INTERVIEW: Sera EKE

INTERVIEW:

Sera EKE

________

I am seeing a lot of journalists getting excited…

over Sera EKE right now! She has introduced the title-track from her debut E.P., Coup! Coup! Coup! The E.P. is out tomorrow and showcases a skilled and unique songwriter whose multi-genre attack will remain in the mind for weeks. I ask the songwriter about her new material and how it came together; how she manages to fuse so many sounds together; the artists that have guided and moulded her – what it was like working with Leo Abrahams on the E.P.

She reveals the three albums that have impacted her hardest; what she would say to new artists coming through; what gigs are on the horizon - letting us into her entrancing and alluring world!

________

Hi, Sera EKE. How are you? How has your week been?

Been really busy!

Rehearsing, editing the video; making beats, dance class; yoga, Buddhism meeting; craft workshop - seeing my friends etc.

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

I am a solo artist who self-produces, pretty much, everything - including music, video; photos, artwork; performance etc.

Coup! Coup! Coup! is your new track. Can you tell me about its origins and background?

About two years ago, I saw this YouTube video when Krept & Konan collaborated with an orchestra at the BBC Proms.

As soon as I heard the contrabassoon on the intro, I just opened a new project on my computer and started to make the rest of the beat…

Your song mixes so many genres and sounds together. Was it hard getting it together and making the track sound natural, yet varied?

To be honest; I really don't know much about genres.

I’ve never ever tried to produce music thinking about what the genre is. If there’s a catchy melody or some memorable lyrics – or, perhaps, a good guitar riff - it’s just Pop to me! Somebody actually told me that Coup!' sounded like Grime and Garage - so I thought it was just that.

Didn’t know there were elements of Dancehall, Reggae; Ska, Hip-Hop; indie, K-Pop - whatever.  The first I knew of it was when I saw a review of my track recently.

  

The video for Coup! Coup! Coup! looks pretty fun and odd! Whose concept was it – and what was it like filming it?

When I wrote the lyrics; I was thinking about pigeons as you might have gathered. We always see them on the streets. One day, I thought, maybe they are saying ‘Coup’- not ‘Coo’ (I will write, in more detail, about the story behind it on my website soon). Anyway...that was the basis for the song and the video itself. I wanted to mix it up with social issues but I didn’t want to ignore the humour in it all.

Luckily James Williams, the director of the video, came along and, after I explained the general meaning of the song, he came up with this idea of me and the pigeon chasing around.

It was fun to shoot, let me tell you…

The song was mixed be Leo Abrahams. What was it like working with him and what did it bring to the song, would you say?

We mixed quite a few more tracks together as well - including the other E.P. tracks and the first single, The Space Between Us. What was so good about the process was that he tried to change as little as possible from my original rough mixes - as he wanted to retain the energy and rawness of the originals. I really appreciated that. So; we focused mostly on the balances of those tracks we mixed.

As you will be able to hear at a later stage; each track has a different style but we always held up the Coup! Coup! Coup! mix as the example for all the other tracks.

Coup! Coup! Coup! is also the name of your upcoming E.P. Can you reveal the types of themes and songs we can expect to hear from it?

Every track reflects society...

I hope people can relate easily - especially to the other two tracks called I Wanna Forget and The Others. The Others, I wanted to release now, because we often feel lonely and down when we get close to the end of the year.

I sort of wanted to make this song as an end-of-year present.  

Can you tell me how you got into music and what the decision behind that was?

About four years ago; I sold my soul to The Devil (just kidding).

Really; I just started to develop my sound. I didn’t know I could do it and I didn’t really know what I was doing - I, basically, didn’t know I had the ability to make music like this. I thought I was limited to making up some melodies on top of some other guys’ beats.

But, well…here I am. 

Who were the artists you followed and adored growing up?

Eminem.

Which new artists do you recommend we check out?

Yaeji - I saw her video on this Facebook page called 88rising and I thought she was a (very) unique artist.

Not sure if she’s particularly new - but she was very new to me.

IN THIS PHOTO: Yaeji/PHOTO CREDIT: Lydo Le

Are there any tour dates coming up? Where can we see you play?

I’m having my E.P. launch-show in an exciting venue called DIY Space for London - in South Bermondsey - this coming Saturday. I will have another London show next January - which is due to be announced officially very shortly.

For more information, always check my website - or the various social media platforms.

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

I’d definitely say Eminem’s Curtain Call; Elliott Smith’s From a Basement on the Hill; Tokyo Jihen’s Adult.

Those are my kindred spirits.

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

If you want to say something and express yourself to the world - there are so many ways to do it...through music, painting; dance, spoken-word, poetry; tweeting (like Trump) etc. It doesn’t matter how you do it: what matters is what you’re saying. To me; it is really difficult as I have many, many questions that I’m trying to figure out. My constant dilemma is that I don’t want to say anything unless I know something. If I say stuff too quickly; I feel ashamed of my ignorance...

So, today’s questions are: "What is Art?", "Why are we doing this?" - and "Am I right to be called an artist?".

