part, to this everlasting ‘War on Terror’ he’d created.

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

We’ve not got many live dates in the diary over the next few months, unfortunately. We’re focusing on writing some new songs - which we’re planning to record early next year. We’re also teaming up with Wayne again. Next week, we start work on another video for our next single - which will be called Ammunition. 

You can probably guess what the themes of this one are about, too…

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

Me (Dave MacK - Vocals):  Mine would probably be Tellin' Stories by The Charlatans

I had this on-repeat permanently as a teenager and still never tire of it. It’s the combination of that Stones-y, Dylan-esque swagger; Burgess’ heady, optimistic vocal drawl and those pounding drums, basslines and piano riffs - it just makes you feel so alive! I used to feel like I could do anything when I listened to this. 

I still do, now! 

Malc (Guitar): The Stone Roses’ debut album (The Stone Roses)

It has everything I adore in music swirled into a perfect package - and twinned with the coolest original artwork, personal to the band. Grooving basslines; the funkiest breakbeat drumming; an arrogant swagger; dark, cutting and topical lyrics disguised in familiar, uplifting melodic harmonies… and then; the sparkling, absorbing guitar that binds and lifts these tracks to magical perfection. If I’m happy, I want to hear this record: in my deepest despair, I reached for this album - a night out on the town is improved by hearing a track from this album.

When I pick up my Les Paul it’s this album I think of - and I fall in love with music over and over again.

Dave Merc (Drums): I’d go for Ill Communication by the Beastie Boys 

Layered; new; aged; aggressive and blissfully chilled - all in one album. It encapsulated the confusion of my late-teens, but it had a culture about it and a resilience that helped see me through those days with focus and persistence.

Rob (Bass): David Bowie – Hunky Dory would get my vote

There’s not much I can say about this album that hasn’t already said. It’s just a masterpiece and I can’t help but be moved by it every time. Bowie was a true genius. I felt like I’d lost a close friend when he died last year.

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

Work hard, practice loads and don't expect to make any money! You really do have to do it for the love of it - now that all music is pretty much free. That's always been our biggest motivation: trying to become as good as we can at playing and writing and trying to create something we can really be proud of. 

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

We haven't made any Christmas plans yet. It gets a bit annoying seeing Christmas ads when we haven't even had Halloween yet.

There are still two months to go…

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).

(With pleasure):

Propellerheads - Bang On!

Black Grape - Reverend Black Grape

Massive Attack - Unfinished Sympathy

David Bowie - Life on Mars?

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Follow Akiva

 Official:

https://akivaweb.wordpress.com/

Facebook:

https://www.facebook.com/akivamusic

Twitter:

https://twitter.com/akivamusic

SoundCloud:

https://soundcloud.com/akivamusic

BandCamp:

https://akivamusic.bandcamp.com/

FEATURE: It’s That Time of the Year! The Hallowe’en Playlist

FEATURE:

 

It’s That Time of the Year!

 The Hallowe’en Playlist

________

WHETHER you convincingly immerse yourself…

in the costumes, fun and theatre of Hallowe’en – or take a rather laid-back and detached attitude to the celebrations – the final day of October has an effect, one way or the other. One cannot avoid the build-up and the peculiar fascination, adults and children alike, have for Hallowe’en. Few are concerned with its origins and history – I shall not bore you with it, now – but I am worried there is little of the dark arts working through music. Gothic-Rock was a style of music that emerged in the wake of the Post-Punk era of the late-1970s. Growing from the ties of English Punk-Rock; Proto-Gothic bands enjoyed great influence and importance in the late-1970s/early-1980s. Joy Division, The Cure and Siouxsie and the Banshees were early proponents and made music defined by a certain fashion, sound and identity. It is fascinating watching these artists follow from a time of great rebellion and anger.

IN THIS PHOTO: The Cure

The Punk movement, by this time, had all but trickled down to a whimper: a new sensation was beginning to take shape. If Goth-Rock did not quite dominate music, it gained a lot of followers and compelled musicians – who were a little more peculiar and 'outsider' than most – to step into the spotlight. It seems rather crude and immature assuming this style of music is ghoulish and Hallowe’en-y. The reason for bringing this subject up is to show how music and Hallowe’en relate. Sure, other genres of music have created moments of witchcraft, the spooky and dark – it is not exclusive to a particular time and place. What I find interesting is how Gothic music was less a genre and more a movement. Bands and artists helped launch a distinct literature, fashion and community. If bands such as The Cure saw their popularity wane towards the end of the 1980s; the impact they made helped influence new musicians – mutating and preserving Gothic-Rock into the 1990s (and beyond). Today, bands such as The Horrors preserve aspects of legends like Joy Division and The Cure but it seems (Gothic music) is less prevalent and popular than once was.

IN THIS PHOTO: Chelsea Wolfe

Tastes and times have changed but I feel music needs that new burst of colour and light – not as black and dark as many would assume. This year, Gary Numan and The Horrors have released terrific Gothic-Rock/Electronic albums – the former more dystopian and bleak than the latter, it must be said. Numan’s Savage (Songs from a Broken World) looks at fractured elements of the modern world – a desertified, post-apocalyptic landscape as a result of global warming. The Horrors’ latest, V, is more widescreen and varied: a less bleak and shadowy creation than their earliest work. Throw in other acts such as Chelsea Wolfe, Zola Jesus and The Tiger Lillies and there are enough musicians keeping the more haunted and intense side of music intact. It would be unfair to suggest these artists/this music are depressive and suppressive. That is unfair but it is clear they occupy a singular segment of the musical map. To me; there is a link between Hallowe’en’s history, dynamics and identity and music. Over the years, there have been some terrific songs produced by artists who channel something ghostly, spectral and twilight. To end this piece; I have collated an essential mix of Hallowe’en-ready tracks that span the decades. A rich and varied collection of songs that will provide any Hallowe’en night…

THE perfect kick and spice.

FEATURE: Anarchy, EMI and the Monarchy: Never Mind the Bollocks, Here's the Sex Pistols at Forty

FEATURE:

 

Anarchy, EMI and the Monarchy:

 Never Mind the Bollocks, Here's the Sex Pistols at Forty

________

FEW bands record a single album…

and go down in music history! There are fewer who could only release one record and remain in the memory for (over) forty years. Perhaps the Sex Pistols struck a particular vein at a perfect point in time. I will bring in a Rolling Stone article a bit later but, it seems, Never Mind the Bollocks… was the ultimate and most intense way of articulating the stresses and divisions apparent in 1977. The Punk band formed in 1975 and, despite four singles and one album, were instrumental in spearheading a new wave of Punk bands. There are those who say the group were overrated and arrived in music a little too late – albums by The Clash faring better and predating their sole album. If one looks at Never Mind the Bollocks… then you will see, years before, bigger and bolder Punk artists has already set the flame alight. The Clash released their eponymous debut in April (1977); the Ramones unleashed their eponymous debut the year before – there were already markers and leaders in the market before the Sex Pistols.

To get a bigger picture of the Sex Pistols’ only album and one has to look at the country at the time and John Lydon’s arrival in the band. In 1975, Bernard Rhodes – a good friend of Malcolm McLaren – spotted a nineteen-year-old John Lydon, a Kings Road habitué, at a gig wearing a Pink Floyd T-shirt – with the image's eyes gouged out; a message, ‘I Hate’, scrawled above the band’s name. It attracted Rhodes’ attention – he asked Lydon to meet with fellow musicians Steve Jones and Paul Cook. Unbeknownst to them; the green-haired rebel that entered their midst was going to be their leader. Lydon, at the start, improvised singing and would do some unique renditions of popular songs – to the amusement of his band-mates. His unconventional and untutored mannerisms – coupled with the fact he was seen as a bit grating and loud by the guys – meant there was a natural and instant bond. It would be two years before the band settled and recorded their landmark album.

