FEATURE: New York’s Finest: The Best Artists from the Empire State

FEATURE:

 

New York’s Finest:

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PHOTO CREDIT: W magazine

The Best Artists from the Empire State

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THE state of New York was dealt a blow…

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after the terrorist attacks claimed lives and rocked the people. It was a scar for a proud and strong part of the world: they will not be cowed and are rebuilding and carrying on as normal. I have always had an affection of the musicians of New York so, as we head into the final days of this year, I have been looking at the New York-based artists, I feel, will be making a big mark in 2018.

It is always hard to say which musicians will fail and which will rise – music is an ever-changing and unpredictable mistress. I am confident, mind, these artists will make a case for New York; show what the city (and state) is all about – and show what a variety of stunning musicians there are there.

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Eddi Front

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Eartheater

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Zuli

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Ex Reyes

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Baby Shakes

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BandCamp: https://babyshakesny.bandcamp.com/

Twitter: https://twitter.com/thebabyshakes

Official: http://baby-shakes.squarespace.com/

Breanna Barbara

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Josh Michaels

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Casey Hopkins

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Vagabon

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Patio

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WALL

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Dakota Jones

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FEATURE: The Best Singles of 2017 (So Far)

FEATURE:

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 IN THIS PHOTO: Morrissey 

The Best Singles of 2017 (So Far)

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I brought together my favourite albums of this year…

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IN THIS PHOTO: Camila Cabello/PHOTO CREDIT: Cibelle Levi for L’Oréal Paris

in a piece yesterday afternoon. Today; I could not help reflect on the singles that have stayed in my head the longest – those that have made the biggest impression. In this collection are songs from Lorde, Baxter Dury and The Hempolics: an eclectic and genre-hopping rundown that forms the soundtrack of my 2017. This year has been a huge one for music. It has provided more unexpected treats than any I can remember; always capturing the imagination and senses – out of it all has been a river of marvellous music that has thrilled and struck music lovers.

Here is my list of the best tracks of this year (so far)…

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Beth Ditto – Savior Faire

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Album: Fake Sugar

I was not a fan of the song to start with but, over time, it has wormed its way into my consciousness. Fake Sugar is an album that departs from The Gossip’s material and sees Ditto establish her own sound. Glittering, lush guitar strings and a striking vocal lead makes it one of the biggest songs of the year.

The Hempolics – Boss Clock Me Style

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Album: Kiss, Cuddle & Torture Volume 1

This is unlikely to shift from the position of My Favourite Single of 2017 because its infectiousness and sweet-leaf soothe get into the bones with alacrity. The chorus is a classic slice of gold: Reggae vibes with some seriously captivating vocals. It is Urban Reggae with a dash of Soul: just what we need after such a hard year.

Baxter Dury – Miami

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Album: Prince of Tears

Any child of Ian Dury would have a weight on their shoulders: Baxter is not a man who would allow that pressure to guide his career. Miami is a perfect example of where his music is at. The established songwriter created a slithering, street-ready strut that provided the first glimpse of the album, Prince of Tears. Its lyrics mix weird and humorous; the vocals constantly shaping and curious – the overall effect is a perfect track for those who prefer their music raw, cheeky and utterly brilliant.

Robert Plant – Bones of Saints

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Album: Carry Fire

No Robert Plant single is ever going to disappoint: Carry Fire’s hottest track is a classic slice from the former Led Zeppelin lead. It rumbles and gravels as the hero provides an assortment of mystical and mystical visions. The song takes us to otherworldly realms and clean bones – battles waged and spirits lifted to the skies.

Jordan Rakei – Goodbyes

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Album: Wallflower

It is those harmonies that do it for me! The chorus is impossibly gorgeous, swooning and chocolate-smooth. It is like being trapped in a cobweb of the angels: fighting against the layers and weaves of vocal Heaven and sumptuous allure. Jordan Rakei’s Goodbyes shows he is among the finest young songwriters of the moment. Similar beautiful moments can be found on Wallflowers: none that scale the same dizzying heights as Goodbyes.

Wolf Alice – Beautifully Unconventional

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Album: Visions of a Life

Visions of a Life will challenge the contenders for the best albums of this year. Among the eclectic and electric songs are some insane and menacing slams; more contemplative and emotive numbers – Beautifully Unconventional strays between the two camps. The London band has created one of this year’s best albums for sure. Their energy and kinetic charge; the incredible songwriting and diversity – all of this funnelled into the exceptional single, Beautifully Unconventional.

Morrissey – Spent the Day in Bed

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Album: Low in High School

The album is not out yet but Low in High School’s lead-off single is classical Morrissey! Its lyrics look at the hero wiling the hours in bed as the workers slave and battle the public transport network. It may not be as literal as that: more, a survey of self-care and the need to disassociate and detach from propaganda, fear and the sheep-herd. It is a huge song whose chorus will remain in the head for weeks. It remains to be seen whether Low in High School will equal Morrissey’s best albums. On the evidence of its introductory single; it seems dedicated fans might have a new favourite.

Amp Fiddler (ft. J. Dilla, T3 and Neco Redd) – Return of the Ghetto Fly

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I am not normally a fan of collaborations – where a song gets multiple names stuffed into it. I can make an exception for something as smooth, seductive and fabulous as Return of the Ghetto Fly. Amp Fiddler and his cohorts craft one of the year’s finest tracks. I am not sure the exact origins of the lyrics but, on a base level, can connect with its themes, tones and timbre. A hugely memorable song that should soundtrack everyone’s 2017.

Album: Single Release

Lorde – Green Light

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Album: Melodrama

There were some nerves around the release of Melodrama: an album that followed 2013’s Pure Heroine. The New Zealand-born artist defied odds and expectations with Green Light. It is a song that – as Lorde told Pitchfork when probed – “…is really about those moments kind of immediately after your life changes and about all the silly little things that you gravitate towards. I say, 'She thinks you love the beach, you're such a liar.' What the fuck, she thinks you like the beach?! You don't like the beach! It's those little stupid things”. Whatever the origins: it is a sensational and endlessly impressive cut from an artist growing stronger and more peerless by the album.

Camila Cabello (ft. Young Thug) – Havana

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Album: The Hurting. The Healing. The Loving

This might, traditionally, prove more popular with those who prefer their music mainstream and commercial. To me; it is a song that has accessibility and cross-boundary appeal. It is a song I have bonded with and can appreciate. Its themes of romance and yearning are never common and predictable: always stemming from a unique hard documenting a very particular origin and passion. I expect big things from Cabello as she makes her stamp on modern music.

Princess Nokia – G.O.A.T.

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Album: Single Release  

Despite her name and contradictory nature: there is nothing outdated and regal about Princess Nokia! She is a modern artist who is as fresh and of-the-moment as they come. Although there are no pretences and graces with her: the music does have a lot of depth – more than one might expect from a new star on the R&B/Rap scene. Her compelling mixture of sounds and vocal nuances make a song like G.O.A.T. more than an acronym. It is a confident, brain-troubling song that, by the second listen, will have you singing along.

Julien Baker - Turn Out the Lights

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Julien Baker’s Turn Out the Lights is one of the most impressive albums of this year. It documents everything from sexuality to mental illness. It is a frank and open work from a songwriter who has tackled prejudice and anxieties through the years. Above it all is a one-of-a-kind songwriter who pours her life and soul onto the page. Her latest album’s title-track has candour and emotional elements but never pushes the listener away. It is a typically assured and stirring track from Baker.

Album: Turn Out the Lights

INTERVIEW: Vince James

INTERVIEW:

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Vince James

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I have been speaking with Vince James…

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about his new song, The Man I Want to Be. It is a song dedicated to his grandfather – who is still alive and happily married. I ask about the track and what it means to him; whether there is going to be new material arriving down the tracks; the musicians who have impacted and inspired his path – and whether there are any gigs coming up.

James is from South Wales – a part of the world with more good music than you’d think. The songwriter talks about the area and the talent present there; working with Adam Richards on his recent material – and why Jake Bugg is a big inspiration of his.

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

I'm doing good, thanks! My week has been filled with lots of positives - and some really exciting news.

So…a pretty satisfying week overall!

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

I'm Vince. I play my own songs - and have been for about nine years now. I'd say music is probably the most important thing in my life - along with my family and friends. I try to take all the influences I've experienced up until now and put them into my songs. I was quite fortunate that my parents listened to such great records when I was growing up - because I think it definitely sparked something within me that made me want to make great records, too!

That, and I think, I just grew up around the time that so many great bands and artists were available to listen to.

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The Man I Want to Be seems to have some personal background. What is the inspiration behind it?

There's quite a personal meaning behind the song - because I wrote it for my granddad; which I gave him as an 80th birthday present. It really just talks about all the fun and mischievous things us grandkids used to get up to whilst growing up - which he was always a massive part of. It talks about his younger days and how he used to save up money from working down the mines - and then use it to go on the prowl in the local town in hope of finding the right woman…which, eventually, he managed to do - and that's when he met my grandmother which, I’m pleased to say, are both still happily married to this day.

Is an artist like Jake Bugg a big influence of yours? I hear some of his shades in your sounds.

At the time, when I was writing this record, his music was a big inspiration to me - and I did feel a certain connection to it. The style he had was particularly appealing to me. He still continues to impress me today with his music. But, there were a lot of influences I had back then - that came a lot from listening to the type and style of music that Jake Bugg plays. I think it was just because he managed to create his very own modernised interpretation of that style of music - and made it popular music to listen to in the U.K. at the time.

That is why I was so influenced by him.

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What is the music scene like in Cardiff right now (where you are from)?

It's come a long way in regards to the opportunities it has to offer musicians. There are plenty of great venues to play - just in Cardiff alone They are always busy and have bands/artists playing on a nightly basis. There's also a few different scheme's that help musicians to become recognised more easily - and help them to get more exposure as artists (e.g. BBC Horizons, Forte Project). At the moment, South Wales is a pretty good place to be for musicians looking for opportunities. As far as influences go; I'm sure there's plenty to be found in South Wales...

I think, if you’re a creative kind of person, you’re always trying to take inspiration from something; no matter where you are.

Is there more material coming from you?

There's plenty more material to come!

I'm working hard in the studio at the moment; on the next releases. You can expect another record from me at the start of next year - and in the many months that follow too. I'm also starting to make plans to record an album - which means choosing what songs to be featured on it.

Writing new material; so, I have plenty of songs to choose from; to make it the best album I possibly can.

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What has been your best memory from this year?

Probably would have to be when I played The Great Escape fest. It had great venues, amazing location and (just) an overall exciting atmosphere about the place. I was fortunate enough to be able to perform twice: once at an indoor venue not far from the beach and once on an outdoor stage in the town centre. I'd have to say I preferred playing the outdoor stage – (just) because the sun was shining and the crowd were amazing! 

I’m definitely planning on returning to play at next year’s Great Escape.

Tell me how you came to work with Adam Richards?

I had a few songs that I wanted to record at the time to make an E.P. So, I asked around everyone I knew and someone suggested I give Adam a ring. I'd be the first to say I was pretty lazy back then - and would always put everything off until tomorrow (which meant I’d never get round to doing it). I decided to give him a call straight away. He asked me to come down to the studio and play him a few songs - he didn't seem all that fussed at first but, as time went on, it seemed the songs grew on him.

Next thing you know; its three years later and we're still recording and making records together…

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Tell me about the artists you were inspired by when you were young…

There's a lot.

I'd have to say one of them definitely has to be Jack Johnson. His music is so original: there are not many artists out there who have done what he has. His style of writing is flawless, I think. He's consistently managed to release one great record after the other - and still remained a modest and respectable artist. The second would have to be Van Morrison. The guy has done so much for music. Every time I stick one of his records on; it always seems to take me to a happy place. I think artists like him are legends in their own right and their music is timeless - which will still be appreciated in many years to come.

Which artists and genres did you grow up listening to? What type of music do you listen to?

I try not to focus on one particular genre of music - simply because it can get a bit tedious. I have huge respect for all types of music, including Americana. I grew up mainly listening to American music - so I’ll always have a bit of a soft-spot for it. But, as time passes, you’re introduced to so many other new and exciting genres of music - which I always try to take influence from and use in my songs. 

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Which new artists do we need to check out?

I would highly recommend you check out The Ha'pennies - who are a London band; emerging on the scene. Their music is filled with Blues, Rock - and they're generally just a really fun band to listen to. They have an amazing energy about them; when they play live that definitely makes you want to move your feet and jump around!

Another band I can recommend - who is probably a little bit more well-known - is Whitney. They're an American band from Chicago. Their music is just really pleasant: it makes me feel like I’m a teenager again - enjoying summer with my mates. Their musicality is brilliant, too; there's a bit of everything going on strings, piano; horns etc. Definitely one of the best finds I've had recently.

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IN THIS PHOTO: Whitney/PHOTO CREDIT: Miranda Chiechi

Which are your three favourite albums? Which are you most inspired by?

Conspiracy of One - The Offspring

It was the first album I ever bought. I must have been around thirteen-years-old when I got it. I was obsessed with they're single from that album, Original Prankster - I played it on-repeat wherever I went which, I’m pretty sure, was on my portable C.D player (which were incredibly trendy back then!). 

In Between Dreams - Jack Johnson

Can't fault a single song on this album: everyone is a winner for me. I grew up listening to it and it has influenced me so much! Every time I listen to it; it's like stepping into a time-machine that takes me back to when I was starting to properly play music. I'd always be playing songs from this album and trying to mimic them as best as possible - I really do think it helped me to understand the whole concept of writing a song - which would eventually help me to create all the songs that I have today.

A/B - Kaleo

Hands-down; the best album I've listened to this year. Again; I can’t fault a single song on it. It's amazing how this band have managed to become so widely recognized - being that they're from such an isolated place in the world that only has a population of 334,252 people. It's not surprising though because their music is so slick - like a brand-new sport's car.

Have you any advice for new songwriters coming through?

Enjoy it, have fun and let the good times roll!

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Have you got any gigs coming up soon?

I've got a show on the 8th Nov. at the Lock Tavern (in Camden, London); another on 9th Nov. supporting The Undertones at the Birmingham 02 Academy; also, another show (supporting The Undertones) on 10th Nov at The Tramshed, Cardiff.

What have you got planned for this Christmas?

What I normally get up to around Christmas is spend time with family and friends – but, it's also one of the best times of year to play gigs - just because everyone's so merry and just generally in good spirits. So, the atmosphere at gigs is incredible. I don't recall thinking anyone should work around Christmas time if they can help it.

I thought you were meant put your feet up and relax that time of year?!

Finally, and for being a good sport, you can name a song for me to play...

Kaleo - Hot Blood

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Follow Vince James

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TRACK REVIEW: Lauran Hibberd - Eliza  

TRACK REVIEW:

 

Lauran Hibberd

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PHOTO CREDIT: Nathan Russel

Eliza

 

9.5/10

 

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Eliza is available via:

https://soundcloud.com/lauranhibberd/eliza-1

GENRES:

Folk; Singer-Songwriter

ORIGIN:

Isle of Wight, U.K.

RELEASE DATE:

20th October, 2017

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ONE of the reasons I am going after…

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PHOTO CREDIT: Nathan Russell

review subjects – rather than people coming to me – is because I get to investigate artists that fulfil all of my ‘criteria’. By that, I mean I want to discover acts who have a ready supply of images and enough information; music that gets into the head and differs from the mainstream – musicians who take a unique approach to promotion; have a personality that strikes the heart. In the case of Lauran Hibberd; she is someone I have been interested in for a while. Before I come to look at her latest song; I will look at a number of different issues. I want to discuss youth and the importance of fostering those who show promise at a tender age; personality and identity in music; female artists and how important they are right now – a bit about pushing your music and ensuring everything reaches the right people. I have been listening to Hibberd’s music for a while and something about it stirs me. For one thing; the youthfulness of Hibberd is something that leaps off the page. I often look at artists and wonder how young talent manage to get good so quickly. There are few out there who manage to reach a level of competence and ability not long out of their teens. Hibberd is in her early-twenties and delivers a sense of professionalism those twice her age would struggle to do. We often assume music is for the young but in this age – when it is easy to get songs online and find an audience – people of all ages are getting into the business. It can be quick dangerous putting a lot of pressure on very young artists. Journalists and fans find someone very young and hopeful – the expectation gets to them and they struggle to cope with all the focus and hype. In the case of Lauran Hibberd; she is someone who has been in music for a while but is not going to allow the pressure to get to her. For one thing, there is a real sense of command and confidence in her music.