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

I haven’t decided yet, but I really want to volunteer on the day - or have a chilled girl’s night in with my friend (or do both). I will be off to France around that time to retreat and shoot a video….

Are there any plans for next year? What goals do you hope to fulfil in the coming year?

I will focus on producing more tracks, developing my show; releasing another E.P. early next year. I will do what Sera EKE should be doing when me and my fans think back on this moment in ten years’ time.

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).

Pretty Mary K (Other Version) - Elliott Smith

_________

Follow Sera EKE

Official:

https://www.seraeke.com/

Facebook:

https://www.facebook.com/seraekemusic/

Twitter:

https://twitter.com/SeraEke

Instagram:

https://www.instagram.com/seraeke/

Spotify:

https://open.spotify.com/artist/0gYtPLyJXhjkA908hNIH8g

YouTube:

https://www.youtube.com/channel/UCkDjbC2MY1thJM2tKxSRqGw

INTERVIEW: The Eskies

INTERVIEW:

The Eskies

________

THERE is fun and personality overload…

when one chats with The Eskies. The Irish band tells me about their new album, And Don’t Spare the Horses, and the ideas that go into it. They talk about their formation and the sounds that drive their music; what the scene is like in Dublin; how their touring commitments are looking for this year – and the new artists we should all be aware of.

I find out about The Eskies’ influences and how their music comes together; whether they are coming to the U.K. very soon; how spirited their live performances are – what we can expect next from the charming clan - thanks to Ian Bermingham for providing some great answers.

________

Hi, Ian, how are you? How has your week been?

Hello, there! All good here, thanks. Grand, yeah. Keeping out of trouble for the most part, at least...

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

Yes, certainly! First of all: where the bloody hell have you BEEN!? We've been worried sick! Anyway…you're here now - and that's the main thing.

We are a five-piece band from Ireland who makes a genre-hopping kind of music that draws inspiration from lots of Folk, Gypsy; Klezmar, Yiddish; Balkan, Swing; Big-Band, Rag-Time; Dixieland, Rock and Blues music. We generally like music with a lot of energy and our live shows are very often quite raucous affairs - with lots of lovely singing and dancing people.

Thematically, we generally like to go for the darker stuff and try to find the humour in it - and are very much advocates of the idea that if something is worth doing, it's worth overdoing.

And Don’t Spare the Horses is out on 1st December. What inspired the album’s title and the songs within?

I can think of four good reasons as to why And Don't Spare The Horses is an appropriate name: there is a track of the same name that closes the album and it's a perfect name for what it was written about; we do have quite a 'gung-ho' approach to things in general; musically, there are some quite charge-of-the-cavalry-sounding moments but, as well as all of that, we booked the studio time to record this album before we had even finished writing it – so, there was a certain sense of ‘Ok; let's get this thing written now, post-haste. Get it done - and don't spare the horses, so to speak’.

The songs within are a vast and varied bunch: you can expect a tongue-in-cheek approach to things like anger, sadness; frustration, anxiety - as well as love, loss; fear, upheaval; conflict, rebellion and (just) bloody good heartache!

There are some eclectic and traditional genres mixing in the album – alongside some rare sounds. What was the reason for adopting the sound you did – and incorporating the instruments/genres?

It's just been a bit of a journey, really; pushing ourselves and each other in directions that excited us. More often than not; we say things like: "Let's make it sound like a New Orleans funeral" or "The Charge Of The Light Brigade"; or "A Hellish imitation of Louis Prima playing the Annual Ball in a haunted mansion". None of its taken too seriously - but we are absolutely serious about keeping it that way.

When we started off, there was a feeling that we wanted to listen to a certain type of music but couldn't find exactly what we were after, anywhere – so, we decided we would try and write it. It's all just developed from there, really.

Many highlights can be found within the L.P. Do you have a favourite song?

Thank you very much! 

I think we all do - but it changes as time goes on. We, probably, all had a song that we were most excited about as we wrote them: that will have changed by the time we recorded them and, even now, it changes as we play them live. I'd imagine it's like if you have kids or something: you probably do have a favourite but you wouldn't admit it.

It seems The Eskies, on And Don’t Spare the Horses, have returned to their earlier dynamic/sound. Was there a conscious decision to bring it back to the start and how you first sounded?

I'm not sure how comfortable any of us would be laying claim to any sort of conscious decision. The whole thing has just been a meandering path; doing things that we enjoy, trying to make ourselves and each other excited or laugh or whatever. The whole thing is a natural evolution - even if you do occasionally have a moment where one of you says to the other "I'd like to have a go at this kind of thing”.

It’s never a contrived kind of ‘let's do this now’ type of affair...

Dublin is where the band is based out of. How key is the city with regards your lyrics and songs? Do you take a lot from the people?

Dublin people are a beautiful, infectious; warm and honest open group of people: you couldn't possibly spend any amount of time in Dublin and not want to be like the best of them. The city is renowned for its character and, maybe even more so, for its characters: Google Bang Bang or The Bird Flanagan; Forty Coats or The Hairy Lemon.