IN THIS PHOTO: Sid Vicious in 1978/PHOTO CREDIT: Bob Gruen

At this stage – before the album was released – Glen Matlock was on bass. He was replaced by Sid Vicious (who had never played bass before joining the band) and, with McLaren managing the Sex Pistols, the legend was cemented. It was hardly a shock, given their non-conformist mind-set and anarchic disregard, they would prove unpopular with the press at the time. The Clash were, at the time, the biggest British Punk group: American had the Ramones and, at a time when there was the desire for social change and re-engineering; Sex Pistols seemed like a breath of (much-needed) fresh air. That yearning for pandemonium and moral retaliation – against the crown and state – meant the Sex Pistols were granted a free pass by the music public. If the press felt they were too uncouth and ragged to appeal to the shiny, white-teeth-polite-words requirements for the mainstream – those who preferred their artists real and original bonded with the London band. In the spring of 1977, the three senior members – excluding Sid Vicious – went to the studio to record the album. The band were not keen for Vicious to be around them at the time – fortunately, as they see it, Vicious had hepatitis. Matlock came and recorded with the guys as a session musician:

PHOTO CREDIT: Shutterstock/Richard Young

Vicious’ incompetence and behaviour meant he was barred from the studio. Jones played most of the bass parts on the record with Matlock having to audition, in a way, to play with the band – a process, many say, he felt demeaned having to do. The only element of Sid Vicious on Never Mind the Bollocks… is a pared-down, near-mute bass part recorded for Bodies. There was an appropriate amount of disarray and disorganisation when it came to recording the album. Members being switched and there was very little structure at the time. Many would say that is what one requires from a genuine Punk band: if they were methodical and well-behaved; that would take away from their ethos and music. Luckily, the band did actually make an album – what was captured remains one of the most explosive and important albums of the 1970s. Critics at the time had their opinions, for sure.

IN THIS PHOTO: Johnny Rotten

Some saw the record as too controversial for the sake of it; songs like Bodies contained profanity and, naturally, was not a favourite for radio stations – Never Mind the Bollocks… was censored because of its testicular reference. Politicians – often the go-to when it comes to music opinions and reflecting the opinions of the masses – felt the record reflected the downward turn society was taking. These bratty and explicit boys were not what Britain wanted or needed at that time. In 1977, Star Wars was breaking box office records; Elvis died; Red Rum won the Grand National for the third time – it was a weird and wonderful year. The fact our Queen was celebrating her Silver Jubilee. Around August, there were strikes against The National Front and it seemed there were contrasts in the U.K. in 1977. Even if you were not a royalist; you would have been captured in the spirit and celebration that unfolded then – a fact the Sex Pistols did not let slip.

The fact there was far-right fascism and a disenfranchised youth rallying sat with strikes, economic problems and regal celebrations meant a Punk movement of Pistols proportions was inevitable. Johnny Rotten and his crew recorded an incendiary record that verbalised an anger many felt. To commemorate the album; Johnny Rotten and Glen Matlock conducted an interview with Rolling Stone - and looked back on the record with mixed feelings:

"Bollocks was such a solid piece of work, yet when we were recording it, it felt anything but," says Johnny Rotten, looking back on the watershed 1977 LP Never Mind the Bollocks, Here's the Sex Pistols. By his account, the group was working with a producer who was "deaf in one ear and tone deaf in the other," and he and his bandmates had to cram a lot into their time in the studio”.

PHOTO CREDIT: Dennis Morris

Their annoyance with production and sound mars the fact Never Mind the Bollocks, Here’s the Sex Pistols sounds just right. If the singles/standouts – God Save the Queen and Anarchy in the U.K. among them – were highlighted by critics (and seen as the ‘hits’ among filler) then it only takes a few minutes to get stuck into the remaining tracks. Many overlook tracks like Liar and Seventeen: essential cuts that provide fuel, cohesion and story. They are an essential part of an album and songs that have their place. It was not until 20th September that the tracklist was finalised for the album. There were debates and problems along the way – the band were dropped by their label and signed with Virgin – and the record took a long time to get down. Holidays in the Sun – with Satellite as its flips-side – was the fourth single from the band and proved less successful as previous singles like Pretty Vacant. If the songs’ content and themes provoked controversy: the album’s title/cover – but was originally called God Save Sex Pistols – would see store leave blank spaces on shelves; remove copies from circulation or censor the cover. It caused a furore and did what Sex Pistols needed it to do: get people talking and cause controversy. Rolling Stone, in their recent article, assessed the magic and purpose of the record:

“Ultimately, the Sex Pistols created the defining clarion call for punk mayhem. The record was a little less than 40 minutes of seething rock & roll frustration aimed at anyone within gobbing distance, and their home country, in particular. And around the time Never Mind the Bollocks came out on October 28th, 1977, the band caused chaos as much as it inspired anarchy”.

God Save the Queen attacked the deference of the Crown and coruscated the country’s regalism; other subjects broached looked at the music industry, consumerism and apathy – violence, the Holocaust and abortion. Johnny Rotten, when speaking with the magazine, talked about songs like Bodies (“The song is about abortion, and yes, it is a woman's right [to choose] absolutely because she has to bear the child and all the issues thereinafter. Is it wise to bring an unwanted child into the world? No, I don't think it is, but again that is just my opinion, because I always would leave it to the woman”.) and Liar (“But the song isn't totally about Malcolm. I think we always knew that about him, and in an odd way, it was one of his most adorable features. Do you know when you really know someone, you kind of accept those kinds of things because you take everything with a pinch of salt?”).

Glen Matlock talked about Anarchy in the U.K. (“Around the summertime, we were rehearsing and once again I said, "Does anybody got any ideas?" And I had a go at Steve, 'cause I felt I was pushing the band along a bit, but that time he had something, which wasn't much. And he said, "Why don't you come up with something?" And I had half an idea for a big overture, and I just started playing that descending chord progression and everybody picked up on it and said, "Where's it go next?") and Pretty Vacant (“Malcolm McLaren had been going back and forth to the States to be involved in the rag trade and buy old Fifties clothes because he had a Teddy Boy shop, and I knew he ran into Sylvain Sylvain from the New York Dolls and went backstage. Malcolm came back with fliers for the shows and he brought back set lists, but none of these bands had made records at that stage. One said "Blank Generation," and that got me thinking about how there was nothing going on in London, and there was a real air of despondency and desperation, so I came out with the idea of "Pretty Vacant.”).

IN THIS PHOTO: Glen Matlock (2017)/PHOTO CREDIT: David Mallows

It is clear the biggest songs struck a chord with Rotten (Lydon) and Matlock. They have a fond spot for Seventeen, New York and Sub-Mission but their ‘anthems’ are the songs that have endured and resonated hardest. It is fascinating seeing two Sex Pistols dissecting and discussing their music forty years down the line. It is clear, regardless of whether you see the album as underrated or too pumped, Never Mind the Bollocks, Here’s the Sex Pistols remains a wonderful work. It is as synonymous with its background and changes as it was the music itself. By January 1978 – when the band completed a chaotic tour of the U.S. – Johnny Rotten announced the band’s split. There was no chance or time to release another album: that was the end of the Sex Pistols! The remaining members of the band have embarked on reunion tours – Sid Vicious died of a heroin overdose in 1979 – but it was merely a chance to rekindle some of the magic they created in 1977. Nothing or nobody can diminish the effect the Sex Pistols’ only album had on music. Maybe it caused conflict – among the government, record labels and distributors – at the time but it compelled and ignited the public.

It was unlike anything else out there and a true reflection of the simmering dismay in the 1970s. Times are tough now - so it seems an album like Never Mind the Bollocks, Here’s the Sex Pistols has a relevance and purpose. Noel Gallagher claims it is his favourite album; Kurt Cobain listed it among his favourite albums, too – it has made a huge impact on generations of musicians. One need only look at the current musical landscape and realise Sex Pistols are encoded in the D.N.A. of our rawest and most primal acts. From IDLES and Sleaford Mods through to Honeyblood and Drenge: bands who all, consciously or not, have taken something from Never Mind the Bollocks, Here’s the Sex Pistols.