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PHOTO CREDIT: Nathan Russell

She is not a nervous and tentative musician hanging by a thread: the way she delivers her material suggests there are many more years ahead for her. I wanted to mention age and youth because it is something that should not be overlooked. I worry there is not a great deal of longevity in music: so many arrive with promise and seem to fade away a few years down the line. Maybe that is a sign of the modern times and the unpredictability of music. I am concerned we are looking for a musician to come along and remain on the scene forever; be that new hero/heroine that changes things – we are often left disappointed. Maybe that is down to a lack of true talent – perhaps the market does not foster long-term potential – but I feel those with genuine flair and hope get left behind. If I were to encounter someone like Hibberd – and was in a position to drive and mould her career – I would take every measure to protect her and guide her down the right path. She is not someone who will make foolish decisions but, at the same time, is a songwriter who could be in music for many years to come. I feel it is her youthful energy and perspective of the world that really gets to me. Hibberd views things differently and, with open eyes and a broad heart, she is one of our most promising songwriters. One wonders where she will go from here and how her career will progress. These next few years will be pivotal for her. The chance for international touring and albums; getting into the mainstream media and moving into the spotlight – this all waits for Hibberd. With that in mind, considering how far she can go, there is a mixture of optimism and wariness. I feel Hibberd will grow as a songwriter and make some incredible albums but I am also aware she will have a lot of responsibility on her shoulders. Hibberd is a smart and mature artist - but I hope she gets the support of a record label/P.R. company to take her music far and ensure her route is clear.

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It is rare to discover someone outside of London with so much promise. That sounds rather negative and patronising but, as I have shown in previous reviews, the focus seems to be on London. In Hibberd’s case; she is based out of the Isle of Wight/Hampshire and that is an area with some terrific musicians. Many of us do not look outside big cities and assume there is a scene anywhere else. It is not the case those areas with more opportunities and money possess the best artists. In the case of Lauran Hibberd; it is her personality and warmth that transcends the ordinary and elevates her music to rare heights. Maybe it is the fact Hibberd is outside of London that means she has less stress on her plate and is allowed to breathe. I know there are fewer big venues in the Isle of Wight and Hampshire – some great smaller spots but not the same sort of scope you’d get in larger cities. I am interested in smaller counties/areas of the U.K. and wonder whether environment and home create a distinct type of music and approach from an artist. Lauran Hibberd is a big personality and infuses her sounds with a range of different emotions. So much of new music is sterile and faceless: new artists tend to have quite a rigid façade and lack any real depth. There are some who produce music that differs from the pack but there are too many who lack bite and colour. That could not be further from the truth concerning Hibberd. She is a complex and fascinating woman who puts her experiences on the page and ensures each track leaves you wanting more. She is still very young but that does not mean she has little knowledge of love and its complexities. She sees the world around her and has a keen eye and sense of observation.

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PHOTO CREDIT: Nathan Russell

I am looking around music and lusting after artists who have that sustain and innate difference. I listen to the radio and what I am hearing is a mixture of interesting musicians and those who seem to lack any real conviction and D.N.A. What I want is an artist who can sing common themes but add a new spin to them; take a new approach and forge unusual angles in their sounds – a talent that goes the extra mile and can get under the skin. As I said; there are some who do that but so many people are in music at the moment – it can be challenging identifying those who have that special touch. Hibberd is definitely among the elite. She has a great attitude to work and a songwriting style that brings her (compelling and varied) personality into the mix; fuses that with common themes of heartbreak and contemplation – detaching from the ordinary and bringing the listener into their world. THAT is what everyone should seek from music: artists who create a little universe but manage to provide some familiarity with it all. It may seem like a complex brew but I know there are artists out there who fulfil the criteria. Lauran Hibberd ensures each of her songs differs from the last and has a real sense of fascination and nuance. I am not sure who she grew up listening to but there is a range of sounds and artists working away. I can hear some of the Folk greats and modern-day Indie artists. Before I move onto my next point; I want to applaud Hibberd for her accomplishments and achievements so far. She has been featured by CLASH and seen her music played on BBC Radio 1, BBC Radio 6 Music and many other stations; got some terrific write-ups and supporting the likes of Clean Cut Kid.

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Lauran Hibberd is, as you can guess, a female musician. I have touched on this point but am still seeing a lot of sexism in the industry. I alluded to this when I reviewed False Advertising – the fact we are still seeing an imbalance and a lack of opportunities for female artists. Hibberd is an artist who has been provided some chances and given attention – I wonder whether her gender means she will be prohibited from areas her male peers will gain free reign to. At the moment, her youth is one of her biggest assets, I think. There is that energy and spirit but many might look at her and feel, because she is a woman, she is not able to cope with the demands of the industry put before her. As her career progresses and things get better for her; I am concerned there will be doors closed because she is female. We are still seeing this issue crop its head up in 2017. One would hope, this far down the line, there will be less of this sexism circulating. We are in a time when the news is being filled with accusations of sexual abuse and big stars caught out. Maybe that is not a new thing but, considering the controversy and storm that is in our midst; one would think that gives concern to other areas of the world. In music, there are problems and plenty of things we need to address: it is not only the entertainment/film side of things that have curses. Sexism is a big problem and one we seem no closer to curing. There is no good reason why this problem exists. A lot of the finest music around is being produced by female musicians; they have the same qualities as make artists and are in the same position. It seems baffling they are subjected to sexist attitudes and oppression. I have spoken to many female artists who feel they are not being afforded the chances their male colleagues are.

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Hibberd may not have witnessed the real depths of depravity and judgement others have but, considering she is a bright young hope of music – I fear her gender and beauty might be sticking points. It seems a lot of labels and sources define female artists by their looks and gender. They celebrate them if they are beautiful and promote their sexuality. It seems music and what they are saying is second to how they look and the effect they will have on people. When it comes to gig opportunities and being out higher on the bill: how many female artists are given that golden access?! I shall leave it be in a minute but am irate we still have to discuss sexism. It should not be a problem in 2017 and I wonder whether it will cause a lot of great artists to retreat from music and be hidden from view. Not to put all these concerns at Hibberd’s feet – she is someone who is aware of these ills and will shoulder any problems with dignity and a resolute soul. I hope she does not fall prey to the murky swamp of music and find herself facing sexism and resistance. Her music is incredible and deserves all the love in the world. It is a side of music I wanted to address because, with every female musician I encounter, I have a niggling worry they will face some kind of problem. There is a lot to recommend about Hibberd and her music. She is a young woman who has a real maturity and knowledge of the industry. She has an ethereal voice and it makes me wonder how she acquired that. I have alluded to influences and who she might have taken to heart when she was a child. That extraordinary voice could only come from someone who has drunk and consumed a wide array of artists and sounds. It is a complex and striking mixture that has tenderness and heart but an edge and caution playing underneath. Hibberd, when listening to her compositions, brings ideas of 1960s/1970s Folk with modern Indie and Pop; there are whispers of Soul and some fuzzed-out tones. It is a heady brew and one that will find a lot of fans down the line.

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I am about to move on to the song in question but, before then, a word on Hibberd’s approach to social media and her online spread. I keep raising the point but there are so many artists out there who do not take the time and care to put their music out there. There are many more that have such an imageless sense of style and identity. It is sad seeing musicians who feel they can get away with a few crummy photos or a few fuzzy live shots. I do not expect a plethora of photos and shoots but feel there needs to be something done. I am getting annoyed how many people approach me and do not have photos on their Facebook page. They might have the odd shot but it is really insufficient in a modern age. I expect every artist to have at least a dozen photos because that is a more attractive prospect to a journalist. Even fans want to see who the musician is and get some visual clout. It is a little disappointing finding those who assume their music alone will beckon people in. Unless you are The Beatles in their heyday – and nobody in music is anywhere near – then you cannot get away with having so few photos on your pages. Everyone has a camera – or a phone with that facility – so there is no excuse negating this concern. Visuals are a very important aspect of music and those who underestimate its relevance are going to struggle. If a journalist wants to run a feature/interview with an artist; they will look for a selection of good images – if they want to do something detailed and deep. I find a lot of artists naively putting music out there and wanting to remain a ‘mystery’.

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PHOTO CREDIT: Nathan Russell

It is rather sad discovering this attitude but, fortunately, Hibberd has a real eye for the camera and keen to put herself out there. One finds a selection of great images and a lot to catch the eye. It is marvellous for a journalist because there are a lot of options and pleasures. I can pick-and-choose some choice snaps and mix them together. It makes pieces a lot more illustrative and picturesque; it captures the imagination and gives a visual aspect to a feature/review. If you interview or review someone – and they do not have a choice of photos – then you struggle to fill gaps and it looks pretty dry and boring. I am glad the likes of Lauran Hibberd exist because they know what it takes to push forward in music – and why visuals/photos are so important. This consideration is not only reserved to photos. Hibberd has a great official website and provides the reader/listener a lot of information and backstory. In terms of music; she keeps people informed and makes it easy to find – across all the platforms and music-streaming sites. The more artists like Hibberd around; the more I am going to dive into music and take an interest in it. Those who ignore the need for visual representation – and have little information – cannot assume people will take them seriously. Music is a competitive business and favours those who take it seriously. Lauran Hibberd is a real contender and, alongside her talent and skills, she perfectly promotes her music; covers all bases and has a real sense of personality. All the aspects and layers of Lauran Hibberd make her a definite star to watch. One knows she will go far in the industry – this is just the start of things.

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There is a real twang-and-drawl one discovers from Hibberd’s vocals on Eliza. Maybe there is an element of Kate Nash but, when listening closely, there is American influence working away. Some of the words do get pushed together too closely- it can be hard deciphering some as they do fall prey to indecipherability. That is a minor quibble from a song that starts with burst and races from the blocks. There is hard percussion and cute strings. Maybe the percussion signifies heartbeat but the drums have a real power and potency that inspire the vocals. Hibberd’s warm and rousing performance has a step and skip; she is talking about this other girl – wondering whether they (the boy/a friend) would like them better. One gets impressions of summer and moving through the city with Eliza. She, as I see, is a vivacious figure who has the world – and men – at her feet and is embracing its curiosities and pleasures. Maybe she is more confident or has a different aspect to her personality. This alter-ego lusting means the heroine is doubting herself and revealing her weaknesses. The baggy and worn jeans; the relative normalness and limitations – would the hero think of her rather than Eliza?! It is alarming and pleasurable encountering the first moments of the song. One wonders whether this new girl is based on real events or workings of Hibberd’s imagination. We all encounter a rival or other that makes us reflect and question our own strengths. Hibberd never drags the mood or provides darkness: everything has a racing smile and rushing wave. The vocal has its slur and drawl but it carries a lot of emotion and depth. I have mentioned how deep Hibberd is as a performer. Many might hear the voice and assume someone juvenile and inexperienced. What one actually hears is a wise and cultured singer who can turn phrase and bend language to extraordinary effect. Previous songs have investigate the young heroine as an older soul – too wise and mature; the need to embrace her young years. Here, we get a sense of being overlooked and passed over – maybe a younger model or happier soul is stealing attention from her shores.

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It would be inadmissible thinking Hibberd is inferior to any other suitor but Eliza seems like this ideal girl who is more clean-cut and together. I do not know whether things worked out for the best but our heroine is looking at herself and wondering whether anyone would be drawn to her – the same way as they are with Eliza. It seems ‘she’ is part of pictures being taken from Hibberd’s wall: in the background at coffee shops and at bus stops; in the back of her thoughts and with her everywhere she goes. When one gets to the chorus – the girl’s name given special attention; each letter spel out – there are spacey synths among the pulsing drums. It is an intoxicating cocktail that gets into the brain. I wonder whether the heroine is satisfied with her lot and wants to change things. That might sound contradictory but I would not look at Hibberd and say she has any real to find negative. Maybe this anti-heroine seems like the kind of woman she wants to be. I wonder about perspective when Hibberd talks about pictures being taken from the wall. Eliza is in the back of every shot and never right in focus. Maybe she is a shyer sort but it seems, whatever the truth, it is causing our heroine to question her comfort and stability. More talking and less shopping; fewer doubts and more confidence – maybe these are things that will even the balance and find Hibberd on an equal plain with Eliza. The accelerated percussion and composition give the song a real skittishness and urgency. Hibberd’s vocal matches that: constantly pining and seeking answers; moving through movements and producing so many different questions. There is almost a Blues tone that mixes with Country and Folk. It is an alluring concoction that makes the song sunny and warm – there are clouds lingering over the horizon.

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PHOTO CREDIT: Nathan Russell

I have spoken a lot about Lauran Hibberd and various aspects of her music. There is that great balance of personality and music wonder. From the personal standpoint; one gets a real blast of warmth, complexity and fascination. There is love and sensitivity; colour and emotion – all manner of contrasts and contours. In terms of the music; there are incredible vocals and immense beauty; something that sounds familiar but can only stem from someone like Hibberd. She strikes me with her talent and natural ability. She is still young so the best days are still ahead but songs like Eliza lead me to believe Hibberd will be a big star in years to come. I will end things soon but feel there are so many positives one can attribute to Hibberd. She is based out of London but I feel she will remain in a big city very soon. For one thing; her music will get more exposure and attention if she is among the masses. From Hampshire/the Isle of Wight; there is a local base and appreciation. Her sounds have already resonated with stations across the U.K. so it is not like she is confined to local crowds. I wonder, if she was based in London or Manchester full-time, she would get the attention she deserves. Right now, she is doing things her own way and has a great and impressive support. I am looking forward to new material and cannot wait to see what comes next from Hibberd. There are so many female artists out there – many not getting the same chances as men – so the competition is hot. She plays The Islington (London) on 9th and played Sofar Sounds last night. There are other gigs before the end of the year – a few of them in London. It seems the plight and rise of Lauran Hibberd is exciting and unstoppable right now.

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I know new music is brewing so I am excited to see what comes in 2018. There are great artists out there but none that have the same dynamic and qualities as Hibberd. She is someone who has a real work ethic and is keen to get her music to as many people as possible. Her songs have a relatable charm and strike the common soul. It is not surprising people are responding to it and following wherever she goes. I will continue to support her music and am pumped to see just how far she can go. Her past music suggests there is evolution and growth with every step. Eliza is a stunning song that demands repeated play and affection. What comes next is down to her but one knows it will be very special. The music industry always faces challenges and accusations but now, when other areas of entertainment are under close scrutiny, I am concerned not enough is being done to safeguard and foster people. Female musicians still face discrimination and young women coming into music at the greatest risk. Maybe Hibberd will be okay now, but I fear she will have to go through some tough times and have to fight harder compared to her male contemporaries. I recommend you all get involved with Lauran Hibberd’s music and discover someone who is on a real rise right now. These are exciting times and there are few who match her sense of entrance and beauty. That will continue for a long time to come! A terrific artist with a great attitude and music that is captivating people around the country – how long before she is a mainstream star? Maybe she does not want that exposure so soon but she might have to deal with larger focus and demands. Her music has the ability to find fandom around the world. I wonder whether this will be an aspect of her 2018? If that is so; how far, literally, can her songs travel?! It will be interesting to see because, in Lauran Hibberd…

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WE have a definite star of the future.

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Follow Lauran Hibberd

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FEATURE: The Best Albums of 2017 (So Far)

FEATURE:

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IN THIS PHOTO: Robert Plant/PHOTO CREDIT: The Guardian

The Best Albums of 2017 (So Far) 

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IT is almost the end of the year - so it is a good time…

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IN THIS PHOTO: Lucy Rose/PHOTO CREDIT: Laura Lewis Photography

to look at the albums that have come before. Everyone has their opinions regarding the biggest and best of 2017. I have brought together my choices and the albums, I feel, have defined this year. There is a mixture of male/female; various genres and nationalities thrown in – from mainstream Pop queens to poetic Indie; through Punk blasts and Hip-Hop.

It is a compelling and interesting blend that, I hope, people will agree with. It is evident this year has been very productive and assured – producing some incredible records from musicians at the top of their game!