A good Irish funeral is infinitely more fun than an Irish wedding: that's how we want our music to be.

Who are the artists you all grew up listening to?

You'd be better off asking the lads about their own but, for me, the big, influential ones were Queen, and then, Bob Dylan. There was pretty much everything else in between from Punk, Metal; Rock, Indie - and even a little bit of Hip-Hop and Rap (but they were the big ones).

Which new artists do you recommend we check out?

Oh, Jesus…that's a hard one, now:

There really are too many to mention - and we are absolutely cursed to leave some people out here - but here's a crash-course to get you started…

IN THIS PHOTO: Mongoose

Some of our favourites that you may or may not have heard of are The Cujo Family, The Hot Sprockets; Mongoose, Wyvern Lingo, GRAND; Mongrel State, Mad Dog Mcrea and Black Water County.

IN THIS PHOTO: Wyvern Lingo/PHOTO CREDIT: Ruthless Imagery

Are there any tour dates coming up?

Always. Absolutely always…

We've just finished up a big, long U.K. tour through October and are about to embark on an Irish tour in December. After that, we've a short stint in the U.K. - in February - before heading off to Australia in March - and who knows what else along the way.

We keep our website up to date so check them there: it knows more than we do; even if it is us that updates it.

Can we expect to see you our side of the water in the coming year?

Yeah, definitely. We're not quite going 'full-Wogan' - but we do spend an inordinate amount of time over in the U.K. The summer is already filling up with U.K. festivals and we've the few dates in February, too - with a load more to follow, no doubt.

I can imagine the touring and shows are quite raucous! Is there a trouble-maker in the band or do you have a pretty Rock and Roll rider, perhaps?!

I think we all have our moments...

Generally; try to practice at least some degree of restraint - but it's not always easy when you're having fun. Our rider is full of terrible debauchery inducing things like crisps and chocolate; to fruit and sandwiches. Towels (preferably black) and, of course...Guinness.

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

Again; I can't answer for all of the lads but, for me, it's probably Queen's A Night at the Opera. That was a game-changer for me...

I didn't know sound could sound like that until I heard it. All of those layers; the sound of their voices together, the dynamics; the way it shifts from stadium-filling anthem to a whisper in your ear - and all that without even mentioning the bloody songwriting!

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

Make sure you actually love the people in your band to the point that you can envision spending every waking moment with them for weeks on end in the future.

Avoid 'Rock Stars'. Write as much - and as often - as you possibly can. Find a happy-medium between being honest and objective - and not being too critical of yourself. Try not to do anything else that's too time-consuming like, if you're locked into a job that won't let you put the time into music; you're not going to be able to keep it up. Get out and meet all the people who are doing what you're doing and making it possible.

Don't suffer dickheads and never, ever, be one

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

We finish off this mad year of intensive travelling and gigging - appropriately enough, in Dublin on 16th December.

After that, there's talk of travelling over to England to see a gig towards the end of the year - and just having a bit of a blowout.

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).

Going all Ian and - all Irish - for this one:

Bullseye - Mongoose

Right Spots - The Hot Sprockets

Poisonous Love - The Mighty Stef

Burn – GRAND

Napoleon Complex - The Divine Comedy

_________

Follow The Eskies

Official:

https://www.theeskies.com/

Facebook:

https://www.facebook.com/TheEskies/

Twitter:

https://twitter.com/TheEskies

Instagram:

https://www.instagram.com/theeskies/

Spotify:

https://open.spotify.com/artist/1TYLEDQoCwy8sb9v46b1Gw?play=true&utm_source=open.spotify.com&utm_medium=open

SoundCloud:

https://soundcloud.com/the-eskies

YouTube:

https://www.youtube.com/channel/UCvgrpfrdWUT_bmAzBB5Fu6A

INTERVIEW: Anavae

INTERVIEW:

Anavae

________

THE stunning duo Anavae…

introduce their new E.P., Are You Dreaming? It mixes emotions, sounds and suggestions into a stunning quintet of songs. I ask Jamie and Becca which track from the E.P. they favour most; some of the ideas they channel /9in Are You Dreaming?) – and what the reaction has been like so far.

They tell me how they came together and the artists that have motivated/inspired them to this point; the new acts they recommend we check out; where we can catch them play before the end of this year – and what their treasured memories of 2017 have been…

________

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

Hey! Not too bad, thanks.

Our weeks are always so varied - which keeps things interesting. 

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

We're a Sout East London dark Pop/Rock two-piece. We like fusing synths with guitar sounds to create a sort of... hybrid?

Hopefully, people think it's cool. 

Are You Dreaming? is your new E.P. What has the reception been like so far? What kind of themes inspired the songwriting?

Becca: We're just so glad to, finally, be able to unleash it upon the Internet - after so long of sitting on it. It's, obviously, been such a pleasant relief to see people comment and message us saying that it's been ‘worth the wait’. 