I feel today, more than 1977, we need another band to spark the same kind of passion the Sex Pistols did then. If 1997 was defined by Radiohead’s OK Computer; 1967 by The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band (The Joshua Tree in 1987, perhaps?!) then 1977 belonged to Sex Pistols. Against strong competition from fellow Punk luminaries, The Clash; a ramshackle group of guys came together to make something sensational. They may, on the surface, have seemed unprofessional and unfocused but the Sex Pistols were tremendous musicians and vital voice of their generation. Never Mind the Bollocks, Here’s the Sex Pistols has its detractors but, look at the musicians it has compelled, and one cannot ignore its importance. At a time where we are as fragmented and troubled as then (back in 1977), the relevance and wisdom of the Sex Pistols’ majestic album is…

PHOTO CREDIT: Dennis Morris

AT its absolute peak!

TRACK REVIEW: Michael Jablonka - Peacefully

TRACK REVIEW:

 

Michael Jablonka

Peacefully

9.3/10

 Peacefully is available via:

https://soundcloud.com/jablonka-music/peacefully-2/s-pmUw3

GENRE:

Rock

ORIGIN:

London, U.K.

RELEASE DATE:

 15th September, 2017

___________

THE next couple of days will be spent…

reviewing some interesting artists and talking about an array of subjects. That might sound vague but, among it all, there are things to get excited about. Michael Jablonka is under my radar and someone I am keen to assess. I interviewed him last year – when he was promoting his previous single – and was fascinated by his story and talent. I will talk about his new song, Peacefully, very soon but, right now, a few relevant points. This week, when reviewing Baxter Dury’s album, Prince of Tears, I was blown away by his incredible lyrics and voice. There are some innovators in music but there are (relatively) few that stay in the imagination that long, With Dury, when listening to the songs on the album, it was amazing seeing all the scenes and images painted – an amazing musician who makes you smile, think and emote without much effort. Before I move on, I want to talk about, among other things, guitar wizardry and backing big stars on the road. Jablonka is an exceptional guitarist who has been compared with the likes of Jimi Hendrix. Most of my reviews revolve around solo artists and bands that are not renowned for their guitar skills. In the case of Jablonka; his guitar work has been compared to the greats for good reason. What impresses me is the fact he is able to provoke comparisons to the big names but retain his own style. I have been pining for a great guitarist; someone I can get my teeth into and stick with. Most of the solo artists I encounter have the guitar as part of their music – it is not a big dynamic and mantra. For Jablonka, it is an integral part of his sound and one of the main reasons he is so adored. One imagines he would have trained and studied for years to sound that good. I have tried learning the guitar myself but have struggled to stick with it. Many are taught to sound like others: it can be hard crafting a unique technique and personality when being guided by rigid instructors.

I am interested in the instrument but am not sure I will ever find the patience and talent to master it. That is a shame because I feel, if one can get a command of the guitar, it can open up a whole new world. One has the opportunity to join a band or start a solo career with horizons and chances. Jablonka is able to perform in a soothing manner but has incredible electricity and fire in his blood. I am always stunned witnessing great guitarists express themselves through their instrument. It becomes an extension of who they are and a part of their soul. That might sound a little pretentious but guitarists do not take up the instrument and have a casual relationship with it – that is true of any musician, I guess. Jablonka has been playing for a long time but has really stepped up his game the past few years. So few solo artists are synonymous with the guitar. Emphasis is put on the voice and lyrics: how many of us remember someone because of their guitar skills?! It is becoming so rare and, because of that, a man like Michael Jablonka is deserving of a bigger audience. Apart from, maybe Jack White, there are few that get into the brain because of their guitar chops – a slight exaggeration, perhaps, but he is someone that stands above the herd. I will move on but would urge anyone with even a passing interest in the guitar to check out Michael Jablonka. He is someone who will have a long career – it is wonderful watching the young man blossom and bringing so much from the guitar. Maybe I obsess too much over a single element but it is an integral aspect of who he is. The fact Jablonka’s music is so nuanced, trained and stunning is, to a degree, the fact he has supported a fellow Michael on the road…

Jablonka has shared the stage with Mercury Prize-nominated songwriter, Michael Kiwanuka. I am a massive fan of Kiwanuka and count his album, Love & Hate, among my favourite of the past few years. It is an amazing record and, whilst not as defined by guitar as Jablonka’s work, it is a rapturous and stunning work from a special human. On it; Kiwanuka addresses faith and his place in the world; racial imbalance and the state of the modern world – the struggles we all face and the ways we can overcome. It is not a shock that record gained a prestigious nod. Taking his music on the road and one would have witnessed a stunning artist who has come on a long way. Kiwanuka’s leap from his first album, Home Again, to Love & Hate was immense. The former was a personal and traditional Soul record that showcased an amazing voice but, in terms of lyrics and compositions, was a little honed and limited. Love & Hate expanded and broke new ground. The themes widened to the outside world and deeply political realms; the music more adventurous and multi-genre – the vocals employed new shades and power. Jablonka would have learnt a lot from Kiwanuka but, the fact he was given that honour, shows what a talent he is. Michael Jablonka has gone a long way in a short time but that time on the road would have given him a good insight into the music industry. Not only has he had a first-hand look at the day-to-night cycle of touring: the demands of the road and buzz of the crowd will be in his ears and eyes. That has fuelled his desires and made him strive and work harder. One of the reasons that experience has been notable is how he has assimilated new strands into his music. Mantra is Jablonka’s previous single and one that showed a lot of wisdom, energy and vivaciousness. Now, on Peacefully, he seems to have incorporated new inspiration into the work.

What interests me about the Jablonka-Kiwanuka connection is how much the former has been impacted by the latter. It seems like a natural bond so I wonder, down the line, whether the two will conspire in the coming months. I hear bits of Kiwanuka’s voice and songwriting on Peacefully. It is a song that has commercial appeal but is a lot more striking and bold than your average fare. In fact; few artists have created a song as particular and immediate as Jablonka. I feel the time on the road – and the time has hanged with Kiwanuka – has made a big difference in terms of confidence and enlightenment. The music, now, appears more confident and natural; the lyrics and vocals jump off the page and into the heart; the overall effect is incredible. It seems Jablonka dedicates every waking hour to his craft and music. That sort of commitment is impressive to see. I know a lot of musicians put in that much graft but, to the London-based musician, it seems more like a calling. There are so many out there who want to chase fame and commercial benefit. For Jablonka; I sense a man who wants to bring something revolutionary and new to the music world. He is not content performing staple and samey songs to people who will not take anything away from it. The fact he was selected as the go-to stringsman of Michael Kiwanuka speaks volumes – a man at the top of his game would not recruit a young guitarist if he was not up to the job! That faith has been repaid with incredible live performances and loyalty. The two Michaels would have learned a lot from each other but it is the chance Jablonka was given that will motivate him to make more music and keep aiming high.