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Benjamin Clementine – I Tell a Fly

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“But what’s particularly impressive is that it’s not a theme addressed simply in the lyrics, but evoked by a constantly shifting, discomfiting musical backdrop, in which polite piano and harpsichord motifs are disrupted by jarring bursts of throbbing, whining synthesiser and layers of Clementine’s own bizarrely operatic background vocal keening and muttering” - Independent

Release Date: 15th September  

Label: Universal Music Publ. K.K

Stream: https://open.spotify.com/user/indebanvan/playlist/0AbX0DppkiQHUPAlPmp9Tz

Wolf Alice – Visions of a Life

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Release Date: 29th September

Label: Dirty Hit

“In some ways, Wolf Alice’s second album is an extension of their 2015 debut, ‘My Love Is Cool’. That excellent record was restless, too, flitting from hypnotic, electronic folk to teeth-baring rock” – NME

Stream: https://open.spotify.com/album/4igFAe5sMPXBZRHj66tP8c

 

Lucy Rose – Something’s Changing

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Release Date: 7th July

Label: COMMUNION

“Something’s Changing is a culmination of much-welcomed growth for Rose. She has the ability to make listeners feel: when she’s struggling to find comfort in her own skin, finding joy in life and questioning her path. Her most recent body of work shows Rose finding her sense of self, but makes it relatable to listeners. It’s that connection that solidifies Rose’s career on the folk world” – Paste Music

Stream: https://open.spotify.com/album/1W9INKEeQf3OjBnSJSvSS3

Robert Plant – Carry Fire

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Release Date: 13th October

Labels: Nonesuch Records/Warners

“Lyrically, Plant, like the best artists of his generation, takes a meditative position throughout, wistfully looking back as aging and mortality haunt the back of his mind. "And now the carnival is over," he sings on "Dance With You Tonight." "Someone turned out the light." It's a recurring theme on Carry Fire, even if Plant doesn't explicitly state it. The haunting loops that drift through many of the songs serve as a reminder of life's cyclical nature. "The seasons turn, and once again our world will change," he sings on "A Way With Words," driving home the point.

Plant occasionally carries his deep growl into higher registers here, but his "Whole Lotta Love" days are behind him. And he seems just fine with that. Carry Fire takes the same musical foundations Zeppelin leaned on all those years ago, mainly blues and the Eastern flavors heard on "Kashmir," and positions them into more natural and seasoned settings. Plant, in turn, sounds right at home” - Ultimate Classic Rock

Stream: https://open.spotify.com/album/4f7U9Rycl2d3KMLoiEZtve

Baxter Dury – Prince of Tears

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Release Date: 27th October

Label: Heavenly Recordings

“It all adds up to a short, sharp blast of an album. Pretty much every punch lands. Dury is alternately very funny, oddly disturbing and genuinely touching, which is a lot of ground to cover in under half an hour. The shadow of his father still lurks around, but then, anyone who choses to deliver beautifully observed vignettes in a London-accented sprechgesang voice is going to find themselves working in Ian Dury’s shade, regardless of who their dad was. And on Prince of Tears, the songs are so good, the author’s parentage scarcely seems to matter” – The Guardian

Stream: https://open.spotify.com/album/3qb5B25qWfVjvWzFVmci0f

St. Vincent - MASSEDUCTION

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Release Date: 13th October

Label: Loma Vista Recordings

“The sense with MASSEDUCTION is that Annie Clark puts all of herself into her creations. It was easy before to associate this with a face. It was enough that a video clip of her telling whoever watching that she loves them could go viral. But slowly we’ve associated St. Vincent with all of the complexity that is Annie Clark, turning her into one of the most complex, challenging, and fascinating figures in contemporary music. It’s not her goal to show that she’s worthy of being spoken of in the same breath as the great masters. But it’s her willingness to follow whims, to push herself, and to take her audiences along for the ride that does it for her” – Consequence of Sound

Stream: https://open.spotify.com/album/4RoOGpdrgfiIUyv0kLaC4e

Queens of the Stone Age – Villains

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Release Date: 25th August

Label: Matador

“Yet there's no lack of crushing guitars. The single "The Evil Has Landed" squalls over brutally clipped beats, suggesting latter-day Led Zep if they'd wrapped their head around New Wave. "Head Like a Haunted House" goes further, a galloping assault pitched between Devo and the Buzzcocks, with theremin sounds wailing like a supercomputer meltdown in a trashy '50s sci-fi film. Headbangers may be put off that QOTSA is now targeting feet and asses; too bad for them” – Rolling Stone

Steam: https://open.spotify.com/album/6JdX9MGiEMypqYLMKyIE8a

Kendrick Lamar – DAMN.

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Release Date: 14th April

Label: Top Dawg Entertainment

“He bobs in and out of this perspective, but the repeated pledges to loyalty and martyrdom evoke the life and mind of a young gang member who carries his neighborhood flag because no one’s proved to him that he shouldn’t. These choices, Lamar suggests, aren’t pre-determined or innate, but in constant dialogue with and in reaction to their surrounding circumstances. They aren’t above or beneath anyone who can hear his voice. Success and failure choose their subjects at their whim; we’re as grateful as Kendrick for his fate” – Pitchfork

Stream: https://open.spotify.com/album/4eLPsYPBmXABThSJ821sqY

Laura Marling – Semper Femina

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Release Date: 10th March

Label: Kobalt Music Group

“Ms. Marling doesn’t cast herself as heroine or victim, angel or avenger. She does something trickier, and perhaps braver. Cleareyed, calmly determined and invitingly tuneful, she captures each situation in all its ambiguity” - NY Times

Stream: https://open.spotify.com/album/25vCo942umSnfQJl6MIOnn

Phoebe Bridgers – Stranger in the Alps

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Release Date: 14th September

Label: Dead Oceans

“That’s not to say that she throws the proverbial sink at the record, though. The strings on the quietly devastating ‘Funeral’ roll away subtly in the background, just as they do on standout ‘Scott Street’. ‘Motion Sickness’ and ‘Chelsea’ are both nuanced and intelligent in their use of electric guitar, and when she experiments a little - see the downtempo electronic flourishes on ‘Georgia’, as well as its programmed percussion track - it tends to come off. ‘Stranger in the Alps’ is as accomplished a solo debut as you’ll hear all year - a quietly devastating listen worthy of Phoebe Bridgers’ obvious influences” – DIY

Stream: https://open.spotify.com/album/0AkAmg94XyiHODJaiGHh9O

Sampha – Process

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Release Date: 3rd February  

Label: Young Turks

“The samples on Reverse Faults are melded into an insistent, slightly groggy pulse that’s both compelling and unsettling. Nothing feels in thrall to current trends in R&B, either sonically or emotionally: Sisay may have been a constant, quiet presence on other people’s records last year, but Process doesn’t sound much like any of them. Instead, it’s a weighty, powerful album with an identity entirely of its own. And while clearly not constructed with commercial ambition at the forefront of its mind, it’s certainly good enough to make an unlikely star of the man behind it” – The Guardian

Stream: https://open.spotify.com/album/2gUSWVHCOerKhJHZRwhVtN

Lorde – Melodrama

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Release Date: 16th June

Labels: Lava; Republic

“It’s a rudely excellent album, introspective without ever being indulgent, OTT in all the right ways, honest and brave, full of brilliant songs with lyrics to chew over for months. The message might be that Lorde considers herself wild and flawed and bruised (“I’ll love you till you call the cops on me,” she sings, on the deliciously bitter ‘Writer In The Dark’), but we all do sometimes. That’s the neatest trick the album pulls off – universal connection, in spite of the squad and the praise and the superstardom and the pressure. Humanity intact. Artistry assured. Brilliance confirmed”- NME

Stream: https://open.spotify.com/album/2B87zXm9bOWvAJdkJBTpzF

INTERVIEW: Jazz Mino

INTERVIEW:

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 Jazz Mino

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COLOUR is the first thing one notices when looking at…

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Jazz Mino. I talk to her about her version of Crush – she has produced an impressive reinterpretation of Jennifer Paige’s 1998 smash. Mino talks about her ‘colours campaign’ and what comes next for her; why mental-health – and raising support – is playing large on her mind; the artists she is inspired by – and what kind of dates she has approaching.

I find out what she is doing this Christmas and the advice she would offer new songwriters; what it was like working with Oliver Nelson – and receiving plaudits from the likes of BBC Radio 1.

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

I’m great thanks - and had an amazing week.

I’ve been pretty much studio-bound; co-writing some new songs with my team. They are so much fun to hang out with and this week has been particularly productive and creative!

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

Hey! I’m Jazz Mino and I absolutely love singing my heart out - whenever I get the chance!

I’m originally from Manchester but was raised in Somerset for most of my childhood - and now living in London. I’m having a great time in London. Every day is different and I feel so lucky to meet such incredible people every day from all walks of life. My upbringing and living in London has inspired me as an artist to do a colour-changing, multi-single campaign to promote diversity, equality and the importance of self-care.

I feel like these subjects are crucial to a more open, caring and positive society for us all - and something I feel very strongly about.

Crush is out now – many might hear some familiar notes. What was the reason for tackling the song?

Aha; they might!

I absolutely love the original Crush by Jennifer Paige. I was initially drawn towards Crush as it’s about letting your down and enjoying things for the now - rather than overanalysing. This is something I’ve been able to achieve by overcoming anxiety - which I’ve been working on over the past year. For me, Crush is about truly living for the moment you’re in rather than focusing on/worrying about what that moment will bring.

That said; it has a lot of your D.N.A. and unique talent in the song. Was it hard reinterpreting and making it your own?

That’s very kind, thank you! To be honest, I love reinterpreting songs and I do it all the time. I enjoy looking at every single lyric and really getting to grips with what they mean for me. When I’ve got my interpretation right, the rest is kind of second-nature - as I really am creating from my heart.

I’m very proud of it as I feel like it’s a real reflection of who I am as an artist.

The song has already been championed by BBC Radio 1 and gained a lot of love. Were you nervous about releasing and how it might be received?

I think as with every release, you always feel a little nervous as it’s so close to you. All your innermost feelings and creative vibes have been channelled into it. So, it’s great that people are loving it; in a way, it’s like them saying ‘yeah, I get you’ - which is a really nice feeling when you’re being so honest and open.

What was it like working with Oliver Nelson on the track? What did he bring to the song?

Ah; so much fun and a real milestone for me.

I’ve been a big fan of Oliver’s work for a long time - so it means a lot that he loves my vibe. I remember my manager saying (that) Oliver’s heard the track and he’s keen to work on it; I was like…WOOOO! Haha.

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Tell me about your ‘Orange’ campaign - as I am interesting finding out more…

My Orange campaign is for the release of Crush. More specifically, it’s about overcoming anxiety and feeling confident; focusing on what YOU think of yourself rather than worrying what others think. When I was suffering from anxiety, I felt a constant suffocating feeling and sense of dread. I was scared to be honest about how I felt but, when I finally started to open up, I realised that I wasn’t alone - and, actually, it was quite common.

I feel like the U.K. has become much more aware and accepting of mental-health in general. I think it’s so important to talk about the subject as much as possible…so that nobody feels alone. The reason I chose the colour orange to represent the campaign was because it’s such a loud and vibrant colour.

I personally have positive associations with it and it’s my favourite colour - so it just made a lot of sense!

I believe your ‘colours’ campaign has caught the eye of various brands. It seems you are shaping into a bit of an ambassadorial figure. Given your stride for equality and self-care; do you hope to use this platform to spread those messages to a wider remit?

Yeah; it’s been great so far. I feel honoured to work with some amazing brands that really reflect who I am and what I stand for. I’ve started working with Crazy Colour (hair-dye) and Lush Hair Extensions. They both feature heavily in the campaign. Both brands are about expressing yourself so it just makes so much sense that we’re all working together. I’m in talks with a few more brands - which I’m really excited about...

So keep a watch on my Instagram for more announcements!

You were born in Manchester; raised in Somerset – now living in London. That sounds like a bit of a trek. What was the reason for the moves – and how important is London to you?

Yeah. I moved around quite a lot!

I was born in Manchester and, when I was twelve, my grandparents retired to Somerset. We’re a very close family so my mum decided to move us down, too. At first, I felt quite isolated but, as I became more familiar with it (and they, with my northern accent), I loved it. It’s so calm and peaceful: literally the opposite of London - so it’s lovely to head back there from time to time; enjoy some peace, calm and quality time with my family. 

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You have Iranian roots and, your family at least, must have experienced uprooting and conflict. How instrumental are your roots when it comes to your music and messages?

I don’t know my dad (who is Iranian) but, growing up in both Manchester and Somerset, sadly, I experienced quite a few racist comments because of the way I look. Whilst I was in Manchester, I didn’t really understand what people meant because I was so young and, in my head, I was just the same as them - no different. I was slightly more affected by this in Somerset as I had more of an understanding about what prejudice was. To be honest, I wouldn’t really change how I was treated - as it helped me establish my core values at a very young age. I think it’s very sad that some people, without knowing somebody whatsoever at all, can make negative judgements about them based on their appearance. 

However, you can’t control what others do: all you can do is be mindful of the way you treat others. I try to have a positive outlook on life and treat everybody with love and kindness. Nobody is perfect but I think if you can do this most of the time…you’re on a good path!

Can you recall when music first struck you? Was there an artist or album that sparked that fuse?

My grandma taught me how to read music and play the piano - which is when I started writing songs. Since then, I’ve been inspired by so many artists over the years - from Freddie Mercury to Etta James. I think each genre of music has something you can take away and make your own. I experimented a lot and it’s only been the past year where I feel I’ve finally found who I am as an artist - and what music really inspires me and brings me to life.

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IN THIS PHOTO: Sigrid/PHOTO CREDIT: Jonathan Vivaas Kise

Who are the new artists you recommend we check out?

I actually get asked this so much!

I’ve put together a weekly Spotify playlist with songs that I’ve been vibing to called In My Head. I update it every week with my favourite new songs. Right now, I’m loving Sigrid, Grace Grundy and Blood On My Shoes (by Tara Carosielli).

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IN THIS PHOTO: Tara Carosielli

They all have such beautiful voices and I love how they really grab you with their innermost feelings. I really connect to them - and think you will too!

You can follow (my) In My Head playlist here.

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IN THIS PHOTO: Grace Grundy/PHOTO CREDIT: Hannah Driscoll

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

Ahhhh…that’s a super-hard one! So; the first is Britney Spear’s (second album) Oops!... I Did It Again

It totally captivated and made me realise, from a really young age, how much I loved Pop music - and I wanted to write, sing and perform.

Later, I became addicted to Hayley Williams’ voice (Paramore). Paramore’s Riot was, literally, my soundtrack for a year haha!

I also love Sia’s album, Some People Have Real Problems

Everything about her vocals, lyrics; melody and chord progressions just send shivers down my spine!

(Finally - this isn’t an album – but you NEED to listen to Liability by Lorde. It’s one of the most beautiful songs I’ve ever heard).

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

My advice would be to stay to true to yourself: don’t rush anything and really spend a lot of time working out who you are as an artist - and how you want to connect with people. It takes a long time to get all aspects to a point where you’re super-proud of what you’re representing (but it’s so worth it). 

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

I’m doing a U.K. schools-tour really soon to raise awareness of mental wellbeing - and I feel so privileged to have been asked to do it. It’s so important that people, from a young age, understand that caring for your mental-health is just as important as caring for your physical health.

My team are just in the middle of planning next year’s tours dates; so I imagine they’ll be announced on my website early next year!

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

I cannot wait for Christmas!

I’ve actually got some pretty special plans, work-wise, and with family! My sister has just got married and she’s going to be hosting Christmas for the first time this year. That said, I do feel sorry for her as it means she’ll have to cater for my dairy allergy. Haha. She is absolutely hilarious and I love it when all the family gets together. We just do silly fun stuff in the moment: play some board games and generally have a good old giggle.

In December, I’ll be changing colour in celebration of both Christmas and a brand-new song release - so keep your eyes peeled on my Instagram!

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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).

Sounds like a good deal to me…

Don’t Kill My Vibe – Sigrid

It’s an absolute banger.

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Follow Jazz Mino

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TRACK REVIEW: False Advertising - Hey You

TRACK REVIEW:

 

False Advertising

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Hey You

 

9.5/10

 

 

Hey You is available via:

https://www.youtube.com/watch?v=EHGSCDa9v1A

GENRES:

Indie; Grunge-Pop

ORIGIN:

Manchester, U.K.