Jamie: Yeah, seeing the words ‘worth the wait’ choked me up for days. It's actually been really amazing...beyond anything I expected, anyway. I was a little nervous on release-day as people have been waiting (very patiently) for so long.

But people seem to really like it - which feels great. 

Is there a favourite song on the E.P. from each of you? Which one stands out above the rest?

Jamie: Forever Dancing is my favourite at the moment; mainly because not many people around us thought it worked when we first pushed the demo to them.

I feel like we've sufficiently proved them wrong. 

Becca: Lose Your Love.

Putting the lyrical content to one side: this is the song where I really found a new layer of my voice. Pete, our producer for this, really helped me find a different place - and one I think I'd been looking for, for a while (“Get weirder with it...Even weirder...Get weirder”).

I am interested in your titles. Is there a story behind the E.P. name? How about the band-name, ‘Anavae’?

The E.P.-title is taken from a book on Lucid Dreaming (by the same title).

During the writing-cycle, I was feeling particularly motivated to learn how and would read as much as I could whilst on the underground. I remember having this particularly surreal out-of-body-experience whilst contemplating what it means to dream and to be awake - what's to be considered real and does any of it matter anyway?!

I realised that if you treat life as a waking dream then you're free to live without fear. 

I suppose, for me, the E.P. represents that hyper-depersonalised state where you're stuck within yourself; accompanied by your tangled thoughts. Be that good or bad: I suppose it depends on the day. 

As for 'Anavae' ... if anyone really wants to find out I'm sure they can find it hiding in a nook onlin...SOMEWHERE. 

Tell me how you got together at the beginning? How did Anavae start life?

Jamie: My friend auditioned for a rubbish bedroom band with a girl singer and hated it. He told me I’d love it though - that's how I met Becca.

Becca: You fu*king love telling that story. We eventually broke away and formed Anavae (flash-cut). 

Who are the artists you look up to and idolise?

Mutemath never fail to amaze us with everything they do.

This year, you have played shows in London and Canada. Are there particular shows that stand in the memory?

Jamie: Our first headline show was something really special. It was the first time we'd played with our new minimal line-up - and we brought along a bunch of toys that we'd been playing with in our caves for months leading up to it…as well as it being the first show we had played in almost a year...

I'll never forget the reception we got from everybody there.

IN THIS PHOTO: Youth Killed It/PHOTO CREDIT: Rebecca Need-Menear

Which new artists do you recommend we check out?

Jamie: Youth Killed It. Black Foxxes (though I’m not sure how ‘new’ they are these days). 

Becca: I'm not so sure what 'new' means either but, in terms of underrated, you must check out From Indian Lakes. Vibe central. 

Go listen to Amber Run and Half Moon Run whilst you're at it. 

 IN THIS PHOTO: Half Moon Run/PHOTO CREDIT: Yani Clarke

Are there any tour dates coming up?

No tours lined up but we're playing two shows with Area 11 on 11th and 12th of December at Boston Music Rooms, London. 

I think one of the dates has already sold out - so it should be a good'un. 

(Grab tickets here). ‪

Is the stage somewhere you feel comfortable and secure? Do you prefer the studio or the stage, would you say?

Jamie: I prefer studio by far. I'd rather spend a day getting a guitar/synth part sounding just right than thirty minutes on stage struggling to hear what sounds you're making...haha. 

Becca: I crave being on the stage but, once I'm there - and once it's over - I'm left feeling like I didn't make the most of being there. I'd compare it to being invited to a party you've been looking forward to for weeks but, once you're there, you black-out and internalise. Wait…that's just like most events in my life…

I'd say we definitely thrive most in a studio setting. We like locking ourselves away. But, then; when we lock ourselves away, we crave adventure (and vice versa) - and so on and so forth. 

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

Jamie: The Verge - There for Tomorrow

After hearing that album for the first time, I knew I wanted to be in a band like Anavae.

Becca: Woven Materials - Evaline

Just listen. It's a cinematic experience. 

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

Jamie: Enjoy every fun moment you have - you don't know how long it's going to last.

Becca: Know that patience won't kill you: it'll almost kill you...but it won't. 

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

Jamie: I usually look forward to Christmas as a time to write, to be honest. It's too cold to go outside - everyone is away with their families. So, I like to put on lots of layers and make sounds in my room...

Becca: Holiday-season means long train journeys and long spouts of uninterrupted thinking – which, hopefully, results in pages of fresh writing. 

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).

Jamie: Youth Killed It - Islands

Becca: Lights - Skydiving

(It has all of the ingredients for the (most) perfect Pop song)

_________

Follow Anavae

Facebook:

https://www.facebook.com/Anavae/

Twitter:

https://twitter.com/anavaemusic

Instagram:

https://www.instagram.com/anavaemusic/

Spotify:

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

SoundCloud:

https://soundcloud.com/anavae

YouTube:

https://www.youtube.com/user/AnavaeVEVO/videos

INTERVIEW: Howie Payne

INTERVIEW:

 Howie Payne

________

WITH its fascinating backstory and intriguing sound…

I had to ask Howie Payne about his new track, Hold Steady the Wire. He talks about its origins and how he got started in music; details about his new album, Mountain (it was released on 27th October). I ask about influences and favourite albums; what his tour schedule looks like; experiences of recording in State of the Ark Studios – and how his solo music differs from that of his band, The Stands.