Talk about commitment and passion and there are few who compared with Michael Jablonka. This is something I wanted to look at in more detail. I have alluded to the fact there are some who go into music for the wrong reasons. For Jablonka; few can doubt his willingness to give his all to music. Whether you see it as a calling or something he was meant to do – he spends all his waking time thinking about music. That comes through in his sounds. One knows how much effort he puts in; always pushing his skills to the limit. If one concentrates their existence to a field then it is going to have negative and positive effects. Jablonka is someone who obsesses over his music and will want to push it to the very ends. He wants success and to get as far in the industry as he possiblly can. That sort of passion cannot be faulted but I wonder whether he is exhausting himself and pushing himself too much. That might seem like a paternal attitude but, as I shall explain in a piece tomorrow, are modern musicians risking burnout by writing and performing too much?! Maybe the industry is putting too much pressure on the shoulders of the new musician and wanting them to give too much, too – that, in turn, is leading to physical and emotional cracks. Jablonka is attacking music on his own terms but knows what it takes to be remembered and make a dent. He will spend his free time battling and forging new material; touring as much as he can and thinking about new avenues. Maybe there is a risk he will stress himself but I feel there are more positives in the case of Jablonka. He is not a man who seems likely to explode or feel the rapture of commercialism. For him, music is more about doing things in his own way and putting out the sounds that feel right and pure. That is one of the reasons there has been quite a gap between his debut and follow-up single.

What stuns the listener is the fact it all sounds so effortless and easy. There are no thrills and the desire to bring too many other bodies to the party. It is Jablonka and a few others in the song; a track that is defined by his guitar and spectacular talent. I know there are others who have a singular songcraft but few that make such a noise as Michael Jablonka. I guess that time with Kiwanuka would have helped but one looks at the embers of Hendrix and knows that has made a bigger impression. The all-time-great guitarist is someone who you do not hear a lot of in modern music. If there is a big guitar player then one picks out other influences – maybe your Jack White types and Led Zeppelin’s Jimmy Page. Maybe it is daunting measuring up to a guitarist who many consider to be the finest there has ever been. Jablonka is not quite up to the mark of Hendrix, yet, but one feels he has the potential to get there. Everything he has taken on-board – the touring and experience; the passion he has for what he does – have all helped mould a wondrous musician. I will move onto the song in question but, before then, a couple more points. There are few that expend as much energy into their music so it is understandable Jablonka would pace things and not rush too heavily. Mantra was a song that gained a lot of esteem and headway but hinted at new promise and bigger things. Peacefully is a move forward and an evolution from Jablonka. His latest song explodes with crunching riffs, fireworks and scintillating drama. I have mentioned the likes of Jack White but one gets hints of Matt Bellamy and Jimi Hendrix. That improvement is something I wanted to look into and examine in forensic detail.

Perhaps it is the reception Mantra gained that has pushed him on and made him a finer and more nuanced musician. Mantra is brilliant but Peacefully is a song that hits harder and lasts longer. Jablonka will support The Strypes – or is at the moment – and is learning new things from another act. He is still in touch with Michael Kiwanuka but, with The Strypes, he is gigging with a band that differs greatly. That will give Jablonka a chance to get his new music to different crowds – that will get new fans in and give him new drive and purpose. I feel gigs are the reason Jablonka is stepping up and making his music as explosive as possible. If the ghost of Jimi Hendrix can be heard in his guitar-work; I still hear bits of Kiwanuka in the voice and lyrics. I will leave things there but I am stunned by the step Jablonka has made between his previous single and the one now. The London-born artist has gigged with The Strypes but he will play Map Café (NW5) on 25th November. He is keeping busy and ensuring his music reaches as many of the capital’s faces as is possible. All of this will propel and infuse the spirit and body of Michael Jablonka. I am pumped to discover where the youngster can go and what is next for him. I feel London plays a pivotal role in who he is and what he plays. Jablonka is keen to stand aside from supporting and other musicians and establish his own music career. He is in the right city to achieve all he sets out to do. In terms of venues; he has the finest and biggest right on his doorstep. This time of year, many will want to evade the cold and darker nights and go see live music.

Jablonka will have a platform on which to strike and campaign. I am determined to see his music go as far as it possibly can. By doing gigs around London, he will gain local pride and press and be able to move on from there. It is easy getting caught in the London rut but is that such a bad thing?! Jablonka was born here and, so, has a natural affinity for its people. I feel there is a bigger world out there that deserves his music. Jablonka will want to get some attention in the city but, when he has broken ground and made his voice heard, there is an opportunity to take the music further. The U.K. has so many great areas for the new artist to explore. Whether he has the fanbase and finance to get up and down the nation, I am not so sure. Regardless of that; everyone will want to fall for the extraordinary guitar chops of Jablonka. There are so few like him and, because of that, the waves will spread and the good vibes come his way. I will look at Peacefully soon but it seems, in regards this track, it speaks about detaching and finding some space. Everyone gets caught in the stress and rush of life – even Jablonka – and that need to get away and find solace emanates from the song. The track investigates the hustle of everyday life and the storm we can all get mixed up in. Whether there was a romantic bent to the background – or a modern influence – it is hard to say. It is a song that will resonate with many and can be taken to heart. We have all be in the same situation as the hero and can relate to what he is going through. Even if his guitar work is intangible to mere mortals: Jablonka balances that with down-to-earth lyrics and familiar paens.

The opening riff is a juggernaut that breaks through the walls and throws grenades into the landscape. It is an industrial rampage that destroys all in its wake and breaks all the surroundings. It is an acidic and delirious swirl that makes you stand up and gets involved. The hero comes to the microphone and talks about light and seeing the sight – perhaps, it is about love and trying to detach from a bad bond. Perhaps there is a sense of being caught in a mass of confusion and needing time to get away from the rush and demands of everyday life. Jablonka’s voice is echoed and heightened; it is bold and volumised so that the words stand firm and shout their meaning. Right from the off, one is primed for something epic and intent. The door is being opened and it seems like our man needs release and meaning. Some of the words get lost in the throng of the guitar but it is easy to detect the desire that trips from the tongue. The chorus brings in other vocal strands – and is lighter and more harmonic – and seems to bring a Pop edge into the Rock core. Strings trip and weave; they stutter and throw themselves around. Jablonka is not someone who writes generic riffs and ordinary parables. His notes have so much expression and personality to them. What I found, as the song expanded, was the different layers and colours Jablonka employs. He is a man who has crafted this tune and spent hours ensuring the music distinguishes itself from all others. It is a magnificent composition that has so many wings, bodies and minds – a diverse and compelling song that hits all parts of the body. There are salty tears and a weight that burdens his pockets. Maybe Jablonka is talking of a compatriot who has that desire to find some safer space and calm.

I feel there is more of the personal that runs through Peacefully. It is a track that seems to come straight from the heart – winning you with its openness and bravery. One of the biggest draws is the vocal, which has a real sense of the unique. One cannot compare it to others and gets a lot of emotions and contours from the delivery. It is a shame some of the words do get lost – the production, heavy composition and pronunciation mean it is a fragmented lyrical experience. One gleams as much as they can from context – so it is not too detrimental some words get buried in the background. What you do sense is that the hero has witnessesed a lot of chaos and has to take a lot on board. Maybe it is love that has weighed him but I feel it is the daily routine that is getting a bit too heavy. He is making a decision to deal with the problem and not let things burden him. The percussion rumble and tumbles – it is warped, drugged and bold at the same time – whilst the bass cuts through and offers guidance and cohesiveness. Jablonka is in the centre of the picture and looking for direction. It is easy to empathise with the hero as he seems to be in the same position as many of us. That need to open the door and take a step seems to define the song. The chorus is that naturally effusive and rousing thing that tries to get the listener to look at their own life – if there are strains and problems; take action and make some time for yourself. It is so easy getting caught up in the song and the energy it projects. The spiked and angular slams sit with masculine percussion and a dizzying array of sounds. Peacefully is an ironic title for a song that never relents its grip.