RELEASE DATE:

17th October, 2017

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The E.P., I Would Be So Much Happier If I Just Stopped Caring, is available here:

https://falseadvertising.bandcamp.com/album/i-would-be-so-much-happier-if-i-just-stopped-caring

RELEASE DATE:

30th October, 2017

CREDITS:

Hey You + Not My Fault
Recorded at: Northbourne Centre, Didcot / Marlboro House, Manchester
Production: Sam Jones / False Advertising
Engineering: Sam Jones
Mixing: Chris Warr / Sam Jones 

Honest
Recorded at: Abbey Road Studios, London / Marlboro House, Manchester
Production: Sam Jones / False Advertising
Engineering: Sam Jones
Mixing: Chris Warr

I Think I Got My Wish
Recorded at: Low Four Studio, Manchester
Production, Engineering and Mixing: Brendan Williams and Jamie Birkett

It’s Been A While (So Sick) 
Recorded at: AOO Studio, Hull
Production, Engineering and Mixing: Pat Pretorious on behalf of Warren Records

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ONE of my drives going forward…

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is to promote more female musicians. Before I come to look at False Advertising; I want to discuss gender balance in music - and how there is a misalignment right now. In addition; topics such as Manchester’s music and bands doing things their own way; the need for music that stands out and defines the year; how much needs bands that can endure and continue to evolve; the importance of live performances and building songwriting quality – music that nods to the past and creates a sense of nostalgia and reminiscence. When thinking about False Advertising, I am impressed by the lead strength of Jen Hingley. She is someone who puts her all into music and has a magnetic connection to the audience. I have seen clips of the band perform live and there is a real draw to her. More than that; she is someone who is a unique voice and a fantastic figurehead. Maybe it is not something that compels their determination and focus but one cannot help notice how much female artists/bands struggle compared to their male peers. What I notice, when looking for reviews and interviews, is the number of male acts that come through. It is quite annoying discovering so many men being promoted ahead of females. P.R. agencies and labels are mainly responsible for this. On their books; they have an equal number of men and women so I must ask why it is they choose to focus so heavily on the boys?! Maybe they think they’re more commercial or are responding to decades of imbalance in the industry. The only way to reverse the policy is to start putting women/female-led acts in the forefront. There are some great female-based acts in the mainstream but I worry there is still too sexism happening in music.  We need to get out of this mindset and stop assuming how we did things in the past is how we should do things now. Maybe there is an assumption it would be a hard transition period proffering too many female acts – risking the commercial dominance and status quo. Music will not crumble if we put men and women on an equal footing.

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False Advertising do not make gender roles and sexism a part of their routine but it cannot escape their view there is a problem in the industry. With Hingley at the centre of the trio; False Advertising have an incredible female voice and talent. I am discovering a lot of great female-led acts who have the potential to be a big deal in years to come. I am worried the likes of False Advertising have to strike harder – and play more gigs – to get the same attention as their peers. One of the issues I have with the male dominance is how uninteresting and samey things get. It has been a long time since a male act got into my mind. I am consciously going after female artists for reviews because they, in my view, produce the most interesting music – and have the best backstory. With False Advertising; there is a deep and solid friendship that would be far less appealing if it were all guys. Having Hingley alongside Chris Warr and Josh Sellers means False Advertising are a lot more engaging, varied and fascinating. Not that all-male bands are boring but acts are strongest when they mix gender and styles. I am not sure what one can do about sexism in music but, if the past few weeks have shown anything, all across the entertainment industry, there are issues percolating. It is not good enough standing aside and assuming things are okay as they are: they are pretty bad and need addressing. One way of ensuring things get on a level plain is promoting and augmenting artists like False Advertising. I will move on but feel female artists/led acts should not have to struggle and campaign harder than the men. I will continue to lend my voice but the music industry needs to do better and attack the problem at grassroots levels.

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One of the other things that stuns me about False Advertising is how they have taken the unsigned route. Many artists are desperate to get their signature on a contract and let a label dictate their course. It is a temptation that is hard to refute. Most of the greatest acts of all time have either been approached by a label or have chased one themselves. That is the way music always was but, with so many new artists working outside the mainstream, this is changing. It is amazing to see how music has changed over the decades. Even as recently as the end of the 1990s; we did not have a wave of acts who worked away from the mainstream. The artists we heard on the radio were signed and made it into the studio because there was a commercial demand. More artists are working in the underground and many are doing things on their own. It can be expensive footing all the responsibilities but one of the main reasons False Advertising took the unsigned route is the fact they exert their own control. One of the biggest assets of a record label is they can provide gigs and work for artists; they can get songs onto radio and deal with promotion. I guess that is the conundrum when you think about the merits and negatives of a record deal. False Advertising are getting their work out there but one wonders whether a label would help get it international and spread the word. It is an ethical conundrum whether you go with a label or do things your own way. For False Advertising; their releases have all been self-produced and they have carved a career how they see fit. I wonder whether this will change soon enough – and they sign with someone in 2018 – but there is a lot to be said for the self-sufficient artists. The likes of NME have included False Advertising as one of their five Manchester acts to watch – I shall come onto that. It is a big time for them and, with a single and E.P. out there, more eyes and ears are trained their way.

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The music industry is in a bit of a confused state right now. There are issues like sexism and racism one that should have been temporised and limited years ago. In terms of the quality of the music; it is hard getting a grip with so many different acts playing in all manner of avenues – it is impossible handling it all and getting a real sense of what is going on. Whilst the best of the mainstream do not have the same effect and promise as the legendary artists of the past; I feel the sea of unsigned/underground musicians are providing some fascinating sounds. This is especially true of False Advertising who have managed to progress from a promising and hungry act (at the start) to a trio who are pushing themselves and evolving by the release. They have the backing of fans and venues but it is their natural intuition and skill that had led them where they are. I can see the appeal of remaining independent. The guys would have the chance to make the sounds they want and not be pushed towards commercial ideals. I wonder how 2018 will pan out and whether they are looking overseas for gigs. There is a world out there for False Advertising but there are ways of getting the music out there and not having to go with the biggest record label around. Perhaps they could align with a P.R. company and, rather than be told what to record and how to produce their music, have someone who could take care of the gigs and get the music to a wider remit. It is an ethical debate the trio are not going to be kept awake by this predicament but I am confident False Advertising will get their music out there in the coming year. The way they are doing things now is brilliant – and they have amassed a loyal fanbase – but it will not be long until their music is attracting the seduction of big labels. Whilst I want them to progress and build; I am concerned the lure of big money/labels could lead them astray. They will never succumb to such an easy treat because False Advertising’s musical brilliance is down to their own direction and D.I.Y. aesthetic.

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I mentioned NME ran a feature regarding Manchester bands. The fact False Advertising are among the patriotic group of five means the music is touching the hearts of some big publications. Among the other artists included is Pale Waves, Layfullstop; IAMDDB and Bugzy Malone. The city has always been a bubbling cauldron of creativity and promise. From the 1980s and growing scene there – the ‘Madchester’ rise and time of bands like Joy Division before that – there have been so many terrific Manchester acts making their mark on the music scene. I have never visited the city myself but am aware of the music coming out of there. As a massive fan of artists like The Smiths; I have been following the Manchester scene for decades now. Oasis were, perhaps, the last legendary act to come from the city. That is not to say there has been an absence of genius stemming from Manchester. False Advertising have the potential to be one of the biggest acts out of Manchester in decades. Their path is already promising so it cannot be long until the world’s media heralds their music. What I envisage is the trio progressing from independent/local heroes to worldwide success in a matter of years. That development might take a lot of grit but they have shown their work ethic and sense of determination. They have a brilliant city in which to develop and craft their sounds. Not only do they have the some of the best venues around: the local support they get and will be recipients of is immense. There are so many other artists around them who will give them impetus and purpose. Maybe Manchester has advantages over somewhere like London. For one, there is more space and a less crowded environment. This comparative lack of stress and hustle provides an open and more hospitable atmosphere for artists to do their work. The spirit and humour of the people is inspiring and few can deny the magic and pull of the city. I am sure the guys have no plans departing anytime soon. The gigs they are getting means there is a reputation and demand in Manchester. Their colleagues are providing great music and it seems like the city is fighting to regain some of its status and stature.

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London is getting all the credit and many forget how brilliant the music of Manchester is. Perhaps that is the media’s fault – assuming all the best music is from the capital – but the best and brightest acts from Manchester are waging war. People assuming, if you live outside of London, it is harder to get the music to the attention of stations land corporations like BBC – those who exert the biggest influence. The only way we can reverse the dominance of London – and the way it is seen as the hub for all great music – is to put more focus on areas like Manchester. The city is alive and fertile right now. I am seeing a huge mass of terrific musicians come through. Unlike areas outside of London; musicians are remaining in Manchester and do not feel the need to relocate. That shows the city has opportunity and is a safe haven for its artists. I am excited seeing how Manchester expands and grows over the years. The same way there is sexism in the music industry: do we need to tackle the geographical imbalance and the comparative lack of love Manchester is afforded. The city speaks to me because there is that sense of community and coming together. It is a wonderful place to foster and develop music: unsurprisingly False Advertising seem to so rooted there. We need to get away from the London dominance and start embracing cities like Manchester. False Advertising are among (if not) the best from that part of the country. Another reason they blow me away is the way they keep changing and improving their music.

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I am a fan of their earliest singles but, on their E.P., I Would Be So Much Happier If I Just Stopped Caring, they have taken their music to new heights. The title might be a wordy thing but the songs contained within are punchy and concise. One gets a real sense of professionalism and treasure from the band. Hey You starts proceedings and sets the tone for the E.P. It is a boisterous and Grunge/Pop collection that will resound with those who are attached to False Advertising’s earliest work. What one notices is the new strands and calmer aspects. There is more introspection and emotion from the trio but they have not compromised their fire and desire. One still gets the same fuzz and lust as witnessed on their earliest pressings. Back then, when they first started out, there was that need to get into the consciousness and provide urgency. Now, having accrued respect and reputation; there is that luxury afforded to them. The band have not thrown away their dynamic and core but have integrated new colours and possibilities. One of the big things about the new E.P. is how the production still has that raw and edgy sound but the songs are more colourful, engaging and nuanced. This year has seen some great albums come through but most of the best work has been produced by solo artists. From Benjamin Clementine, Baxter Dury and Lucy Rose: there are few band-made records challenging for the top positions on the end-of-year lists. I am not sure why this is but it seems like the demand for bands is not what it used to be. False Advertising are a trio so one wonders whether the established four-piece is waning?! I am seeing some great duos and trios emerge and change music. I still feel the solo artists is at the top of music’s tree but, with artists like False Advertising producing stunning music, that will give guidance to fellow trios. This year has been a bit lean for band triumph in the mainstream – Wolf Alice one of few exceptions – so I wonder whether 2018 will change that?

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PHOTO CREDIT: Urszula Kochanowska

Before I move on to False Advertising’s new single; it is worth examining how they keep adding new layers to their music and strengthening their foundations, With each round of gigs, they guys grow bigger and more confident. There is an intrinsic link between regular performance and songwriting strength. The trio seem more confident in the studio and are pushing their music because of that. In another way, they are thinking about live performances and bringing new elements to it. The fans love something sweaty and instant but they are open-minded enough to see the volume come down a bit and something a little lighter work in the set. The only way we are going to create a legacy and stick with artists is if they do things their own way and keep their music ever-moving. That might sound like a big ask but the demand and competition is high. False Advertising are not sitting back and letting other people shift their music for them. They are getting out there and committing to their careers. Hey You is, perhaps, the best and most memorable song from them and I would expect another L.P. come through next year. I might be wrong but I sense a real determination and prolific desire come out. I expect this to build as the months go on – a big explosion is just around the corner. The guys are among the best acts in the U.K. and have that incredible live reputation. It is the respect they gain from the stage that has led them to some big radio stations. From the BBC and London stations; to local sources and further afield – a band whose music is stunning listeners around the country. One of the reasons I have been so engrossed in music – more so than I usually do – is the links it has to my past. The reason so many of us prefer music of the past is because of its purpose and place in our formative years. The earliest memories and experiences we have are scary and quite transformative. Music is an integral part of that time, and so, when we move on in life; music is not quite as potent and majestic. I am finding this and seeking out songs that tie me to the earliest days.

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In modern music, there are not that many acts who manage to remain fresh and contemporary whilst taking my mind back to my childhood/teenage years and provoking memories. That is not the case with False Advertising: I listen to their music and, for some reason, I am transported back to that time. Maybe it is their love of the Grunge and Rock masters but there is something in the music that unlocks memories, safety and pleasure. That happiness one elicits from nostalgia can be a dangerous thing. Harking back to the past can bog a person down and mean they cannot move forward and see positivity in the future. If one gets the twinge of childhood from new music then that is a satisfying and healthy blend. False Advertising are a progressive and modern band so it is not like I am stubbornly living in the past. Instead; I get a real whiff of my childhood years and align myself with a trio who are very much of the moment. A reason I have been cold with modern music is how it lacks the soul, feel and longevity of the classic acts. It is very modern and instant; the songs are built and constructed for the modern market – it lacks that real quality and sense of nuance. Maybe that is inevitable and understandable but I wonder whether music has come too far. By that, I mean things are too in the moment and modern. Acts do nod to the past but there is something lack and disingenuous. I am hard to please so maybe it is just as well we still have music from the past to keep in the memory – mixing that with great modern artists is a good balance. I Would Be So Much Happier If I Just Stopped Caring is an E.P. that takes me back to 1990s Rock and Grunge coming through the decade. I get fizzy Pop moments and some whispers of my childhood. It is a satisfying brew that casts my mind back and provides a real sense of embrace and nostalgia.

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The strings have a sort of restraint and calm to them – in a way, they remind me of the opening moments of Foo Fighters’ song, These Days. Hey You has a sense of mystery and questioning to it. Our heroine looks around the room and asks the heroine/hero – one suspects the former – what they are doing with their hair. Maybe there is playfulness or sense of nerves that is getting into the senses. The words look at a sense of delusion and struggle. Some of the lyrics do get weighted under the composition – the comprehension not quite as strong as one would hope – but one detects a real sense of struggle and conflict through the track. Our heroine seems aghast and in need of clarity. The song’s video sees the trio in an office preparing for a bike ride/event. There is a sense of boredom an fatigue as they plan something freeing against the mundane monotony of the workaday life. That seems to be something that runs through the song. Perhaps dreams are being formulated and there is that thirst to achieve something bigger and make strides in life. The heroine’s voice ranges from spiked and intense to softer and more investigative. In the verses; there is that build-up and desire to break free. The chorus does not have the same swagger and bite as previous songs: there is a lot more melody and a stripped-back approach on Hey You. The chorus talks about the impossible and trying to imagine something better. Throughout the track, I got the impression – although it spoke about another person – there was a personal dynamic. There is a strength within the band and, whilst there are obstacles and boundaries, they are not going to be confined. The title, to me, suggests a proclamation of realisation and reformation. We have all been in the position when we have struggled against reality and the limitations of everyday life.

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I feel False Advertising are taking from their own experiences and a limitation they have faced – the need to break free and embrace desire. In the video, we see the intrepid trio on their bikes and peddling the streets in search of adventure. It is a charming and child-like emancipation from the monotone shackles of the office environment. The composition puts subtle twangs and cutting riffs from Grunge together with the more elliptical pleasures of Pop. It is a vibrant and interesting brew that interweaves genres and balances between quiet and loud. The dynamic is exemplified in the chorus which sees embers of 1990s Grunge and Punk mixes with all manner of sounds. It is a rich and satisfying blast that brings together girl bands and acts of the 1980s with some modern-day Indie acts. The heroine is afraid and has mettle in her heart. It is interesting seeing that switch from third and first-person in the song’s narrative. To me, there is a sense of self-examination and getting out of a rut – hard to imagine breaking through and making things better. Maybe I have got things the wrong way around but everyone will get their own impressions from the song. It is a confident and assured blast from the trio and a song that departs from some of their earlier work. It has more melody and colour but it still retains their spiked heels and sense of attack. The chorus has that classic and instant appeal – something that could have been created by one of the best bands of the 1990s. The heroine is not an illusion or a mannequin: she is real and has her own mind and imagination. It is fascinating conspiring and imagining how personal the song is. It seems there is a sense of defiance and rebellion that runs deep. A declaration to anyone who has suffered slight and a knocking of their abilities – this is a clarion and wake-up that can see them succeed. Maybe, again, I am hearing what I want to but there is a sense of castigating doubters and embracing something meaningful throughout the song. In any case: it is a stunning song from a trio growing stronger and confident with each song they release.

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I Would Be So Much Happier If I Just Stopped Caring houses Hey You, Not My Fault; Honest and It’s Been a While (So Sick) – I Think I Got My Wish a new song among the throng. Many people will recognise the material on the E.P. but everything hangs together wonderfully. I know the trio are gigging at the moment and doing as much press as they can. One knows they will be a big success in 2018 but, already, they have a great base behind them. The fans are responding and more radio stations are reacting to their music. I know 2018 is a big year for them because they will look to step to the next area of their career. I expect there will be international dates and some big festivals slots. It is a big moment for them and, with a new E.P. out there, they have the opportunity to bring their music to new audiences. Let’s hope they do get some foreign gigs and manage to travel through Europe and the U.S. I think the American/Canadian market is pivotal for them and one they should get involved with. Perhaps money is a little slender but, with some scrimping, they could make it happen. The Manchester musical scran is delicious and fulfilling right now. The three friends of False Advertising are on a clear path and are shaping up to be one of this country’s biggest acts. I know they will have a triumphant 2018 and claim new glory. I Would Be So Much Happier If I Just Stopped Caring is a fantastic work from the guys and one that will get a lot of love from overseas. I would love to see them head to the U.S. – they have played there before – and do more regular gigs in other countries. I shall end this by imploring people align themselves to the Manchester act and spend more time in the city. It is alive and teeming with energy and possibility. The music coming from the northern city is brewing something hot and steaming. There is variation and wonder we should all ingratiate ourselves with. False Advertising are leading the charge and blossoming into a sensational act. Hey You is a prime example of how brilliant…

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THE young trio really is.