I learn more about Payne’s process and why a red-hot climate lent a favourable air to his new track – recording in the studio when the weather was stifling. Payne talks about his start and what he would say to anyone coming through in music at the moment.

________

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

Very good, thanks.

My new album, Mountain, just came out and is going great - and I just played the final show of my U.K. tour in London. It was a cool show and we had a bit of a party after so, yeah...very good.

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

My name is Howie Payne. I’m a songwriter, guitar player; music producer from Liverpool, England.

Hold Steady the Wire is your new song. Can you tell me about the story behind that?

I wrote it late at night on an old Spanish-style guitar. It was a hot, close night; there’d been a thunderstorm, so I had the windows open. I could hear the noise from the city in the distance and I was playing this chord sequence over and over - very hypnotic. When the song arrived, it came pretty quick. I can’t recall what I was thinking - it just came together - like there was a moment when there was no song...then there was.

Mountain, the album, is out now. What are the themes and subjects you explore on the record?

The songs are quite melodic and acoustic...

I very much wanted to keep that element to it - but then I also wanted really thick, solid grooves underneath. People are picking up on that aspect of it quite a bit, and that’s very cool. Lyrically, I didn’t set out with a subject or a theme in mind and there’s no real rule I stick to. A lot of these songs were written as collections of thought fragments where I would use stream-of-consciousness to get ideas - and then build those thoughts into patterns that sounded good or had something interesting about them - not quite cut-ups, but like it in a lot of ways.

State of The Ark Studios is where it was laid down. Was that a great space to record in?

Yes, it’s an amazing place. They have an old EMI desk down there that belonged to The Rolling Stones (in the 1970s).

It’s got all their names scratched into it and all that - very cool.

I believe the album was recorded in a few days during a boiling-hot week. That must have been a challenge?!

Yeah; four days in State of The Ark and a couple of days in Bath. I wanted to record it live, anyway - so that was plenty of time. The heat is cool: I really like it. I don’t know why but everything sounds better in the heat.

I won’t have the air-con on cause I’m just not into it - so, we just had all the doors open and the fans blowing.

Did that process/weather provide urgency and a new dynamic to the music? Was it liberating recording that way?

We were going live onto tape, so we had to make very quick decisions and, if something wasn’t cool, we all had to do it again - singing and everything - so that adds a bit of pressure. But, creation should have a certain amount of pressure involved. It adds a certain kind of energy.

Yeah, recording like that is so quick; you can hear the song as you’re doing it so you feel connected to it.

Mountain is your first L.P. since 2009’s Bright Light Ballads. How come there was quite a gap between releases?

I had some songs demoed for the follow-up to Bright Light Ballads and I was ready to go in and record them - when someone called up and asked me if they could record some of them for a new singer called Ren Harvieu - who was making an album for Universal. I’d never really thought about it before but I liked the idea of it so I said ‘yes’ (and she had a big hit with it).

After that, a lot of people wanted me to write for them; so I moved down to London; got a studio and did that for a while. I had a fair bit of success with it, too, but I didn’t really dig the system - it doesn’t prioritise creativity if you know what I mean; it can be very cookie-cutter. Around that time, I came across Neon Waltz - and they were just great. They didn’t really have it together yet so I helped them out with getting their music together; arrangements and all that. Really, it was about giving them space to be themselves, musically-speaking. I introduced them to Ignition - who I thought would be good management for them - and I stayed involved in a kind of musical and creative visionary role - which led to me producing tracks on their debut album, Strange Hymns.

During 2016, I started writing a lot of songs and got back into the idea of playing live - and did a solo acoustic tour that autumn. That was really cool and a lot of fun; so I started thinking about making a new L.P. - and here we are.

You are from the band, The Stands. How does your solo material differ and do you miss the band days?

Well. The Stands wasn’t really a band, in the traditional sense: I was a solo artist that put a band around what I was doing – and gave it a name.

So, I don’t miss it like a band - but I miss some of the guys, of course. I think my newer music has more layers; the Soul influence is a bit more obvious.

Who are the musicians that have been most influential to you through your career? What kind of music did you grow up on?

In our house, when I was growing up, Benny Goodman; Count Basie, Frank Sinatra; you know, a lot of Great American Songbook music. Rock and Roll, too: Elvis (Presley), Carl Perkins etc. My big sister got me into great Pop music, New Wave and Northern Soul when I was small. Then, I got into The Beatles, Pink Floyd and early Hip-Hop in school. When I moved to New York, I got into Jimi Hendrix, The Velvets and The Byrds; The Pixies, Nirvana; Love, The Stone Roses and all that. As I started playing the guitar, I got into Folk and Blues - especially the Chicago stuff – then, later, the more rural stuff through the Alan Lomax records.