What staggers me about Jablonka is the way he manages to sound relatable but gives us a song that seems to connect. We can connect with the words being spoken and the emotions that bubble inside him. There are shades of Muse and Jack White alongside the Hendrix nods; a bit of Queens of the Stone Age and some Royal Blood. It is quite simple comparing a musician to others without thinking too hard and putting much thought into it. Rather than lump Jablonka with others; one listens to the way he plays and the whole of his artistry – there, you will discover a musician who covers his own ground and is his own man. Peacefully is a different song to Mantra and shows there is no sense of the predictable with the London musician. I wonder where he will go from here and what the future holds. If new music is anything like his current jam; there will be many new listeners coming through with eagerness. I am a fan of Michael Jablonka and know he will go very far in the music world. He is a writer that has such a way with words – even though some do pass you by – and marries that with some of the best guitar playing you will hear. Long may his pioneering, electioneering music continue. Here is someone with a clear future and the determination to see it through. Few musicians have the same work ethic as Jablonka. Against lyrics that speak of poor mental-health and being overwhelmed; he is offering solace and positive reaction. This is a crucial thing to put into modern music – many will find heart and support listening to a song like Peacefully.

I have mentioned a gig Michael Jablonka has later in the year but it seems 2018 is going to be a big one. I wonder whether an E.P. will be out in the year and what form that will take. There are so few Rock gods circulating at the moment: there is a definite need to embrace a new hero/heroine that can get the blood racing. I am hearing some great female bands where there are some gravelled guitars and explosive songs. In terms of the male solo artists; not too many who put you in mind of the stalwarts and icons of past days. Perhaps there will be big gigs next year but I feel Jablonka will want to do some more local dates and get his new music to fresh realms. Peacefully is a sign of where he is heading and what he has it his disposal. I would love to see more music come from him – whether there is an E.P. or album. I have a connection with him and the effort he puts into his music. There are few that have the love of music he does - that all comes through in his latest track. It is a fiery and immense song that grabs you with its physicality and sexuality; the lyrics have a common head and can be taken in by everyone. Many musicians write songs that seem too personal and relate to a very particular love story. Jablonka is someone who wants to speak to the larger populous with his words. Let’s hope he continues and records as much as he can. How many of you can say they have discovered someone like Michael Jablonka and what he does?! I have not heard anyone like him and, for that reason, feel he deserves a large audience. His fans are growing and the word is getting out there.

Every great musician has a place in the industry but now, more than ever, there is a need for someone like Jablonka. I find all the guitar-based music out there is quite predictable. There are certain bands that create music primed for arenas and show little imagination and technique. So long as they have meaty hooks and big choruses then it does not matter what else they do. This can get very boring and I am reluctant proffering this type of Rock. Jablonka is a different beast: someone who puts real attention and detail into his music. There is ample push and heave but intelligence and compassion come through. Peacefully is a fantastic and mesmeric track from a man who has the legs to last for many more years. He is never beholden to the charts and producing music that will get people jumping onto Spotify. It is for the true music-lovers who want their artists original and fresh. Few have the same guitar talent as him; the words that stay in the mind and make you think – a performance that stands out and makes you feel like you have discovered a star-in-the-making. Peacefully is a stunning offering from the Londoner that stuns the senses and gets the body moving. I have not heard someone as intense and stirring as Michael Jablonka. This year has been a big one for him but 2018 is going to see him transcend from the underground to the mainstream. It may take a few months but I feel, when he releases new music, he will find himself on the interview circuit. His music is not a secret but it is getting to more people by the month. The guitar genius is someone who gives something wonderful to music. His songs are those that can be appreciated by audiences in a huge arena or a smaller café. He is an artist who has come a long way and has seen his dedication and passion rewarded. Respect to Jablonka and everything he is doing. If you are foreign to Peacefully – and all that has come before – then do yourself a favour and…

SEE what all the fuss is about.

_______

Follow Michael Jablonka

Twitter:

https://twitter.com/jablonka01

Facebook:

https://www.facebook.com/michaeljablonkaofficial/

Spotify:

https://open.spotify.com/artist/1IzziurNysvd1Rn66CKZMl

Instagram:

https://www.instagram.com/michael_jablonka/

SoundCloud:

https://soundcloud.com/jablonka-music

INTERVIEW: The Americans

INTERVIEW:

PHOTO CREDIT: Concepción Studios 

The Americans

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FEW bands would be harder to locate on Google…

PHOTO CREDIT: Mike Garnell

than The Americans. Combine it with most search-terms and you'd come up with a mass of irrelevant results! I ask the guys about the name and where it derives from; how they all got together in the start; the music/sounds that mould who they are - and whether there are any Christmas plans formed.

The boys talk about their new album, I'll Be Yours, and the themes that inspire it; their favourite tracks from the record - and why they are compelled by the old Rock and Roll masters such as Chuck Berry.

________

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

Patrick: So kind of you to ask…

Zac: It's been a good week. The Dodgers are going to the World Series. We've got a record coming out in a couple weeks.

Jake: As Zac said - and it’s my birthday on Oct. 21st.

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

Patrick: I sing and play the guitar.

Zac: I play guitar and banjo.

Jake: I play the upright and electric bass. I also repair the pump organs.

Your band-name must be the least-Google-friendly ever! What is the relevance of the name and do you worry it might put some off?!

Zac: We got the idea from a collection of photographs called The Americans by a photographer named Robert Frank. Our first drummer, Cody Edison, was a photographer who introduced us to his work. These days, he is a full-time photographer - and took the photo on the cover of our upcoming record, I'll Be Yours.

Right now, being American in general, might put some people off - regardless of our band-name. I think that having the opportunity to travel around the world representing a side of America that embraces all the culture we have in this country, and our great music, is a privilege.

Jake: America is grander than its current state. From my view, we have the name after the Robert Frank photography series - because he showed a complex America both beautiful and ugly; rich and poor.

PHOTO CREDIT: Sari Thayer

Is it true you all got together through a shared love of busking?

Patrick: That's true: I started busking in high-school.

Zac: I have often thought of busking as more of a necessity than something I love. We all used to busk - but I think our connection was more in the music we were playing than busking itself.

Jake: Patrick and I used to busk in San Francisco over on Broadway and Kearny. I remember strippers coming out and giving us some of their one-dollar bills. We made friends with the homeless community in North Beach and even did a recording project with several of the local homeless musicians. One of the guys, Deforrest Wiggins, claims he used the C.D. we made to get himself off the street.

But, truth be told, it was just his desire to get off of it.

I’ll Be Yours is your forthcoming album. Can you tell us about the themes and ideas you explore in it?

Patrick: Devotion and solitude.

Is there a song from the album you all hold dear?

Gone at Last

Zac: I really like Long Way from Home

Jake: I was really happy with the way I’ll Be Yours came out

Your sound is Roots with Rock and Roll thrown in. It seems to hark back to pre-War Country and legends like Chuck Berry. What is it about the time period that appeals to you?

Patrick: I don't know if you could put your finger on it exactly. It was a renaissance that began soon after the invention of recorded music - and lasted over half-a-century. The phonograph record gave voices to all different musical cultures, styles and textures that had spent an eternity sequestered. Then they all started combining...

PHOTO CREDIT: Broadway Photography

It's an event that could only happen once.

Zac: I don't think there is a lot about that time period that appeals to me. I think, for most people, things were as hard then as they are now, if not harder. I guess, in general, music was better. We've all argued a lot about different ideas for why that could be. I think musicians probably just use to devote more time and effort into making music. Most musicians drew on solid traditions from the past a lot more - instead of making originality a top priority.

That being said, I think we all love Hip-Hop - which is always trying to be really progressive.

Jake: As Zac was saying, living now is quantifiably better in so many regards - it seems strange to seem sentimental. With that said, I’d say the things that appeal to me about another era would be to really ask what I like about how another era handled the human condition. People have always wanted to dance and I like the way the 1950s embraced the rumba rhythm for much of its music.

People have always had a black market and I like the bravado that came out of the '20s bootlegging and gambling songs. When there was a high mortality amongst women and children, they wrote murder ballads and used the ballad as a form of information.

PHOTO CREDIT: Brendan Pattengale

It seems like you are trying to create something new. Do you think music lacks invention, in a way?!