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Follow False Advertising

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INTERVIEW: Daniel Carlson

INTERVIEW:

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 Daniel Carlson

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THE new album from Daniel Carlson is out in a week…

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PHOTO CREDIT: Shinji Otani

so it is a good time to ask the man behind it about its creation. He discusses life and experiences in N.Y.C.; what goes into his new single, Problems, and the evocative artwork that fronts Not a Drawing. It is an exciting time for Carlson so I was eager to discover how he came into music and his evolution; the artists and music he was raised on – and why he splits his time between Amsterdam and the U.S.

I hear about a unique artist with a rich and multifaceted talent; someone who has ambitions for future success; a backstory many would envy – a sense of determination that has led him to where he is now…

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

Yeah, I’m great - having a really good week. Enjoying some very warm weather here in N.Y.C.

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

I’m a musician and songwriter, originally from Chicago - but now dividing my time between N.Y.C. and Amsterdam.

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Not a Drawing is out on 10th November. Can you give us an impression of what to expect from the album?

A little bit of this; a little bit of that… 

The idea was to make a record where the songs felt tied together: like they were pieces of a larger puzzle. I have a real fondness for albums where the songs are linked and have extra bits at the ends - and street sounds and things like that; surprising and secret kinds of moments. So, although I certainly took a lot of time on the songwriting itself; I spent just as much - if not more - time working out how these songs would fit together. My hope is that it feels like a trip for the listener, a journey. But, more specifically, there are guitars and drums - and Mellotrons and Moogs and those kinds of things.

No horns - but only because I can’t play them.

Problems is the latest single. Is there a story behind the song - and what was it about the track that meant it has singl-status, as it were?

In terms of the lyric; I’ll leave it open to interpretation. But, I think it’s one of the songs that felt more immediate - maybe just catchier - and so, I thought, it might be a good way to draw people in and get them curious about the whole album.

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The video looks like it was a cool experience. What was it like putting the video together?

It was a lot of fun to do.

I have a background in film and photography and, living in N.Y.C., you’re always trying to think of ways to show it that bring something new - even if it’s just a little bit - to the table. One of the things that I love about living here is how many people are on the street at just about any hour, day or night - it’s just a constant stream of people. So; I had this idea of showing just that - slowed down a bit - and then creating, through superimposition, an abstraction of people and traffic; a way of showing the familiar in a slightly unfamiliar way.

It was all shot within a hundred-meters of where I live; on corners and sidewalks that are very familiar to me. The editing was pretty automatic - once I’d come up with that main strategy, the mix of shots. There was some trial-and-error but it came together pretty quickly. I’m interested in learning about your attachment to art and putting album covers together.

Not a Drawing ’s cover looks extraordinary! Tell me who you worked with on that? Do you collaborate with artists in N.Y.C.?

Like so many of my peers, I was drawn to interesting album covers growing up. Even much later, in the pre-Internet days - when it wasn’t always so easy to hear something before you bought it - I’d often use covers as a guide; as a way of finding new music. In the 1990s; there was a label called Minty Fresh and, solely because of their great album art, I bought records they put out - by The Aluminum Group, Komeda; Kahimi Karie…probably a few others - that ended up becoming huge favorites of mine.

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But, the idea that the cover could look great as well as give you some indication of what the record might actually sound like - that’s always been interesting to me. The other aspect of it is one of collaboration: handing off what I’ve done - a set of songs - to a visual artist and asking them to interpret it visually. Not only will they bring a highly developed visual sense to what they do but they’ll also bring a degree of objectivity that it’s impossible for me to get.

Living in N.Y.C., I’m literally surrounded by great artists. For the new record: I reached out to Nayland Blake - who’ve I known for a long time and whose work I think is brilliant: provocative, smart, and moving. In addition to be a super-accomplished artist, Nayland is also someone for whom music is a really big part of who he is - so the hope was that it might be an interesting intersection for him (as I don’t think he’d done a record cover before). But, in terms of process - and this is how I’ve done it each time - Nayland got a very early version of the record and was asked to come up with both the cover-art and the title of the record. What you see is exactly what he handed over to me.

I absolutely love it.

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IN THIS PHOTO: An Amsterdam studio where Carlson recorded

I believe you were going to record (the album) with L.A. session musicians - who you have known a while. Why did the recording shift to New York?!

I’ve worked a few different ways in the past and thought, with this record, that I might take a bit from all of them. With Aviary Jackson (2010); Michael Leonhart and I were basically locked up in a room for a year, playing, singing and arranging. So, when it came time to do the next record (Me You You Me, 2014), I thought it might be fun to work really quickly. So, Chris Bruce put together a band and we cut those songs very quickly: I think we were done in three or four days.

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There were things I liked and didn’t like about both of those processes; so I thought that - this time around - I’d work in L.A. for a bit; then bring the multitracks back to N.Y.C. and do overdubs there - take a bit of time to put it together. But, after having spent a couple of years writing and demoing the songs (mainly in Amsterdam, where my wife and I live part of the year) I realized that those versions - with me playing all the instruments - were sounding pretty good; that it was already beginning to sound like a record.

So, although I knew that using outside musicians would’ve brought a level of playing to it that I’m not capable of; the thought of asking those players to copy what I’d done seemed ridiculous, a real waste of their talents. That’s how it ended up being all me this time around.

Before I move on; I am fascinated by the Gizmotron. You use it on the album but there is a childhood connection, I understand? Tell us more about that….

Yeah, that’s a good one.

When I was a kid - just learning how to play - and spending way too many hours in the local guitar store, I stumbled across this little plastic device; a sort of guitar effect. It fit over the strings of an electric guitar and produced a bowing sound - not unlike a heavily processed violin or cello. I thought it was the coolest thing I’d ever heard (or seen). Much (much) later; I was reading an interview with Godley & Crème, and they were talking about this thing they’d invented called the Gizmotron - and I realized that that was it: that was the plastic thing with the multicolored buttons I’d seen all those years ago.

So, I searched and searched and never found one in working condition - they were apparently badly engineered and not terribly sturdy, so that was that. Then, last year, a guy came up with the idea of re-engineering the whole thing and started making them again as the Gizmotron 2.0 - and so I immediately got my hands on one. As it happened, the record was just about finished; but I spent a month or so laying on a bunch of Gizmo-ed guitar tracks on - and was thrilled with what those parts added.

It’s a brilliant device.

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PHOTO CREDIT: JB Letchinger

Is New York the finest and most productive area for music? How inspiring is it for an artist right now?

For me, it’s always inspiring.

There’s a sense of creative competition here. While it’s friendly and healthy I think, it’s still competition and that pushes me to work - to actually get things done. With any city like this - whether London or Paris or Tokyo - you just never know who you’re standing next to and what kind of amazing project they’re working on. This is a city where your waiter could be a published novelist; where the person standing in front of you at the supermarket might – might - be the director of the documentary you just saw and loved.

It’s that kind of place and, for me, it’s a motivator.

Did you get introduced to music quite early? Who were those musicians you discovered as a youngster and compelled you to get into the scene?

Yes. Both my parents listened to a lot of music - so I was exposed to a ton of stuff as a kid: The Beatles, Leon Russell; Ray Charles, Deodato; Frank Sinatra - all kinds of things. But, it was The Beatles that inspired me to pick up a guitar; to actually figure out how to play. From there, it was onto Elvis Costello, Steely Dan; XTC, Robert Wyatt - people like that, who all remain big influences.

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IN THIS PHOTO: Shuta Hasunuma

Who are the new artists you recommend we check out?

Funny thing - somebody asked me just that question the other day...

There’s a Japanese musician named Shuta Hasunuma. He’s got a record out called Melodies that I really love: it’s kind of smart and well-constructed Pop record. Then there’s Forever Pavot; a French artist who put out an album called Rhapsode - that’s really terrific. I liked that Lemon Twigs’ single - the first one.

Then it’s back to people like Phoenix, Jens Lekman; METRONOMY, Testbild!; - artists like that - although they’re not all that new.

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IN THIS PHOTO: METRONOMY

What tour dates do you have coming up? Will you be coming to the U.K. soon?

I don’t have anything on the books right now. There’ll be a few N.Y.C. dates over the winter - but I’d love to come to the U.K. next year.

We’ll see.

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PHOTO CREDIT: Tim Soter

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

It’s always a good time to catch up on films and spend time with friends and family - so there’ll be a lot of that.

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

Ah…that’s tough! Ten would be easier - but I’ll follow the rules:

Aja by Steely Dan; Gideon Gaye by the High Llamas - and The Hissing of Summer Lawns by Joni Mitchell are all records that I come back to time and time again

Wait…Pop På Svenska by Komeda

I cheated...

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

Do something!

When I think back to all the years that I spent not really putting pen to paper (so to speak); it makes me a bit crazy. Yes, I had the excuse of studio-time being expensive - but that’s really no excuse at all. The fact is that it took me until my late-30s to really treat writing and playing in a serious way; to actually sit down and do it - which I learned from my wife and observing her studio practice as a visual artist.

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IN THIS PHOTO: Bridget Benge

So, my advice to people coming up right now would be to get as much done as you possibly can. Work on your own. Collaborate. Say ‘yes’ to anything interesting that comes your way. I’m just finishing an E.P. with a Swedish musician who came completely out-of-the-blue and asked if I’d sing on his record - his songs, his production - and it’s been a wonderful experience.

Years ago; I would have made some excuse or other and not done it.

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

Yes, absolutely: Ian Dury and The Blockheads - Inbetweenies

(Didn’t know it until a few years ago - and now can’t stop listening to it).

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INTERVIEW: Oriion

INTERVIEW:

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Oriion

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A certain cheekiness and assuredness emanate…

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from Oriion - as he talks to me about the new song, Fast Lane Hearts. I ask him about its derivation and whether it (the song) is a step up from a track like Live Another Lie (I think it is). Oriion explains his process and why he has relocated to Berlin; whether there is going to be new material soon – and why he decided not to go to L.A. recently.

He tells me about influences and important albums; some new artists worth seeking out; why Berlin is such an attractive city to live in – and why he got into music in the first place.

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

Hey. Wassup!

I’m doing pretty good. I was going to Los Angeles but decided not to go at the last minute - while standing and waiting at the airport - my heart suddenly told me to go back to Berlin.

So, here I am: back in the studio and finalizing my next tracks! On top of that; my team and I are discussing my next steps. 

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

Hi. I’m Oriion - and this won’t be the last time you will hear my name. HAHA! Just follow my steps and I will introduce you to a world full of nostalgic moments…

Fast Lane Hearts is the new single. What is the story behind it?

Well!

Have you ever felt the unsatisfying crave towards somebody; living in a fleeting world; a universe of fast lane hearts, distraction; endless options we long for that one and only feeling; two hearts becoming one, becoming time and space?!

It sounds like a lot of layers and time went into the track. Was it quick to put together – or was it tough committing to a version that sounds right to you?

I’m very versatile when it comes to layers of time - but this song was written in the stars already. This song is definitely inspired by the 1970s and '80s

The song is a step up from the previous track, Live Another Lie. How would you say the two songs differ?

Well, let me put it like this: every step I take in my life should be a step up…shouldn’t it?!

Every song you will get to hear will differ from another one - but the most important aspect in all this is to keep the nostalgia, somehow. 

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Is there an E.P. on the way anytime soon?

Oh yes! We are going to release an E.P. soon enough. 

You are working with producer Lindahl, I believe. Is that for an album – or part of the E.P.? What is like working with him?

Yes. I am working with producer, best buddy and spiritual connection, Lindahl - he is part of Oriion. He helped me to discover Oriion. We would love to write songs, E.P.s and albums for a lifetime! Let’s see where life is taking us to!

We are super-excited.

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I am discovering a lot of artists coming through Berlin. What is it about the city that attracts so many?

True! I really don’t know as I refused to come here in the beginning - but this city has magic in it. Come and find out yourself.

I think you will dig it!

Can you tell me the artists you grew up listening to and idolized?

Sade, Prince; Janet Jackson, Terence Trent D’Arby; Queen - and many others.

Was there a particular moment you decided to go into music? What is it about music that speaks to you?

I was always about music! I started as a dancer when I was three - and ended up singing by eleven. Music is a very powerful medium.

It is pure emotion, eternized. 

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IN THIS PHOTO: Anna of the North/PHOTO CREDIT: Jonathan Vivaas Kise

Who are the new artists you recommend we check out?

Uff…so many good talents out there!

Check out RKCP; Anna of the North; TENDER; Laskaar, Jorja Smith - and and and…

(I feature most of my favourite artist in my playlists).

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IN THIS PHOTO: Jorja Smith

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

Sade - Diamond Life/Promise

Kelis – Tasty

Prince – Purple Rain (Deluxe)

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

To understand the concept of time and focus.

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).

Queen – You Don’t Fool Me

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INTERVIEW: FRASE

INTERVIEW: 

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PHOTO CREDIT: Kodiak Photography 

FRASE

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I have been speaking to FRASE…

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about his new single, The Weight. He discusses its story and how the song came together – and the artists that have inspired his sound/development. I ask about the album, FRNZ, and the sort of themes he explores in it. The Montreal musician explains why The Weight’s lyrics were gestating for a while; the city of Florence and its relevance – and what is coming up for him.

I ask about the artists FRASE holds dearest; whether he is coming to the U.K. soon; the new artists worth more time and investigation – and the advice he would offer new musicians.

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

Hey. I'm great, thanks!  My week has been pretty busy. I launched my new album, FRNZ, last week and have been promoting that and playing a lot of shows.

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

Well. My real name is actually Fraser. I grew up in Montreal and lived there up until recently - when I moved out to Nelson, B.C. with my girlfriend. I am a singer/songwriter/producer/multi-instrumentalist - and have been writing and recording music for over a decade now. 

I want to know more about The Weight. I am guessing it shares little in common with The Band’s single (of the same name)?! What is this one about?

Ha; yeah!

This one is about a man who looks back at his past relationships and feels the burden of remorse about how he has treated some these women - ‘the weight’ of these relationships are heavy on his mind...

I know the lyrics were circling in your head for ages! Why did it take so long to get them down on paper?

That happens a lot with me: I write a little hook or some verses and never quite get to record them. This was during a period when I was touring a lot and it was not until I met Sickflip (in Mumbai, India) that I recalled these lines - and started writing the music for the words and melody.

FRNZ is the new album. Talk to me more about the stories and themes that go into the record…

The idea to call the album ‘FRNZ’ came about shortly after I wrote a song called FRNZ. It came out of nowhere really. I woke up at like 4 A.M. with some lines in my head and, by noon, I had the whole song done...

I was living in Florence, Italy at the time. The city of Florence - or ‘Firenze’, to the locals - was so friendly to me. I would say the city's name fast and it kinda sounds like ‘friends’ - FiRenZe - when you cut out the vowels, it's ‘FRNZ’. The connections I have there helped me to finish my first full-length album. Because of Facebook and social media the term ‘friends’, to me, has become too broad.

I wanted to come up with a phrase that could be more specific to the people in your life who go beyond superficial friendship - to the point of changing your life for the better and helping you realize your greatest potential self.   

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 PHOTO CREDIT: Kodiak Photography

It seems like it has been a labour of love putting together? How much of your heart and soul went into the record?

Pretty much all of it. Ha. 

I do have some left, though, in case I am inspired and I keep writing and producing - and I’m on the follow-up singles already. I always put a lot of soul into my music and I hope it resonates with people.

Montreal is where you are based. What is the city like in terms of opportunities for new artists?

Montreal is great for a developing artist because it pushes you to be really f*ucking good!

There is a lot of talented people there and, every night, there is someone playing right around the corner who is more popular - and has a crazier show. So, for me, it exposed me to so much great art, music and culture - and then made me put in the work on my own music to get booked and get noticed.

(Side note: I was based in Montreal for most of my life - but I left in early-2015 to travel and tour in India and Europe. I came back for a bit in 2016 - just long enough to meet my girlfriend, Em).

We moved out to British Colombia last winter and have been here since.