It’s all been influential but, if I had to pick a few that come to mind, I’d say Frank Sinatra, Neil Young; John Lennon, Woody Guthrie and Miles Davis.

You are releasing an album where the quality and longevity of artists is being questioned. Do you feel the mainstream is taking over too much and the best artists are being overlooked?

I don’t see it that way...

I hear loads of great new artists around. Who’s capable of longevity? Who knows - but I see now as a very musically rich time. I don’t know about that: I’ve never really paid that much attention to it.

What tour dates do you have coming up?

I just finished a U.K. tour in London last week with a show at The Borderline - it was my first full-band tour in a while and I really dug it (and the audiences were fantastic). I’ll be doing something, soon. That’ll be really cool - that I’m pretty excited about - but it’s still a secret - so I can’t tell you about it yet...

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

Love – Forever Changes

Possibly the best album ever made.

Revolver – The Beatles

On top of the world, at their highest energy peak - making it sound so easy.

Miles Davis – Kind of Blue

It’s incredible on every level: pretty much every lick could be the hook in its own tune. 

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

Do what you do; do it good.

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

Not sure yet…

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

Whitney – No Woman

_________

Follow Howie Payne

Official:

https://www.musicglue.com/howiepayne

Facebook:

https://www.facebook.com/howiepaynemusic/

Twitter:

https://twitter.com/howiepaynemusic

Instagram:

https://www.instagram.com/howiepaynemusic/

Spotify:

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

YouTube:

https://www.youtube.com/channel/UCk3Oz4As1ghUtU49RCoAiQQ

INTERVIEW: Sam & The Spacemen

INTERVIEW:

 Sam & The Spacemen

________

IT has been rewarding speaking with…

Sam & The Spacemen about the awesome debut track, I Don’t Wanna Be Alone Forever. It is about moving to London (as Sam did) and being made aware of, and shocked by, the lack of connection and community – when there was hope of love and friendship. Sam discusses his sexuality and coming out; what the next step is for his musical venture; the way he mixes intergalactic sounds with more traditional measures – and what 2018 holds in store.

Sam talks about Kate Bush’s The Kick Inside and why – like myself – this album holds great weight; the music that inspired the young man – and a couple of new names worth a bit of our time.

PHOTOS: ZoZo ZH Luna

________

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

Hey. It's been a busy one.

I've been working a lot to promote my music; it's been keeping me on the go - but have been loving every minute of it.

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

Sure. My name is Sam & The Spacemen. I am a solo artist who writes and produces my own Synthpop music. The songs I make sound big with luscious strings and echoey pianos - and they often take on a big cinematic vibe to them.

I love adding layers of production that sound enchanting - but also haunting.

I Don’t Wanna Be Alone Forever is the debut single. What is the story behind the song?

I wrote this song about living in London for the last year...

I moved from the countryside and I think a part of me expected it to be easier here - to find friends and make new connections. But, I've found that there are more people but less of them are willing to open up and connect with you. So, I decided to write a personal song about how I felt. I didn't wanna be alone forever but as the lyrics say: "It's hard to settle down, the city keeps you going until you are all worn out". I'm saying, I'm finding it hard to build genuine relationships - when I'm struggling as it is to keep up with a city that demands you move a-million-miles-an-hour all the time.

It looks at the difficulty establishing relations and connections in a rushing city! Has that situation improved – or do you still struggle to find gravity?

I think I'm always looking for a connection - even if it's just smiling at a stranger for no reason. It's something I struggle with daily I'd say; that a lot of people are in their own zone; getting from A-to-B -  and they just don't have time for much else. I'm still single and it saddens me a bit to see the way in which my age group date now. It feels like it's 'let's try you…ok, done that now; onto the next' type of thing.

It's like we have so much choice with dating apps and social media that it's becoming harder to actually stick anything out and build a relationship.

Is there going to be a music video for it and what could we expect from it?

Yes. I'm so excited!

The lyric-video is out now - but I have already filmed the main video across three days. I'm currently editing it and it's looking great! Very colourful, very cinematic; lots of flashing lights and rich overlays. I wanted to create a visual that lends itself to the message of the song - and I think I'm close to achieving that.

We will see...

How far ahead are you looking? Will there be more material coming down the line?

For sure. I have three more songs I can't wait to put out. They all have a similar theme and vibe: melancholic but slightly uplifting. They'll all be coming out as singles. I prefer to do it that way for now - and leave an E.P. or album for later.

Tell me about your early music tastes and the artists you grew up on…

Well. I grew up with my mum as a huge influence on me so, whenever she was cleaning, she would put on Duran Duran and Cyndi Lauper. I grew up loving all the 1980s New Romantic era. I loved the bright clothes; the flamboyant singers. I wanted to be Adam & The Ants and Simon Le Bon. I loved how confident they were.

It inspired me as a nine-year-old.

I know Kate Bush’s The Kick Inside holds a special place – it is my favourite album ever. What is it about that record that resonates?