Patrick: No. I think all creative work necessarily involves invention. It's less like creation and more like discovery: if you discover a lode of silver that someone is already mining, you didn't discover anything.

Jake: No. I wouldn’t say that. I would never say that. I would say that musical innovation is an American trait that we hold dearly.

Zac: I would like to see more people focus on making good music, instead of trying to invent things. Invention happens naturally when people pursue whatever moves them in music as diligently as possible.

The Right Stuff is the current single from the album. What is the song all about?

Patrick: It's about failure and coming to terms with it. Creative work also necessitates failure; even becoming comfortable with it.

Los Angeles is your base. How hospitable is the city when it comes to accommodating your love of older music?

Basically, everyone I know, besides my parents, who like music that I like I met down here.

Jake: There’s a thriving scene for old American music in Los Angeles.  

Zac: There is a long history of really good music in this city. There is a train station in East L.A. called Mariachi Plaza - where Norteño musicians hang out all day and night, waiting to be picked up for parties.

A lot of the songs they play are over a-hundred-years-old.

IN THIS PHOTO: Christian Lee Hutson

Who are the new artists you recommend we check out?

Patrick: Christian Lee Hutson.

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

Time Out of Mine - Bob Dylan

Zac:  I'll Be Yours (comes out Nov. 3rd)

Jake: The Anthology of American Folk Music compiled by Harry Smith

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

Patrick: If you can develop a couple of sets' worth of songs – covers, if you have to - some bars will pay you a decent wage; no matter how small or new you are. Book some of those along with a tour - and you'll actually make money.

Jake: Coming through what?! Puberty?!

Zac: I'm not sure if I feel qualified to give anyone advice on that matter.

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

Patrick: I'll be up in San Francisco with my folks. My brother and sister and nieces and nephews always come over Christmas morning.

Jake: We’ll be writing new material.

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).

Patrick: 'Cross the Green Mountain - Bob Dylan

Jake: The Creole Love Call - Rahsaan Roland Kirk

Zac: Ma Blonde Est Partie - Breaux Freres

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Follow The Americans

PHOTO CREDIT: Concepción Studios 

Official:

http://www.theamericansmusic.com/

Facebook:

https://www.facebook.com/theamericansmusic

Twitter:

https://twitter.com/americansmusic

SoundCloud:

https://soundcloud.com/theamericansmusic

Instagram:

https://www.instagram.com/theamericansmusic/

YouTube:

https://www.youtube.com/theamericansmusic

INTERVIEW: St. Bishop

INTERVIEW:

PHOTO CREDIT: Samuel Foxton

 St. Bishop

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HIS family know him as Stephen Bishop but, to us…

ARTWORK CREDIT: Ethan Hart

he is known as St. Bishop. I ask the Irish songwriter about his current song, Porcelain, and why it has such emotional resonance; how he started out in music - and whether coming out to his family was a tough experience. St. Bishop talks about his style and music and the artists that have been instrumental; what the music scene is like where he is - and whether there will be more material in the future.

________

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

Thanks for asking. I’m good.

It’s been a pretty busy week doing the last bit of prep. for the single release - but it’s been good. I have been living in Dublin full-time for over four years now and rarely get to go home to Monaghan to my parents’ house - but this week, I had a few days off and went back home and spent time with my family; so that was really nice.

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

Yeah, so, I’m St. Bishop. I am an Alt-R&B artist based in Dublin. I have spent the last year-and-a-half writing, recording and developing my sound with producer Sean Behan from A Place Called Kai.

Talk to me about the name, ‘St. Bishop’. Is there a story behind that?

When I first started gigging my own material, I used the name 'BISHOP’ (which is my surname). I started working with a band when I was in my second year of college. But, after a few months, we parted ways and then I began working with Sean Behan - and joined his independent label A Place Called Kai. I then changed the name to St. Bishop.

There is not much of story to the name except that it’s my own name - just without a few of the letters – and, also, 'St. Bishop' makes me sound way cooler than just 'Stephen Bishop'.

ARTWORK CREDIT: Ethan Hart

I am interested in the new single, Porcelain. Is there an inspiration that led to its creation?

I wrote Porcelain, not long after coming out to my family and friends. For me, it’s the boldest statement I could make about my sexuality. Its lyrical content and emotion is inspired by my struggle with self-acceptance issues. I found the shift from adolescence to adult life quite difficult; so, I guess calling myself 'porcelain white’ is a reference to my youth and innocence - which can’t last forever and is tainted in the chorus with the unreserved expression of my sexual desire.

It was the marriage of these two ideas that created this song.

How instrumental has your coming-out been to your songwriting and writing the material you do at the moment? Was it an emotional time – revealing your homosexuality to your family?

For me, songwriting is an incredibly therapeutic process: there is nothing better than down at the piano and pouring out all of the mess that’s inside your head; it not only helps my own mental health but also has the potential to help others when they hear the song. That’s pretty cool, if you ask me. Before I came out, I tended to not write songs that were about my own life: I would shy away from being honest in my songwriting as I knew I wasn’t being honest with myself.

Like, before I came out, I would write songs where the counterpart was female - knowing fine well that I was gay.  After coming out, I was more comfortable with myself and began to write about personal experiences. This enabled me to come to terms with a lot of self-acceptance issues I’ve had.

Coming out to my family was a really lovely experience. I was really nervous but it was actually great. I’m incredibly lucky as I have such a loving and caring family. Everyone was just really happy for me. When I look back I don’t know why I didn’t do it sooner but, then, I guess I just wasn’t ready to do it when I was younger.

PHOTO CREDIT: Samul Foxton

It seems you have taken a positive approach to your sexuality – celebrating it rather than shying away. Do you feel, in society and music, there is still a lack of compassion and understanding?

For the majority of my life, I have shied away from my sexuality but, since coming out, I have just embraced it. To me, it’s only one part of my life and is just a fact about me. The same way I have brown hair or have blue eyes – it’s just thing that makes me who I am. I feel that a large part of society embrace individuality and are really open-minded when it comes to sexuality. Obviously, there are those who don’t - but I try to not focus on that. It was the passing of the marriage equality referendum in Ireland that made me realise how many people don’t actually care - and just want people to be happy and live their own lives.

So, that’s pretty awesome.

PHOTO CREDIT: Samuel Foxton

Are you inspired by modern R&B/Electro artists? What artists can we find on your playlist right now?

Yes. I am incredibly inspired by R&B/Electronic artists. It’s my favourite kind of music to listen to, which is good, because it’s the kind of music I write. Currently, I have been listening to a lot of Will Heard, NAO and Daniel Caesar. I also have been listening to a lot of Irish artists such as Jafaris, Wyvern Lingo; LAOISE and Rosie Carney (to name a few).

Did you grow up in a musical household? How early did music come into your life?

My first memory of music coming into my life was when I was about nine or ten when I sang a solo in a school play. I have one brother and one sister who both are very musical. Growing up we all sang and were involved with music, especially in secondary-school. They are both incredible singers and musicians.

Mam and Dad claim responsibility for our musical talents but I’m not sure where they came from to be honest - as neither of my parents are musicians. Having said this, music was always playing in my house when growing up. My parents both have great taste in music.

Leonard Cohen, Tracey Chapman and Norah Jones were the soundtracks to most car journeys as a child.
 

PHOTO CREDIT: Samul Foxton

Being based in Ireland; how much exposure to great venues and local artists do you have? Do you get the opportunity to bring your material to a variety of audiences?

The Irish music scene is thriving at the moment. It’s incredibly inspiring. I debuted at Electric Picnic this year, which was deadly. It was so cool to see my name on the same bill as so many awesome Irish artists. I have only begun gigging but I am so excited to take my music to different parts of the country/world and share it a variety of audiences.

Can we expect an E.P. at any point? What are you working on right now?