Can you tell me who the musicians were that inspired you growing up?

I really have always loved Dance and Pop music; from Michael Jackson to Dance Mix '93. My jam after that was Hip-Hop - artist like the Fugees, A Tribe Called Quest - and Soul singers like Erykah Badu and D’Angelo

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 IN THIS PHOTO: FKJ/PHOTO CREDIT: Jack McKain

Who are the new artists you recommend we check out?

I’m not sure how new he is, but I love Beat Machine Aron out of Iceland. I listen to his beats for days. 

Also; my homie Atamone - for that lo-fi, jazzy Hip-Hop style - is great. 

I like Masego and FKJ a lot, too. I like that video collab., Tadow!

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IN THIS PHOTO: Atamone

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

Oh…that’s hard! Hmmm…ok:

Fine Young Cannibals - The Raw & the Cooked

I was six or seven and had this album on tape-cassette - and listened to it on my Walkman so many times. It’s so catchy and cheesy: I don't really listen to it anymore but, man, it was huge for me as a kid. 

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A Tribe Called Quest - Beats, Rhymes and Life

J Dilla-era ‘Tribe’ is the best; it was a huge influence on how I hear drums, now.

Anderson.Paak  – Malibu

This album blew me away last year and I was like, yes: finally an album I can listen to on-repeat!

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

Don't wait for someone to do it for you...

There is no incubator anymore: you have to go work it and be slaying every show for people to care. So; keep at it, make the best music you can and keep ya head up! 

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Where can we see you play this year? Any new dates coming up?

Well. I have played over ten festivals in 2017 and toured all over Europe (Italy, Germany; Czech Republic, Bulgaria and Belgium)  and Canada - and now I'm gonna take it easy for this month! 

I have some exciting touring news for December - but I'm not sure I'm allowed to say yet…

Do you think you will visit the U.K. soon?

Hopefully. I always pass thru Gatwick on the way to Europe. I’ve always wanted to book a gig there - so let's make it happen!

Do you have a game plan for 2018? What do you want to achieve next year?

I hope to release a couple more singles early-2018 and then start to work on an E.P. before summer. I want to share with people my recording process more; so I’m gonna start filming live videos in my home-studio.

I have played a lot on the West Coast (Canada) festival circuit and I hope to get out and play in the U.S., U.K.; Australia and New Zealand festivals scenes, too.

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).

pass dat by Marteinn!  

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INTERVIEW: Oh Geronimo

INTERVIEW:

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 PHOTO CREDIT: L.A. West

Oh Geronimo

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THEY say, when explaining their new album…

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 PHOTO CREDIT: L.A. West

The Sled; the music traverses peaks and valleys of companionship, ego and self-perception. That collision is what is what is explored. I ask the Canadian band about that record and the new single, No More Stones – and its rather fun and memorable video! The guys tell me about the music scene where they are and whether a U.K. visit is on the cards – and the albums they are all compelled by.

Oh Geronimo discus that unique name and how they all came together; what they have planned for this Christmas – and a few new artists they are reacting to right now.

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

We are well. It’s been a nice week.

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

Hello, everyone. We are Oh Geronimo.

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 PHOTO CREDIT: L.A. West

No More Stones is the latest single. What is the story behind the song?

The song is about strained friendship - but I feel like it applies to any sort of relationship (platonic or romantic).

It is taken from your album, The Sled. How was it recording the album? Was it quite a smooth and fun process?

We recorded the record at a very cottage-y studio in rural Ontario called The Chalet. We were under a tight budget/timeline; so we probably worked the fastest we’ve ever worked, musically. It was a beautiful three days, fueled by laughter and whiskey.

The video for No More Stones looks like it was memorable. What was it like shooting it and do you think the images symbolise and mirror the lyrics of the song?

It was actually pretty strenuous to shoot...

We had lots of people pulling as hard as they could on a rope for, like, twelve hours. We also had to shoot this video twice - after running into some technical issues with the first shoot. We think it captures the message of the song. Companionship is an emotional tug-of-war with unpredictable waves of tension and release.

When the going gets tough, you constantly contemplate holding on or letting go.

What, would you say, are the main themes of the L.P.?

The Sled traverses the peaks and valleys of companionship, ego; self-perception - and explores what happens when they collide.  The release of this record will mark a year since half of our band put down their torches — a year that demanded patience, persistence and resiliency. Often times the universe begs us to throw in the towel - but we’re fighters.

We will never extinguish the fire and The Sled solidifies that resolution.

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 PHOTO CREDIT: L.A. West

I want to ask about the band’s name, ‘Oh Geronimo’. Is there a particular reason for that name?

The name was inspired by the antagonist from a film called War of the Buttons.

Can you reveal how you all met and started making music together?

A few of us met in high-school, became best friends; played in a band, broke up - then started a new band.

Ontario is where you are all based. Is there a lot of great new music coming from the area?

There is A LOT of great music from Ontario.

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IN THIS PHOTO: Lost Cousins

Who are the new artists you suggest we check out?

Texas King, Lost Cousins; Elementals, The Kerouacs; The Lifers...this is just what we’re vibing right now. 

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IN THIS PHOTO: The Lifers/PHOTO CREDIT: Nicolette Hoang 

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

Drew: The Strokes - Is This It

It's the first album I bought with my own money at The Bear Goes On in 2004 (for $7.99). A very special moment I will cherish forever.

T.J.: I'm gonna go with Forgiveness Rock Record by Broken Social Scene

Listening back, it's kind of the soundtrack for what was a great personal transition in my life.

Nick: Where You Want to Be by Taking Back Sunday

My brothers introduced me to the band but that album I got to discover organically. It was the first time I felt like I had to listen to the entire album - and it surpassed any expectation thirteen-ish-year-old me could have.

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Kyle: I'll say Rock of Ages (live) by The Band

Colourful, poetic songs about timeless characters and places - and the best live recording I've ever heard.

Ciarán: I’m gonna go with I’m Wide Awake, It’s Morning by Bright Eyes

That record made me realize how integral lyrics are. I truly started caring about the words I was choosing to write after that.

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

Take risks. Make Mistakes. Don’t give up.

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PHOTO CREDIT: L.A. West

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

Only in Canada at the moment…

November 24 - Hamilton - This Ain’t Hollywood

December 1st - The Queen’s Head - Burlington

December 8th - The Burdock - Toronto

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PHOTO CREDIT: L.A. West

Do you chaps plan on coming to the U.K. before too long?

That would be a dream. Maybe in 2017...we’ll see.

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

We’ll all be working our day-jobs...most of us are in the restaurant industry - which gets busy around the holidays.

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

The Wolf by Eddie Vedder

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INTERVIEW: Jules Rendell

INTERVIEW:

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 Jules Rendell

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THERE is something about Jules Rendell…

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that strikes a chord in me. I am hooked by her current single, Old Friend, and the emotion that goes into it. Rendell talks about the song and its creation; moving from Birmingham to London – and the differences between the two cities (her experiences of Manchester and being among its people, too). Rendell’s forthcoming album, Imagine, is one possessed of great heart and innovation – she tells me about it and the spark behind some of the songs.

I ask her about the artists and albums that drive her; a couple of new acts we should all seek out; the highlights of 2017 (so far) – and how she will be spending her Christmas.

PHOTOS CREDIT: CK Goldiing

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

Hey! I’m really well.

Release-days are like birthdays: so many people getting in touch to congratulate you all at once - so, my spirits have been quite high since the release last Friday!

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

Sure. I’m Jules Rendell; a soulful Pop singer-songwriter. My music is always honest, connected to real life; melodic and catchy. You’ll get an insight into my life when you listen to my lyrics and, hopefully, something about my music will provoke some kind of reaction in you - rather than just pass you by!

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Old Friend is your current single. Is there a tale attached to the song?

Yeah. The first half of this year (2017) I found really hard and I struggled for the first time in ages with my mental-health. I felt under a lot of pressure to achieve stuff, be good enough; write amazing songs; earn loads of money. I was working really hard but I felt I was achieving nothing: so, I would work harder, not see my friends; not do fun things; not rest.

Anyway, I went up to my friend’s house in Manchester to get away from the rush of London and quiet myself to write. It was such a relief to be around chilled people and not face my usual pressures: friends can make you see things differently. I came back so much more relaxed and, actually, my year got a lot better from that point...

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Were you going through a period of assessment and self-reflection when writing the song? It seems like the track was a sort of catharsis and release, in a way…

Yeah…

I feel like I am always assessing and reflecting - so that’s not unusual. I’m not sure I find a release in a song until I finish it (and it actually took another month or so to finish it)…certainly; when I wrote the bridge, it felt complete - and that’s the bit where you relax in the song; that is definitely a release.

The video is thought-provoking and emotional. How did the concept come together? What emotions stir in you when you hear it back?

The video is quite simple, really - it’s my story - except with two guys instead!

Why do we end up alone when we are struggling? It’s always better to be with people. You see the main actor consistently alone - except when he is reminiscing about better times - and then, of course, at the end...

I love that the video-set in the grit and grind of London - and it’s just so normal. It’s an everyday story that anyone could have.

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Imagine is the album it is taken from. Can you tell us about the record and what we can expect in terms of themes and songs?

All the songs were written this year as I was struggling strong emotions; mainly feeling not ‘good enough’. It’s such an abstract feeling really - who sets the standards?! We set our own standards in essence and, if you have perfectionist tendencies; that can be really hard.

So, a lot of the songs on the album face these emotions and try to put some truth into them. My next single, Let Go, is about letting go of perfection - it’s really upbeat, vibrant and sounds free. The Return is about freeing yourself from fear and worry. Of course, there’s an obligatory love song in there, too (*smiles*).

All of the songs reflect the sounds of my city and life here.

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Birmingham is the city you were born in. What compelled the decision to move to London? Did you feel the capital offered more chances?

I actually grew up in a small town just south of Birmingham - and then I moved to Manchester for a few years. I’ve been in London for a decade now. I love city life (even though it has its pressures!) and, when I moved to Manchester, it was obvious I’d be more comfortable in a bigger place.

Yes, I guess I did feel London offered me more (and it has) - but I also moved because I needed to re-assert myself in a new place, too.

I have definitely changed for the better living here. It’s also a lot warmer! Ha!

I know you felt pressured in London and went to visit a friend in Manchester. Is that city somewhere you feel more settled in?

I think that, feeling settled, is something you have to learn how to do whatever you’re surrounded by - and wherever you are. Peace comes from the inside. But, it is a slower pace of life up there - and people are friendlier.

I don’t know if I’d feel better living in Manchester or not (I’d be colder. L.o.L.) but I do know that, whenever I visit, I return in a nicer frame of mind!

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Are there any particular musicians who have inspired your career and made you want to get into music?

Ha! Of course.

My influences have changed over the years - there’s so much inspiring music out there - but I remember the album that made me want to write and perform my own music: it was Jill Scott’s live album. That changed me. Recently, I have a lot of love for Jack Garrett’s album (and for ThirdStory).

They’ve both inspired me a lot and given me a lot of love back for music.

Looking back at your year; what have been your personal highlights?

A definite highlight has been making the album and making the first video.

Hearing my songs come to life has been amazing. My producers (OL Music) did an incredible job - more than I imagined. Another highlight was performing at a night called The Write House (back in August) alongside Tank and the Bangas - who are INCREDIBLE.

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IN THIS PHOTO: Jordan Rakei

Who are the new artists you recommend we check out?

Tank and the Bangas! If you get to see them live; you won’t regret it.

I have recently got into Jordan Rakei and Tom Misch, too - they’ve been around for a while but I bet there are people reading this for whom they are new....

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

That’s a hard question - as you have different albums for different seasons of your life.

I’ve already mentioned Jill Scott’s live album: that convinced me to start on this original music journey.

I really appreciate good lyrics so, for that, I would choose John Mayer - Continuum or Michelle Willis - See Us Through… love that album!

For vocal dexterity; I’d have to go for Lalah Hathaway’s live album (Lalah Hathaway Live)

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

Work at your art. Keep working at it. Write and re-write (and re-write) - and get feedback and re-write again. Do gigs. Get good at performing. Be nice to people.

People will want to help you if you are nice!

Where can we see you play this year? Any new dates coming up?

I’m about to go into a really busy season with my vocal group, Get Gospel - so I’ll be gigging properly with my new album when I have more time in the New Year! I do log all my live dates on my website - so check that out.

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

Yep; working like a bee.

It’s the busiest time of year for me - but I always make sure I spend time with my family over the holidays, too.

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).

Oh, coooool! Well…how about Tawo by Jordan Rakei? Hope you like it!

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Follow Jules Rendell

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INTERVIEW: Andrea Di Giovanni

INTERVIEW:

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 Andrea Di Giovanni

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THIS young songwriter has had…

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a pretty hectic year so far! I have been speaking with Andrea Di Giovanni about his time in London and why he moved from Rome. He discusses the new single, Got to Blame, and the story behind it; whether there is anything coming in the pipeline; why modern artists like Beyoncé are influences; how inspiring London is as a city – and whether there are any upcoming gigs we can catch him at.

I learn more about the creative process of a modern-day Pop artist and what it takes to succeed. Di Giovanni offers some advice to new artists; the albums that mean the most to him – and a few cool artists we would be wise to check out.

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

Hiya! All good…you?

It’s been amazing. Released my new single and performed live with my band at Thousand Island!

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

I am a twenty-three-year-old singer-songwriter, originally from Rome (Italy). I moved to London four years ago to study at the British Institute of Modern Music - where I graduated this year in Creative Musicianship.

The main artists I’m inspired by are David Bowie, Rihanna and Sam Smith. I like to combine Pop with dark electronic elements.

Got to Blame is your new single. Can you tell me about its story and origins?

I wrote Got to Blame about a year ago when I finally chose to be myself and let go of the shame that held me back for a long time. The song talks about the struggles that you find and fight on the way to self-acceptance. Life is already hard.

We need to stop criticising ourselves so harshly and live up to who we are.

The song has a big, electronic sound. Did the composition come together gradually or was it quite an organic process?

I wrote it, originally, in an acoustic way and then created a home-made demo. I’ve, then, contacted my friend Jamie Sellers at Run Wild Music and developed, in two sessions, the final arrangement.

The epic backing vocals on the track are from Lucrezia Perletti and Nadjibá Shabieva.

Is there going to be any more material coming in the next few months/next year?

After Got to Blame; I will be taking a break - as I’ve been working nine months-consecutively and need some fresh air to get new ideas for 2018. I will then write a lot; collaborating with producers in London to create a strong portfolio - to present to labels I am working with.

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Tell me about the artists you are influenced by? What kind of music were you raised on?

I always loved Pop music since I was a little kid. My dad used to play me a lot of great music such as Queen, Michael Jackson and Whitney Houston - and I fell in love with music that had soul. Artists that I look up to, now, are David Bowie, Rihanna and Sam Smith - but I always like to bring my own original twist.

I believe in artists that make music that’s different from what the world presents already - rather than copying-and-pasting the top-ten charts.

What compelled the decision to move from Italy to the U.K.?

I was pretty lost in Italy...

I didn’t feel fully understood and, therefore, wasn’t able to express completely my personality. I’ve also wanted to explore the world and make new experiences - and London seemed the place to be.

When you arrived here, you studied at the British Institute of Modern Music. What did you learn from your time there and how important was is it you?

My time at BIMM has been truly amazing. I’ve grown so much since I’ve joined; met pretty incredible musicians and industry professionals - and made connections that are still working now.

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Looking back this year; what has been your favourite memory so far?

My best memory so far has to be performing at Brighton Pride. Having that platform to speak to my kind of people has been (truly) a blessing I’ll never forget!

Is London influential when it comes to your music and getting ideas for songs?

Oh, hell, yes! The music scene is so diverse and eclectic here that you end up getting inspiration everywhere.

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IN THIS PHOTO: Native Dancer

Who are the new artists you recommend we check out?

Indigo Face, L.E.A; Native Dancer, July Jones and Georgia Meek.

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IN THIS PHOTO: July Jones

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

I’d say: Frank by Amy Winehouse

Because that’s when I fell in love with her incredible voice.

Lemonade by Beyoncé

As it’s an incredibly eclectic album and not too ‘mainstream’ in terms of sound.

Whitney: The Greatest Hits by Whitney Houston

As it reminds me of the times I used to sit in my living-room and sing my heart out!

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

Be yourself; be resilient and have fun!

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

I will be supporting my friend, Brendan Cleary’s E.P. release at Notting Hill Arts Club on 17th November (with my full-band).

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

I will be back at home in Italy - enjoying some good family time!

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).

I have a Spotify playlist with all the up-and-coming artists in music.