You have excellent taste, Sam. Haha.

I remember being young and watching her on a retro version of Top of the Pops. She was in a white dress singing Wuthering Heights. I remember the moment she opened her mouth: I fell completely in love with her. As a closet gay kid; I was always searching for strong icons to help me push through - and she was that and more. Her words, the way she used her body to illustrate the songs - it was perfect. She had such a mature way of writing and she's so mysterious, and yet, so truthful: a fantastic juxtaposition.

That whole record makes me feel like I've fallen down a rabbit-hole into a magical surreal world that Dahli could have painted.

I hear some intergalactic sounds and personal lyrics mixing together. It seems someone like David Bowie is pretty key. Is he someone you idolise? Which albums of his do you take inspiration from – if any at all?

Yeah. The whole intergalactic sounds have been coming for a while - and now I'm embracing them. With Bowie; it's more of a state of mine I loved about him: his fearlessness to be who he was and to keep transforming and growing. I love that.

I try and take from that in my own way.

IN THIS PHOTO: ZoZo/PHOTO CREDIT: Timothy Ward

Which new artists do you recommend we check out?

ZoZo (Luna), for sure! She's one of my best friends and her new single, I Won't Leave Your Bed Tonight, is stunning! I have it on-repeat.

Little Boots is also continuing to make some really interesting songs. She always has a fresh perspective on subject matters I connect with - so I love hearing what she has to say. I'm also obsessed with Motorway.

Listen to it if you haven't.

IN THIS PHOTO: Little Boots

Are there any tour dates coming up? Where can we see you play?

Yeah, I can't wait! I'll be performing at Blueberry Bar – Shoreditch; Monday 27th November at 8:30 P.M. All-new songs with my own lighting production - it's gonna be epic.

Come if you can. It would be lovely to have you there.

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

Ok. So; first up I have to say Years & Years – Communion

That whole album has gotten me through some really dark times. Olly has a phenomenal way of writing: it's like he knows what's going on in my head. He's also a prominent gay male musician and it's so refreshing to have someone like that in mainstream media: it gives artists like me, who are way down the ladder, hope that you can break through that glass ceiling.

The whole album oozes this cool slick vibe that Mikey and Emre do so well - and Olly's voice and words are the icing on the cake.

Second; I'd have to say either of London Grammar's records...I mean, there isn't much to say other then they are gloriously emotive. I can't listen to a single one of their songs without feeling complete emotion be it happy, be it sad; be it somewhere in-between where I don't even know what I'm feeling.

Their work is phenomenal. Someone give them a Grammy, already.

Last, but not least: Lana Del Rey - Born to Die (The Paradise Edition)

Like the other two albums; Lana puts me in this headspace where I feel like I'm in a movie, living life to its fullest. Her imagery and sound combine to create this landscape that is intoxicating. She is an outstanding songwriter that makes me feel sassy and troubled - and like a glorious deviant child sipping on Pepsi Cola. She also tends to write from a damaged ‘on the back-foot’ perspective, which I tend to do - so that resonates with me.

Adore Lana and this record.

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

I'd say: don’t let ANYONE tell you that you can’t make it.

Write as often as you can and KEEP everything you do. I currently am on hard-drive five - as I never delete a single song I've made. Go back and listen to those tracks - after some time has passed - and see what you can learn from them. Keep hustling and get out there playing live and networking. Everyone has to take their first step: don't be afraid...we've all been there.

Know that I believe in you.

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

I'm going to be spending Christmas in the countryside with my family - and New Year in Rome with my Italian side. But, knowing me, I'll be working on my next release - because I love making things and can never switch off. Haha.

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

Ok. I choose Real by Years and Years - because it makes me feel a lot.

_________

Follow Sam & The Spacemen

Facebook:

https://www.facebook.com/SamAndSpacemen/

Twitter:

https://twitter.com/SamAndSpacemen

Instagram:

https://inkphy.com/samandspacemen

Spotify:

https://open.spotify.com/track/4Ab9iMUyIGrlxO4mFXq9T3

YouTube:

https://www.youtube.com/channel/UCrTTbejQEDzivDWMv1fZzow

INTERVIEW: The Holy Gasp

INTERVIEW: 

PHOTO CREDIT: Pedja Milosavljević

The Holy Gasp

________

A lot of songs are based around personal misfortune…

PHOTO CREDIT: Karol Orzechowski

and startling revelations. That is no different regarding Beat Wave: the memorable and stunning new single from Canada's The Holy Gasp. I ask Benjamin – of The Holy Gasp – about the song and what arrives next from him (and The Holy Gasp); the sort of music that makes his mind conspire; whether there are any touring dates approaching – and if we can expect a visit to the U.K.

He talks about working with Sebastian (his musical cohort) and the scene in Toronto Island; an album that means a lot to him – and what he’d say to new musicians coming through at the moment.

________

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

Hey, Sam! Not too shabby, thanks. How ‘bout you?