Yeah, so, as I said; I have worked with Sean for about a year-and-a-half and, in that time, we have recorded a good few songs, I have plans for future releases but am unsure if I will release them as a collection of songs or just as singles. I guess time will tell.

But, for now, my first single is finally out and I am really excited to share more songs/stories with people.

IN THIS PHOTO: Farah Ellie/PHOTO CREDIT: Tara Thomas Photography

Who are the new artists you recommend we check out?

From studying in BIMM, you’re exposed to so much music and become friends with so many artists. My current favourites are:

Rosie Carney, Ailbhe Reddy; Maria Kelly, LAOISE and Farah Elle (ladies; y’all are killing it).

IN THIS PHOTO: Ailbhe Reddy/PHOTO CREDIT: @keithoreillly

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

That’s a tough one but I’d say NAO – For All We Know; Adele – 21 and Gregory Porter – Liquid Spirit

When I find an album I like, I tend to listen to it every day for weeks/months on end. I honestly couldn’t tell you how many times I’ve played these records. Each of these artists has massively influenced my songwriting/vocals.

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

I think the most important thing is to just work really hard. Don’t do things by halves: take risks and believe in yourself. It’s a scary career path but, if it’s something you want to do, just do it and don’t be apologetic.

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

I’m playing some really nice shows this year. I have two stripped back gigs coming up: Sin É – 25th October and Crow Club 9th November. I have started planning a really special gig in the New Year - and I am so excited for it.

It’s gonna be sweet.

PHOTO CREDIT: Samul Foxton

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

I have no definite plans for Christmas, except spending time with family and friends and eating loads of food. That’s what Christmas is all about. I will also be working over Christmas and prepping for 2018.

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

Put Your Records On – Corinne Bailey Rae (it’s an absolute tune)

_________

Follow St. Bishop

PHOTO CREDIT: Samuel Foxton

Facebook:

https://www.facebook.com/iamstbishop/

Twitter:

https://twitter.com/iamstbishop

SoundCloud:

https://soundcloud.com/iamstbishop

Instagram:

http://www.pictame.com/user/iamstbishop/4434097155

INTERVIEW: We Are Wolves

INTERVIEW:

 We Are Wolves

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I won't even mention the fact We Are Wolves...

are from Canada - as a lot of my current time is being taken up by artists from that part of the world! The guys recommend some great Canadain acts to watch; why each member is an integral part of the machine - and how they channel the darkness of David Lynch with the Disco funkiness of the Bee Gees!

The guys talk about their new song, I Don't Mind, and how its (dramatic and filmic) video came together; what comes next for them; what tour dates are coming up - and how they will be spending this Christmas...

________

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

Great week! We’ve been working on some new stuff...a bit colder and darker but still Raw/Mutant-Pop. 

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

Hummmm…ok.

We are: WE ARE WOLVES…

A Montreal band with a stand-up drummer, a Weird-Pop-cold Electronics dude - and a Latino guy; playing dark Dance bass-lines with Punk fingers…and a kind-of-Garage-guitar. You could call it ‘Mutant-Pop’.

I Don’t Mind is out there. What was the inspiration behind the song? 

We have always been fans of Disco and dark soundtracks (think, Carpenter-Moroder) but, in a strange way, we could never do a full-on weird Disco song. On our last album, we just told ourselves that we would do what we wanted and not what people expect...so we went full-on druggy-Disco…kinda.

It has been called a cross between the Bee Gees and David Lynch. It seems you embrace light and darkness in equal measures…  

I loooove light!

I really love the sun and dream of moving to Barcelona or Colombia - but only really feel alive at night..in the darkness (hahaha! Whatever that means...but still true). So, yes, I guess we do “embrace light and darkness in equal measures.”

The video for I Don’t Mind looks dramatic! What was it like seeing it back and what was the shoot like?

We have been working with that dude for a couple of videos and it seems like we share the same interest of the occult and the mystical. So, that video, mixed up with that Disco song, makes a lot of sense.

The song/video is the soundtrack for the New Age occult, as imagined by Jérémie Saindon. Is Saindon someone who brings the best out of your music in a visual form?

Yes!

We never really understand where he wants to go with his vision, his videos. But, then again, I’m not sure he understands, also...

That is exactly the reason why we work with him.

WRONG is the new album. What kind of themes and stories go into the record? 

Hummmmm…same as always. 

Love; death, but this time, it’s more psychoanalytical and less philosophical.

Can you tell me how you all met - and what it was about one another that formed We Are Wolves.

Art students bored of being art students: I always wanted to be a professional skateboarder and ended up learning to play an instrument (still learning).

Montréal is home. What is the city like for music and vibes at the moment?

Amazing! Sooo many different scenes, bands; music venues and people making it happen. 

Who are the new artists you recommend we check out?

My god! That’s hard. There are so many...

VICTIME. Choses Sauvages. Chocolat. Avec le Soleil Sortant de sa Bouche. Paul Jacobs. Incredible Woman. I.D.A.L.G. No Negative. Paupière

Lost Love. CO/TRY. Suuns. Jerusalem in My Heart. Organ Mood. Morthouse. Bernardino Femminielli

(Soooo many. It’s crazy!). 

IN THIS PHOTO: Avec le Soleil Sortant de sa Bouche/PHOTO CREDIT: Minelly Kah

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

Could not say anything; it’s too complex. We would need to invite the person or band for dinner and get drunk.

Do you all get the chance to detach from music? What do you all get up to when not making music? 

Hmmm…make more music.

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

South America and, hopefully, Europe and Asia.

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

Going to see my family in Medellin, Colombia and, hopefully, learn some cumbia - and bring back some influences for the new album.

I love cumbia!

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).

1: Bernardino Femminielli  - Plaisirs Américains

2: CO/NTRY  - Cash Out

3: No Negative - Cellophane

_________

Follow We Are Wolves

 Official:

http://www.wearewolves.net/

Facebook:

https://www.facebook.com/wearewolvesmusic/

Twitter:

https://twitter.com/wearewolvesmtl

SoundCloud:

https://soundcloud.com/we-are-wolves

Instagram:

https://www.instagram.com/wearewolvesmusic/

YouTube:

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

BandCamp:

https://wearewolves.bandcamp.com/

INTERVIEW: Binky

INTERVIEW:

Binky

________

HER move into Country music was not instant...

so I ask Binky about her transition and development. The Essex-born artist unveils her new track, Fireflies, and talks about the music/artists that have inspired her. I learn how Binky came to acquire her raspy and stunning voice; how she moved from T.V. presenting to music - what plans she has for the next few months.

Binky talks about the albums that define who she is; why the U.S. is an important market for her; the relevance of London and its heartbeat - the advice she would offer young songwriters of the moment.

________

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

Hi. I am very well, thank you.

This week - and the last couple of weeks - have been absolutely amazing! I feel so blessed to have so many wonderful and supportive people around me. I am so overwhelmed with the love and support for Fireflies.

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

I’m Binky and I am a Country-Pop artist from Essex. I started to write and sing Country music about six-seven years ago, now. But, before then, I used to attend many open mic nights around my local area in Essex - and many of the singers from an older generation mentioned that I had a Country twang. For me, as a young girl from Essex, I didn’t know too much about Country. However, more people continued to mention this ‘twang'; so I become intrigued to find out what they meant.

As I grew as a singer - over the years and found my feet - I spent a lot of time with Stevie Lange, and she helped me develop my sound. She, too, agreed that there was something about my tone - that had a strong Country presence. I then decide to focus my core attention to Country music. I fell in love with the stories and the emotions expressed throughout each song...

I then knew that this was the route I was destined to take.

 

Fireflies is your new song. Tell me what the idea behind it is and how it came to you?

My new single, Fireflies, is my interpretation of a Country sound mixed with the Pop sounds of London. Every Country song has a story behind it - which I wanted to portray in my new sound.  The track has a deep relation to the struggles of young people today. We all have daily battles with our own demons and the pressure’s that they can apply to everyday life.