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Follow Andrea Di Giovanni

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INTERVIEW: John Galea

INTERVIEW:

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 John Galea

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I cannot think of many artists…

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who have covered as much ground as Johh Galea. His fourth E.P., Missing Pages, was released last year and, since then, he has played the Main Stage at Sundown Festival; appeared at London Pride – the video for the single, When You Truly Love Someone, gained massive support and views on YouTube. I speak to Galea about his latest track, Honesty, and the story behind it; whether there is going to be an E.P./album arriving – and how he got into music.

He reveals when music came in his life and the evolution present in his own work; those albums/artists that have shaped who he is; what tour dates are approaching – whether there are any plans (already cemented) for next year.

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

I’m good, thanks. Yeah; busy as ever.

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

I am Independent singer/songwriter from sunny Great Yarmouth; now living in London - and my music is heavily influenced by piano and Soul music.

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Tell me more about Honesty. What is the story behind the song?

The track, Honesty, I wrote with the amazing singer/songwriter, Frankmusik. I came up with the title, Honesty, and main chorus and took it to a writing session we had - and it developed from there. It’s a very simple - but honest - track about love and what we all need in it.

How has your music evolved since your fourth E.P., Missing Pages? Have you found yourself developing and changing as an artist?

Absolutely.

I have gone from Dance-based-Pop to more of a soulful sound (and songwriting). I still have those upbeat tracks - but they are certainly deeper, message and songwriting-wise, than my earlier music.

What was it like playing at events like London Pride and Sundown Festival? How vital were they in regards your confidence?

It is all very vital and great experience.

The fact is, as an unsigned artist, I was performing on the same stage as Craig David and Rag'n'Bone Man. It was crazy. The interaction you get from the audience - e.g., singing back the words etc. - is something you can only get playing live (and I love it).

There's nothing like performing live.

The video for Honesty documents your time at Sundown. Did you feel the images naturally scored and represented the ideas expressed in the song?

Well. The idea was there’s an honesty between performing live - and performing live is a very special thing for me. The reaction, be it good or bad, is instant and you can see, as a performer, if the crowd likes your stuff or not - and the track all about asking for that honesty in a relationship; so we thought the two would work well. Also, it gives backstage footage of Sundown and getting ready and it’s great to show people the ‘behind-the-scenes’ element of performing.

It ain't all glamorous.

Your single, When You Truly Love Someone, did big business on YouTube. Were you humbled by the response that song got?! What, do you think, was the reason for it?

I am indeed...

I knew we had something special when my producer, Oscar Lo Brutto, said that’s the one to release. He knows what he likes. The fact it has done so well on VEVO and now, being considered for a Grammy, is so cool. The track is all about the conflict of the pain when it comes to loving someone.

It is something, I guess, we all can relate to.

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Music came into your life at a young age. You started writing at thirteen! Were there particular artists that compelled your spark? Why did you decide to get into the business?

I watched Mariah Carey sing once on T.V. and she blew me away - and I wanted to sing.

But, then, when my dad brought home an electric organ one day; I wanted to go deeper and see how you write songs - and write hits and write my own music – hence, the classical grades I achieved and the constant need to switch the radio on (and see what music was coming out).

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IN THIS PHOTO: Lao Ra

Who are the new artists you recommend we check out?

I write for and with new artist all the time and I can’t wait to hear Lao Ra’s album when it drops.

Also; keep an eye out for a soul singer called Wayne Thurtell. He’s going to do well.

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

Daydream - Mariah Carey

My first C.D. that was given to me - and I played it to death I love it. Looking In, the last track, is such a personal track - so good!

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The Record - The Bee Gees

It is their greatest hits and I played it to death when it came out. I couldn’t believe how many amazing tracks they wrote for other people - as well as themselves.

Songwriting at its best!

1000 Forms of Fear - Sia

She is a musical genius and has to overcome so much to get her music out there! This album is so good and so raw - and honest and real - but commercial at the same time.

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

Never let anyone, including industry people, put you off doing what you want to do! Do your music homework and keep working to achieve your goals. You can do anything you want to - just got to work hard and keep on pushing even when times are hard.

We all get those days!

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Where can we see you play this year? Any new dates coming up?

Not at the moment - as most of the year I have been playing live, on tour and at festivals. It’s studio-time, now, for me.

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

Spending it with family in Norfolk and, hopefully, get out somewhere nice for New Year.

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Do you have a gameplan for 2018? What do you want to achieve next year?

I’m writing with some new artists (and myself) so will be producing, either a new E.P. or working towards my first album - and seeing how that all goes.

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).  

You Can Do Anything - Sia

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Follow John Galea

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INTERVIEW: AlphaCub

INTERVIEW:

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AlphaCub

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CANADIAN songwriter AlphaCub…

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is currently working on his full-length record with acclaimed talent such as Ken Lewis (Katy Perry, Lorde). Right now; the track, Don’t Waste My Love (produced by Alex Meade) is out there and gaining a lot of respect. I ask AlphaCub about the song and the background; he tells me the reasons he's donating proceeds to Cystic Fibrosis Canada; how 1980s Canadian music resonated at an early age – and why this week has been a stressful one. 

I learn more about an artist determined to spread his music to the people. AlphaCub talks about plans regarding U.K. performance and how his parents’ music collection inspired him – and why Canada is producing so many great artists.

PHOTOS: Michael Mangov

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

Honestly, this week has been sh*t. Relationship stuff; family stuff - life stuff, ya know? That's how it goes. Overall in life; I'm happy.

I'm happy to be talking to you!

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

My name is AlphaCub. Some people like it; some don't.

What can you tell us about the new track, Don’t Waste My Love?

I wrote that song with my producer, Alex Meade. It's inspired by Canadian 1980s Light-Rock. The synthy stuff: Alfie Zappacosta, Gino Vinelli; The Box and Gowan.

I just met Gowan - nicest guy.

It has quite an energised and club-ready pump! Did you want to create a track that would get people dancing?

F*ck yeah, I did!

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The chorus has a great hum and addictiveness. Was that the lynchpin and muse that got that led to the song’s creation?

The chorus came first and the melody just popped into my head. I originally envisioned it with more horns but, as you move forward with an idea, it evolves.

Will there be an official video for the track – one with a concept and actors – in the pipeline?

No plans for a video but...who knows - I love putting my face on camera and showing it to people.

You are working with Ken Lewis on your upcoming album. What has it been like working with him and what did he bring to the music? Did you learn a lot from him?

Well. I've never met him in my life but his reputation speaks for itself. His mixes take my songs to the next level.

So; I like him and I can only hope he'd like me.

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The proceeds from your new track go to Cystic Fibrosis Canada. What is your experience with the illness and have you had friends/family members affected?

My first agent, Paul Gourlie, passed away from C.F. almost five years ago. My niece was born with it. It's a nasty affliction and I want to help people with it in any way I can. I make music: it's the thing I have to offer a cause - and C.F. is the cause close to my heart.

Can you reveal when the album is out and what kind of themes you tackle on it?

All I can say is it'll be released in 2018.

The album is about how everyone is something else: everyone is something that you don't see.

I am getting a lot of requests from Canadian artists. You are in Toronto. What is the music scene like there and what is about Canada that produces so many interesting musicians?!

I love it here and the music scene is really exciting. As far as ‘the thing that makes us interesting’; I don't think it's any one thing - we're just a bad-ass group of people; each with our own unique history to draw from.

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Do you remember the first artists that got you hooked on music? What was your record collection like when you were younger?

It was my parents’ tape collection and it had a bit of everything - from The Beatles to Air Supply; from Jann Arden to Seal.

(My dad really loved Seal.)

When I was four-years-old; my mom woke me up in the middle of the night to come watch a Bengals video. I think that was the moment it happened - or maybe it was the first time I heard Shout by Tears for Fears.

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

Peter Gabriel - So

Radiohead - OK Computer

Jeff Buckley - Grace

These albums taught me how to be a songwriter and how to find my voice.

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

December 1st at The Horseshoe in Toronto.

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Are you coming to the U.K. soon?

I love the U.K. and I hope to get there in 2018.

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

Don't ever stop. You're right. People need to listen and it's your job to make them listen. Don't ever stop. Do what you love.

Nothing else matters.

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).

My fav. band right now is GUNSHIP and their song, The Mountain, is my jam!

Play it!

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Follow AlphaCub

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INTERVIEW: ETCHES

INTERVIEW:

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ETCHES

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AFTER their single Love Is…

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captured the public imagination and gained kudos; the lads launched into a double A-side, Human Façade/My New Empire. The former concerns an ex-adult industry whistle-blower. The song examines the effect of online pornography on the mind and consciences. My New Empire drips with 1960s Motown influence and a lo-fi rhythm section. The Liverpool band talk about their craft and how the songs came together; how they got together and started playing – what the next step is for them.

I ask them about their favourite albums and songs; what gigs we can expect them to play; how their Christmases are faring – and what the music scene is like in Liverpool right now.

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

As the one member of the band without a car or a Liverpool residency - I’ve been fairly shafted by Mersey rail industrial action and the ongoing Lime St. works this week.

Business as usual for everyone else…

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

We play Alt-Pop with fat choruses.

Human Façade/My New Empire is your new double A-side (out on Friday, 3rd November). What is the origin of the songs?

We have a painfully democratic process of deciding on what ideas and half-songs are going to be fleshed out. Human Façade, at first a lazy drum and bass loop, almost didn’t make the final cut until it was welded onto another half-song that had been knocking about for years.

My New Empire appeared almost fully formed from Ross; for us then to add guitars and instrumental nuances.

Why release a double A-side? What was it about the songs that compelled you to release both?

We’ve been sitting on these songs for a while and just wanted to get them out there. At this point, the desire to have them public outweighed any release strategies.

Both songs find contrasting sounds. There is everything from Motown/Soul to Psychedelia. Would you say your current material is broader and more ambitious than your earlier stuff?

I’d say so...

In the past, our tracks began pretty far-out, and then, were gradually reigned in. We are better at telling the difference between what’s fun to play and what gets to the point more these days.

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James Bragg produces. What was it like working with him?

He had no agenda and would just listen and fiddle with things - a temperament most suited to enduring us in the studio.

Can you tell me how ETCHES came together and what those early rehearsal sessions were like?

A long time ago, under various incarnations, originating in Guildford. The band is getting progressively younger (and more northern) -which 3/5ths of us are glad about.

Do you all share a love of the same artists? Who are the musicians you all look up to?

Not necessarily; although, we find common ground in Jazz, Hip-Hop; classic Pop as well as modern weirdos like Ariel Pink, UMO and King Krule.

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Will your new singles lead to an album or E.P.?

It’s possible: we certainly have an album's worth of material good to go.

The band is based in Liverpool. How vibrant and busy is the city when it comes to new music? Do you think the city gets the credit it deserves?

Actually, three of us are in Liverpool: one in Manchester and one in Wigan. Admittedly, we are out-of-the-loop, almost completely, in Liverpool.

What tour dates do you chaps have coming up?

Manchester – The Castle (02/11).

London - The Islington (04/11).

Liverpool – East Village Arts Club (26/11; supporting Echobelly).

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Who are the new artists you suggest we check out?

Not necessarily new artists - but this year I’ve enjoyed new albums by Richard Dawson, Xiu Xiu; OXBOW and Show Me the Body.

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

595 by Karate

It has everything I love in equal measure: Jazz, Post-Rock and Emo. It evokes fond memories of sitting around listening to music with friends in university halls - where I first heard it.

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

Paul: Decide immediately whether you want to make it a career or whether you are in a band to have fun and play a few shows. If you want a career, you need to work harder than you ever have before; push yourself, your relationships and your finances further than you sometimes even feel comfortable with - and always strive towards acceptance of the fact that even then, that probably won't be enough. ‘The music industry’. That phrase is a misnomer, to say the least. Trying to be a professional musician is a kind of insanity.

But there are fun bits.

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

Quality time with loved ones all around, I think. I, however, will be working on Christmas Day; earning triple-pay…reflecting on life choices.

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: Somewhere Safe by Elevant as my song - and suggest people check out the labels Deathly Records and Loner Noise for new artists in the city

Ducktails – Letter of Intent

If You’re Here – Cornelius

Carolina Bela – Jorge Ben e Toquinho

Richard Dawson – Black Dog in the Sky

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Follow ETCHES

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INTERVIEW: Larry Gordon

INTERVIEW:

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 Larry Gordon

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I was eager to find out more concerning…

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Larry Gordon’s new single, Running Away. It is also his debut and a tremendous offering that promises future brilliance. Gordon discusses working with Curb Records and whether we can see any new material before 2018; how he got started in the music business – and how it feels being compared to the likes of Justin Timberlake.

Gordon tells me about his tour with Akon – and icon he is looking forward to hitting the road with – and how it feels seeing his music used on T.V. and film; the artists/sounds he was raised on – and whether the U.S. artist is looking forward to visiting the U.K. for the first time.

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

My week has been good - and very hectic at the same time. I have been super-excited about experiencing the U.K. for the first time.

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

My name is Larry Gordon. I am a Pop artist who loves music. I write, perform and produce songs that allow you to zone-out and let the music consume you...

I call it ‘feel-good’ music.

Running Away is your debut single. Has it been a long process putting the song together – or has it gelled quite easily?

Running Away actually came together in a unique way. The chorus of the song came first and everything else just fell in line from there.

Curb Records is who you are signed to. What is it like working alongside them?

Curb Records is a very supportive company with an amazing staff. They always push you to be better. With the new Pop division at Curb Records; I’m at the right place at the right time. All the hard work I’ve done over the years is making the dream a reality as a songwriter and artist at the label.

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What comes next in terms of music? Is there an E.P. afoot?

I’ll continue to perform, produce and write for myself and co-write with other artists.

Yes, an E.P. is scheduled for release late-2017 or early-2018.

What compelled your decision to come into music? Was it something you have wanted since you were small?

I’ve been in and around music since I can remember. So, I guess you can say that I’ve wanted this since childhood. Also, seeing my father and mother entertain/perform nationally and abroad compelled me to be in the music business.

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You have garnered comparisons to the likes of Justin Timberlake. Is it quite daunting being linked to an artist like that?

To be honest, I am extremely humbled to be compared to someone of his magnitude. He is an amazing musician and writer.

I believe your music has already been featured in film and T.V. How did you get involved in that side of the business and what is it like hearing your song on the screen?

Yes. The songs End of the World and MV were featured on Love & Hip Hop New York and Los Angeles. The same songs were also featured in two movies: Yoga Hosier (ft. Johnny Deep) and Hoovey - which is an inspirational sports story. Film and television are two areas that I have always been interested in.

Any time that I am writing, it is (with) the intention that the song will be used in multiple areas of the industry. 

Tell me about some of the artists you were raised on…

Well. My parents had an eighteen-piece orchestra/show-band that I grew up performing in. So, I was exposed to a variety of music genres such as Big Band, Country; Rock, Gospel; Jazz, R&B; Rap and so on.

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IN THIS PHOTO: Kehlani

Who are the new artists you recommend we check out?

Kehlani, Demi Lovato; Migos and Bryson Tiller.

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IN THIS PHOTO: Migos

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

Michael Jackson – Bad

Because it has so many classic records on this album. He opened the gateway for you to get lost in the ‘moments’ of each song.

He definitely gave you an experience. 

Usher – Confessions

This is definitely an album you let play from beginning to end. To me, it is, hands-down, one of the best-crafted albums of all time. Each song had its own individual story or situation that you could relate to.

Lil' Larry – Lybeatrics

This was the first album I ever wrote - and I did it all by myself. The reason it is so close to me, when I listen to each song, it takes me back to the place where it all started - and the main reason why I wanted to become a songwriter, artist/entertainer and producer.

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

Don’t put yourself in a box: have a vision and stick to it. Understand that everyone will not always agree with or see your vision – so, being ‘CONSISTENT’ is key. 

You are coming to the U.K. for the first time. Are you excited about heading here? What else will you be doing when over here?

Yes, this is my first time in the U.K.

I am extremely excited and it is an honor to be here. I remember being in history class saying to myself: “I hope I can go there one day!” I want to visit Bath, Stonehenge; Tower Bridge, Buckingham Palace etc.

I can’t wait to try some of the local cuisine like fish and chips, jellied eel; meat pies and so on. I want the full experience! (L.O.L.)

You’ll be supporting Akon. Is that something you are looking forward to? Are you a bit fan of his music?

Most definitely!

Akon is an ‘icon’ in the industry. He embodies the true definition of a ‘Pop’ superstar. I am really eager to meet, watch; listen and learn from him.

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

My plans at the moment are to be with my family and friends. I am really big on family and everyone getting together for the holidays.