I wanted to merge two sounds together that would really impact on the listener - but in a positive and encouraging way. I don’t really know where the idea came from as such: it kind of just fell into place as we were writing the track.

Sometimes, when you don’t overthink it too much…that’s when the best songs come to life.

It has an addictive sound and sticks in the head. It sounds like it came to you in a flash of inspiration? Would that be fair or did it take a while to formulate?

The first line (written) was the first line of the chorus - “I fly with fireflies” - and my producer played it on the guitar and it just sprung to life from there. We didn’t have a formula for it: we just took it section-by-section and made a story. It was, probably, the best studio session I’ve done. It was so fun bringing it all together and I remember hearing it for the first time - once Michael had finished the production.

It gave me butterflies - and I just knew this was the song I wanted to release as my debut single.

There is a rasp to your voice but elements of Urban sounds and Country in your locker. Who are the artists and singers you idolise when you were younger?

The industry has been home to so many amazing artists over the years and so many of them have inspired me in different ways. I would definitely say (one is) Tina Turner. Her strong vocals and presence on stage always blew me away. She truly is one-of-a-kind. The raspy sounds I think came from the likes of Stevie Nicks, along with the Dolly Parton (and her wonderful vibrato).

You used to be T.V. presenter. Why did you decide to move into music?

I actually moved into presenting after I started to write and sing Country music. The opportunity to work on The Smith & Rogers Show came up and I thought it was such a wonderful opportunity to learn more about the Country culture - including the fans and what they loved so much about the music. I gathered so much inspiration that has been moulded into my new sound. I had a wonderful time filming The Smith & Rogers Country Show with all the team.

I would love to get back to T.V. at some point.

Are there any skills you learned, whilst a presenter, you bring into your music?

Yes, definitely.

The show enabled me to work with a full, live band on a regular basis. This was an amazing experience on its own. But I, of course, learnt a lot about presenting: it was a lot harder than I’d expected - but this has really helped me for when I film my music videos.

It is a similar process. You need to know where the camera is at all times and how to connect with the camera.

It seems the U.S. is very important to you and your sound. Will you get a chance to play over there and how much of the American Country scene do you bring into your music?

The U.S. is home to some of the most incredible Country songs and artists - so it’s very important to my sound as I would like to share Country music with a wider market within the U.K. I started this new sound after visiting Nashville for a while and taking in all the inspiration from artists there - then, merging this with a U.K. Pop sound.

My songs are very diverse and some tracks will portray an American country sound more so than others. I am hoping to go back to the U.S. early next year to share my music over there, too - but, we still have many more new things in the pipeline for my U.K. market as well.

London is where you’re based. How important is the city and do the people inspire your music?

London is my home and its where it all began so many years ago now.

The city is my biggest inspiration: we have so many diverse cultures and musical influences here; I know there is a big market waiting to be broken in the U.K. If I could share a Country-sound-mainstream within the U.K., that would exceed my dreams. I’ve always wanted to push for a Country sound here - and I think I am getting close to doing so. People are playing my single, Fireflies, who wouldn’t even know what a Country song is (and they are loving it).

This shows that the people want more and something new - and I really hope that I can share it with them.

Can we expect more music in the coming months?

Yes, definitely!

There’s is so much more to come: Fireflies is just the start! I have so many songs that I cannot wait to share with you all.

What other tour dates do you have coming up?

I don’t have any released tour dates yet, but these will be coming very soon, and they can all be found on my social media or website. I have spent so much time creating my new sound, and now, I am so excited to get back on stage and share it with you all.

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

It is so difficult to pick just three: there have been so many wonderful, breathtaking albums over the years - and many, before my time, that continues to inspire new artists like myself.

Johnny Cash and Loretta Lynn, I think, must be in my top-three, just for their stories. They are so heartfelt and very inspirational for someone like myself - when I was learning a lot about Country music. I couldn’t pinpoint albums for these artists - as there are singles which have inspired me the most. But, also, artist such as Amy Winehouse (Back to Black) and Adele (21 & 25).

These albums really inspired me to bring the British and Country sounds together.

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

A piece of advice to all artist don’t hold back: just go out and do it. You have absolutely nothing to lose. Worse-case, you’re back to Square One. The release of Fireflies has been the most amazing experience of my life.

Just put your music out there and share it with the world. It’s the only way you will know what your creating is right - and it will give you the strength to become an even better artist.

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

I don’t know where has this year gone!

Christmas is my favourite time of year! I have a lot of work to finish on the lead-up to Christmas - as I want to share something very special with you all in the New Year.

So, I think it’s going to be a busy one for me...

What are your hopes and aspirations for the next year? Do you have any big ambitions you want to tick off the list?

Yes. I would like to go back on tour next year, as well as release a lot more music to share with you all. So, keep tuned into my social media and make sure you don’t miss out - it’s going to be a very exciting year.

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

Ok. It’s not a new song, but I cannot get enough of it: it’s H.O.L.Y. by Florida Georgia Line

 _________

Follow Binky

Official:

http://binkyofficial.com/

Facebook:

https://www.facebook.com/Binkyofficial/

Twitter:

https://twitter.com/binkyofficial

SoundCloud:

https://soundcloud.com/binkyofficial

Instagram:

https://www.instagram.com/binky_official/

YouTube:

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

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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Follow All the Luck in the World

 Facebook:

https://www.facebook.com/alltheluckintheworld/

Twitter:

https://twitter.com/ATLITWmusic

SoundCloud:

https://soundcloud.com/alltheluckintheworld

Instagram:

https://www.instagram.com/atlitwmusic/

Spotify:

https://open.spotify.com/artist/60ewzuY3lVH0QElQbFagIS

YouTube:

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INTERVIEW: Argyl Singh

INTERVIEW:

Argyl Singh

________

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!

_________

Follow Argyl Singh

Facebook:

https://www.facebook.com/argylesinghmusic

SoundCloud:

https://soundcloud.com/argyle-singh

Instagram:

https://www.instagram.com/argylesinghmusic/

Spotify:

https://open.spotify.com/artist/341j56Mxd1Dm9mOUC2OBfg

YouTube:

https://www.youtube.com/channel/UC5wWMQZPVIoDNz3Hrx8R4SA 

INTERVIEW: Jasper Sloan Yip

INTERVIEW:

PHOTO CREDIT: Nelson Mouellic

Jasper Sloan Yip

________

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.

________

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:

http://jaspersloanyip.com/

Facebook:

https://www.facebook.com/JSYMusic/

Twitter:

https://twitter.com/Jaspersloanyip

SoundCloud:

https://soundcloud.com/jasper-sloan-yip

Instagram:

https://www.instagram.com/jaspersloanyip/

Spotify:

https://open.spotify.com/artist/2vTnwpyBNmdk5gHQINQEnZ

YouTube:

https://www.youtube.com/channel/UCwInsHvFuWkNKdihM7wubFA 

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.

________

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

________

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.

________

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

________

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!

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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

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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  

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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:

http://www.firewoodisland.com/

Facebook:

https://www.facebook.com/firewoodisland/

Twitter:

https://twitter.com/firewoodisland

SoundCloud:

https://soundcloud.com/firewoodisland

Spotify:

https://open.spotify.com/artist/4ueLGSUjr5bROoGkeZU4cW

INTERVIEW: Four Dead Crows

INTERVIEW:

 Four Dead Crows

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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.

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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

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Follow Four Dead Crows

 Facebook:

https://www.facebook.com/FourDeadCrows/

Twitter:

https://twitter.com/fourdeadcrows

YouTube:

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

SoundCloud:

https://soundcloud.com/four-dead-crows

Spotify:

https://open.spotify.com/artist/6iDUAIjs8I61EJNduxUWXE

BandCamp:

https://fourdeadcrows.bandcamp.com/