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

Yes, of course!

I would like to hear from Sam Smith - Too Good at Goodbyes

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Follow Larry Gordon

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INTERVIEW: SIIGHTS

INTERVIEW: 

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 SIIGHTS

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THIS is not the first time I have featured…

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SIIGHTS on these pages. Toni and Mia talk about their current single, Alive, and what the story behind it is. They tell me how they got together and why Alive, with its anti-bullying message, is especially personal and relevant to them. The girls have had a busy week so I ask what come next and whether they have plans for later this year; the albums and artists that have inspired them most – and whether there will be tour dates upcoming.

I learn more about a fantastic and close duo who give me a view into their world and music life. They talk about a couple of artists we should check out; whether there is an E.P. approaching – and how their music has developed over the last few months.

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Hi, Toni and Mia. How are you? How has your week been?

Hey, Sam. We’re really well, thank you. It’s been a hectic week; we just released a new track and have just got back from the U.S - so, it’s been a really busy one (which is great). 

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

Sure. We are new duo, SIIGHTS; made up of Toni Etherson from Glasgow, Scotland - and Mia Fitz from Dublin, Ireland. 

Alive is your new track. It has already gained applause and positivity. Is it exciting knowing your music connects with people?

Yes, definitely.

It means a lot to us to get that feedback from people. We try to write about stuff that has happened to us personally - that we know might be relatable for others, too. It’s always going to be a scary process when you create something and then put it out there. At the moment, we’re doing everything ourselves - from the songwriting/recording and producing the record.

We’re so close to everything, creatively; it really is amazing to get such a positive reaction from people.

I believe there is an anti-bullying message and a need for positivity that runs through the song. Were there any other sources of inspiration and was it quite tough writing it?

Yes! we really wanted to share a message of hope and understanding to show people who’ve gone through any kind of struggle in life that they’re not alone. The video touches on some visual examples of personal struggle; the lyrics in the song explain the journey through reflecting on the situation – It’s about finding your inner-strength and realising you’re stronger than you think. 

“I won’t speak your words” is a lyric in a song but, for us, it’s a statement for anyone who’s deciding they won’t be made feel less than they are - or made to feel like they don’t fit in. It’s about saying that you won’t conform to other people’s ideals of what or how they should live their life: you won’t believe any negative things other people may say about you; that you’ll think for yourself and just be yourself.

Most of all we just wanted to make a positive, uplifting song that empowers anyone who’s felt a bit low at any point in their life.

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It has a different vibe to songs like Nobody Like U. Do you make sure each song has its own skin and identity?

I guess, with every new song we write, we’re trying to portray how we’re feeling in that moment as honestly and openly as we can. Production-wise, we have so many influences - and Alive was a new side of our coin that we haven’t really shown before.

So, it’s a great to be able to share that with everyone.

Do you think there will be an E.P. or album next year?

We have so much music. We’re currently in the studio at the moment, too. L.O.L.! So, we plan on getting as much of it out there as possible; whether in the form of an E.P. or album - both are definitely things we would like to do.

Take me back to the start and how you met? How did SIIGHTS come to be?

We met in L.A. Mia was on tour with Hozier and writing on her days off. I was out there writing for other people and we were introduced. We started out writing together for other people. It's crazy what’s happened since then. L.O.L.! 

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It seems like you have a sisterly bond! Is that one of the reasons the music sounds as tight and together, would you say?

I definitely think it helps...

When you’re creating music with someone, you definitely have to be on the same page and get each other’s vision. I think that’s the main reason we decided to start a project together in the first place - because we worked so well together writing in the studio...

It’s been such an amazing journey so far. 

There are more all-female duos/bands emerging. Do you feel it is important more light is shone on female acts and why do you think there is a rise at the moment?

It definitely feels like there are more female acts around lately - which we think is amazing! In an industry that has always been very male-dominated: I think it’s great that young girls are able to identify with and have strong female role models in the industry - and not just as artists but as producers, recording engineers and musicians, also.

We think It’s important that equal light is shone on females in the industry (as it is on the men).

Are there particular artists that have inspired your sound? Who did you both grow up listening to?

Mia: Definitely. I find I’m constantly being inspired by different music and things around me. Growing up, I listened to a lot of Stevie Wonder, Michael Jackson; Fleetwood Mac and quite a bit of Folk music, also.

Toni: I would listen to Brandy and Christina Aguilera; Oasis - a real mix of stuff, to be honest. I really love Soul music but, once I learned to play the guitar, Oasis and The Verve took my interest for most of my teens. L.O.L.! 

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IN THIS PHOTO: Kllo

Which new artists do you recommend we check out?

We’re loving Kllo’s new track, Predicament. They’re  Australian and killing it right now. 

Also; Jaz Karis. Their Into the Wilderness E.P. is SO GOOD! The single, Sugar Don’t Be Sweet, is a vibe. 

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IN THIS PHOTO: Jaz Karis

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

We’ve just got back from L.A. and are back in the studio at the moment. We’re making plans over the next few months (for 2018) - as we’re excited to come play for everyone who’s supported us online from all around the world.

We can’t wait. 

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

Mia: Great question - and it’s a hard one. I’d have to say I really love the album Simple Things by Zero 7.

I think it’s quite timeless.

Toni: I was going to say Brandy - Never Say Never (but I know I’ve said that before). L.O.L.! So, I’m going with London Grammar - If You Wait

This is the soundtrack to my 2015 - 2016 travels; it’s what I listened to on every long-haul flight in and out of L.A on my first few trips there - and my life really changed then. Musically, it’s just brilliant and timeless. 

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

Don’t give up, always believe in yourself; find influence in everything around you; don’t be scared to truly express yourself - and forget about what anyone else might think about you.

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

We love Christmas.

We generally spend that time in the studio - and then we head home to spend time with our families, too. 

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).

Mia: X- Ambassadors – Gorgeous (Upstate Sessions)

Toni : Billie Eilish - Ocean Eyes

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Follow SIIGHTS

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FEATURE: Albums to Watch Out for in November

FEATURE:

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 IN THIS PHOTO: Sam Smith 

Albums to Watch Out for in November

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OCTOBER has been a really productive and…

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IN THIS PHOTO: Grace VanderWaal

top-notch month for new music! Great albums from the likes of Baxter Dury and St. Vincent have amazed critics and stunned listeners. We are in the final throes of October but, before we head into November, it is worth looking back and remembering all the sturdy and awesome albums we have been lucky enough to witness.

Now, as November is moving into view; there are so many fascinating L.P.s arriving in the coming four weeks. Morrissey’s Low in High School must be the most-anticipated record of the year; Stereophonics, Sam Smith and Taylor Swift release new material – some of the mainstream’s biggest rubbing shoulders with Moz. In addition; Noel Gallagher’s High Flying Birds and Kid Rock are unleashing their latest albums – what more could you ask for?!

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Stereophonics – Scream Above the Sounds

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Release Date: 3rd

Labels: Stylus Records/Parlophone

Follow: https://twitter.com/stereophonics

Grace VanderWaal – Just the Beginning

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Release Date: 3rd

Labels: Columbia/Syco

Follow: https://twitter.com/GraceVanderWaal

Sam Smith – The Thrill of It All

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Release Date: 3rd

Label: Capitol Records

Follow: https://twitter.com/samsmithworld

Kid Rock – Sweet Southern Sugar

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Release Date: 3rd   

Labels: Top Dog Records, Inc./BMG Rights Management (US) LLC

Follow: https://twitter.com/KidRock

Evanescence – Synthesis

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Release Date: 10th

Label: Sony Music

Follow: https://twitter.com/evanescence

Taylor Swift – Reputation

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Release Date: 10th

Label: Big Machine

Follow: https://twitter.com/taylorswift13

Sleigh Bells – Kid Kruschev

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Release Date: 10th

Label: Lucky Number

Follow: https://twitter.com/sleighbells

Barenaked Ladies – Fake Nudes

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Release Date: 17th

Label: Universal Music LLC

Follow: https://twitter.com/barenakedladies

Mavis Staples – If All I Was Was Black

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Release Date: 17th

Label: Anti-Records

Follow: https://twitter.com/mavisstaples

Charlotte Gainsbourg – Rest

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Release Date: 17th

Label: Because Music

Follow: https://twitter.com/cgainsbourg

Morrissey – Low in High School

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Release Date: 17th

Label: BGM Rights Management

Follow: https://twitter.com/officialmoz

Noel Gallagher’s High Flying Birds – Who Built the Moon?

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Release Date: 24th

Label: Caroline International

Follow: https://twitter.com/NoelGallagher

Simeon Walker – Mono

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Release Date: 24th

Label: (Self-released)

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

FEATURE: Music Musings and Such at Six: The 10,000-Hour Rule: Burnout, Progress and Ambition

FEATURE:

 

Music Musings and Such at Six:

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PHOTO CREDIT: Burst 

 The 10,000-Hour Rule: Burnout, Progress and Ambition

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MAYBE that order of words is wrong but I wonder…

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IMAGE CREDIT: Getty

at a time when artists have to work so much harder (than ever) to prove themselves – are we putting too much pressure on their shoulders?! For me, I wanted to raise this subject for two reasons. For one; the sixth anniversary of my blog is upcoming: it is something I have dedicated a lot of my free time to and am constantly searching for rewards and new chances. Another reason involves the lengths musicians have to go to achieve their dreams – and whether innate talent and dexterity is more important than work ethic and commitment when it comes to achieving goals. Before I come onto my own experiences; a quick question: Where does that 10,000-hour rule from? It is from Malcolm Gladwell’s popular book, Outliners, and states, in order to perfect a craft/object; one must expend that many hours. I was interested in a BBC article - that went into more depth:

“But Ericsson (Anders) was not pleased. He wrote a rebuttal paper in 2012, called The Danger of Delegating Education to Journalists.

"The 10,000-hour rule was invented by Malcolm Gladwell who stated that, 'Researchers have settled on what they believe is the magic number for true expertise: 10,000 hours.' Gladwell cited our research on expert musicians as a stimulus for his provocative generalisation to a magical number," Ericsson writes.

Ericsson then pointed out that 10,000 was an average, and that many of the best musicians in his study had accumulated "substantially fewer" hours of practice. He underlined, also, that the quality of the practice was important.

"In contrast, Gladwell does not even mention the concept of deliberate practice," Ericsson writes.

Gladwell counters that Ericsson doesn't really think that talent exists.

 "When he disagrees with the way I interpreted his work, it's because I disagree with him," he says.

"I think that being very, very good at something requires a big healthy dose of natural talent. And when I talk about the Beatles - they had masses of natural talent. They were born geniuses. Ericsson wouldn't say that”.

I have a concern modern musicians/music personnel are getting caught in a trap between talent and expectation. That 10,000-hour figure seems arbitrary and random but is there truth that, regardless of your level of expertise/proficiency, you can master anything in that time? Modern music requires total focus and balancing so many different aspects. The industry is so competitive so I wonder, regardless of the number of hours expended, are the hardest working and most dedicated likely to get the same amount of success as those who ride and skate through life? In music, I see so many artists who have big labels behind them and get into music to get money and easy fame. Other have joined the business relatively late and, by being in the ‘right place at the right time’, they are granted golden tickets and fabulous rewards. There are many more who toil and endless work, only to see their fastidiousness and dedication go unnoticed. One of the reasons people like me get into journalism is to support new artists who create fantastic music – only to find very few people who will offer them exposure. Small venues and spaces are willing to put artists up but there are fewer people turning up to see performances. If a band/act struggles to draw people in; will talent and potential all count for anything?! It is hard organising and policing music so we can get people into spaces and ensure the best and brightest artists get their just rewards. The comparative lack of gig-goers is another area to explore but I wonder whether natural ability is as important as grafting and intent study.

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IMAGE CREDIT: Getty

It is clear the most respectable artists in the world did not get where they are by hard work alone. One needs talent and ability in the first place but it is important to supplement that with constant effort and attack. There are so many great artists emerging and putting their all into things but I am concerned, regardless of whether they obtain ‘expertise’ and a sense of perfection that will be enough. There is an inverse relationship between hours spent and success rate. If certain artists are getting to the precipice on looks and a certain personality; does that send a negative message to other artists – who, in turn, will quit and think they are not going to get anywhere?! I would say we need to do two things in order to sustain the quality and profligacy of music and ensure our best do not burn out. I think we need to re-nurture and subsidise small venues so those starting out are provided proper promotion and chance. If a lot of small venues are struggling to get people in; we need to look there. I have seen a lot of bands call time because punters are not coming out and seeing them. If the likes of Oasis and Primal Scream, back in the day, had been in the same position then they could have enjoyed very short careers. Regardless of the number of hours you put into music; are there structural and foundation issues that need to be addressed? I feel, in a digital age, hard work and talent need to accompany a savviness and market-minded brain that recognises the way modern music is going. It is all very well having awesome music and crafting endlessly. If you do not understand the intricacies, mechanisms and motives of Spotify – and other streaming services – then you are risky falling at the first hurdle.

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IMAGE CREDIT: Getty

One needs to assess a lot of different sides to the argument to get a clearer picture. Another article, that contradicts the rigidity of K. Anders Ericsson’s assumption, argued it is better to focus on quality rather than quantifiable hours:

“In deliberate practice, you need to be fully tuned in to learning the skill you are working on, and minimize distractions as much as possible (put away your phone). Because focusing intently takes so much energy, you can really only sustain that level of practice for 60 to 90 minutes at a time, perhaps two hours at most.

Putting in too much time might mean you're not making good use of it. If that's the case, you're more likely to burn out. Instead, try to focus harder for a defined period of time, then take a rest.

Even when doing deliberate practice, reaching the top levels in a field is long road. Photographer Dan McLaughlin tried to develop the skills to become a PGA tour golfer with 10,000 hours of deliberate practice, despite having little experience with the sport. His mission stalled out just past 6,000 hours, when his body stopped cooperating and the demands of life made it hard for him to continue.

However, deliberate practice is still your best bet for mastering a skill to the extent your personal ability allows. So the next time you're trying to learn a new skill, worry more about the quality of your focus than the hours you log”.

As I come to my sixth anniversary of Music Musings and Such – in a couple of weeks – it is interesting looking at that magical number and whether expertise (whether that is possible) is the same as happiness and fulfilled? If one was to master an instrument or profession; does that make them more rounded and better suited to the industry?! In terms of music; maybe a more targeted approach to work is the best way to go about things? It may sound illogical but is it possible to put fewer hours in and produce something of a higher quality – that, in turn, is a more economical way of doing things?! There is always a part of my mind concerned musicians feel they need to push themselves to the point of breakdown in order to get further ahead.

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IMAGE CREDIT: Getty

There is no evidence to suggest a certain number of hours and effort will guarantee success. Music can be arbitrary and unpredictable: there is no golden rule as to what the industry will favour and what will strike the collective heart. One of my main problems is the burnout possibility and putting too much out there. If the article above suggests focus and logic is more important than irrational exhaustion and quantity – it gives me much to ponder as I continue to write and search. My goals is to monetise what I do and be in the position where I have influence and can mix it with the big guns – whether that is at a big radio station or newspaper, I am not sure. Are we in the music predisposed to expend an insane amount of time and effort simply to exist and remain stable? Maybe that is an issue in the wider working world but it is hard breaking away from an intuitive (if irrational) way of life and embracing something new. I am excited as I head into my seventh year (writing the blog) but am determined to reverse my current status and adopt a healthier approach to writing. Doing fewer pieces/interviews means I can concentrate on documentaries and single articles. It might not seem the best way to do things – fewer pieces means I there are fewer shares/retweets and people seeing my work – but people can see when someone is under pressure.

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IN THIS PHOTO: Stefflon Don (an artist I am tipping for big success in 2018)

There is no point doing anything when you feel it necessary to push yourself to breaking-point. I feel the best way for myself, and people in the music industry, to get where they need to be is to preserve their health and look after themselves. One cannot function and work if they push their minds and bodies to the limit. Stepping back and allowing oneself to relax and recharge every now and then is a better long-term strategy. Sure; one needs to put the hours in but it is no good thinking you will master music and be a major success if you put in a five-figure slog. I am not near the 10,000-hour figure but feel, even if I do reach it, my success and potential will not be down to that milestone. Success and happiness will come, in time, but we need to – whether it seems impossible or not – stop chasing the eternal carrot and assuming failure will come if we do not constantly work. If it is deemed we all need to bust a gut and sacrifice so much of our self pursuing our dreams; the only way to confront this ill is to put ourselves first. I will take this approach because, for all of us, wellbeing is…

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IMAGE CREDIT: Getty

MUCH more important than popularity.