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

I’m Benjamin Hackman. I live on Toronto Island and lead an amorphous blob called The Holy Gasp - alongside my collaborate life-partner, Sebastian Shinwell.

Beat Wave is the new single. Tell me about its story and creation...

I wrote it on Toronto Island - where I moved after my ex-wife and I split up. I was real depressed at the time - and real lonely, too. Most days I couldn’t get out of bed. I’d lay there on stinked-up sheets, weeping... wishing for my old life back... I needed to write it out, laugh at myself; take the edge off. Divorce shocks the system, y’know. It makes you ask a whole lotta questions about how you’re gonna live your life and who you’re gonna be in your post-married world. You set out to build a future with someone and, when you call it quits on a marriage; you call it quits on that future too. So, you gotta rewrite yourself entirely.

Sebastian was real supportive. He just kept saying, “Write it out… make it as big as you need to...I’ll figure out how to arrange it” – and he did. He found a way to get a big ol’ chambre ensemble to play punk which is pretty funny if you think about it - in a Bugs-Bunny-in-tails kinda way.

It seems like the track has been brewing a while! Has it been quite an arduous and tricky track to get together?

It wasn’t a tricky track to compose or arrange - but it was definitely challenging to mix. There’s a lot happening. It was hard to find a place for every instrument and voice to have the space it needed to be heard. Craig Saltz, who mixed the track, is a very patient, detail-oriented and talented craftsman.

We owe a great debt of thanks to him for his work on our new music.     

PHOTO CREDIT: Nika Rae Zelina

The music you make seems like an orchestral Punk collective/soundtrack. Is it hard translating the sound from the studio to the stage? Do you write songs and imagine how they will sound in the live setting?

We just create what we want to hear, without regard for how logistically demanding it’ll be to pull it off. Sebastian and I set no limits whatsoever when we write. If we think something might sound cool, we try it and, if we like it, we keep it. Everything gets orchestrated using Midi software - so that we can hear all the instruments synthesized long before Sebastian scores it all out. This affords us the ability to hear the piece as it’s being orchestrated. After it’s arranged to our heart’s content, we record it verbatim and don’t stray whatsoever from the original score. Every musician, including ourselves, plays what’s on the page...

Then, after that’s all said and done, Sebastian re-arranges everything for a six-piece touring ensemble. This process takes time and requires trial-and-error with real musicians in rehearsal. The live ensemble is held to less orthodox standards than our studio musicians. They’re encouraged to interpret themselves through the music and to find ways of making their parts their own. Our organist, Joseph Organ, for example, has added a lot of his own ideas to his parts and, in doing so, has contributed to making older repertoire feel fresh and interesting. The pieces are permanently changed because of his input and interpretations.

This is a lovely way to celebrate music as an organic, evolving document.

Beat Wave was written on Toronto Island and it seems like the Canadian landscape plays a big role in the music! How inspiring is the country/geography of Canada to you and the music of The Holy Gasp?

The Canadian landscape doesn’t play a role in the music, per se, but Toronto Island specifically does. There is something to be said about living on an island; about surrounding yourself with a vast body of water every day. There’s only so far I can walk before I’m confronted by Lake Ontario - and ultimately confronted by myself.

This type of ruthless self-discovery is central my creative process. 

Who are the musicians you are all influenced by?

It’s a pretty motley list and it changes - but the big ones, at least right now, are: Tom Waits, Frank Zappa; Dead Kennedys, John Lurie; Big John Patton, Leonard Bernstein; Karen Dolton, Nick Cave; The Cramps, Primus; Pete Seeger, Nina Simone and cinema scores such as those from the early James Bond films - or the original Planet of the Apes; as well as cartoon theme songs like the ones from The Simpsons or Ren & Stimpy.

Which new artists do you recommend we check out?

The two that come to mind right away are Friendly Rich & The Lollipop People and The Sulks.
Friendly Rich’s new record, The Great Blue Heron, is terrific. It was produced by Hawksley Workman and is just real smart - and far out in all the right ways. It’s my favourite album from his massive and impressive discography. I recommend him for fans of Tom Waits and Frank Zappa.

The Sulks are the top of cool. One day, every scene depicting a teenager sneaking out of her bedroom window, to go smoke darts with her friends beneath the stars, will be soundtracked by The Sulks.

If you just wanna ride the bus and feel like a fuckin’ stud… this band’s for you.

PHOTO CREDIT: Mike Stuls

Are there any tour dates coming up? Where can we see you play?

You betcha, baby!

11/14: Sherbrooke, QC – Bar Le Magog

11/15: Moncton, NB – Plan B

11/16: Halifax, NS – The Seahorse Tavern

11/17: St. John, NB – Pepper's Pub

11/23: Quebec City, QC – Le Cercle

11/24: Trois Rivieres, QC – Zenob

11/30: Ottawa, ON – House of Targ

12/02: Toronto, ON – The Smiling Buddha

12/07: Peterborough, ON - Catalina's

12/08: Hamilton, ON - Mills Hardware

12/09: Windsor, ON – Phog Lounge

PHOTO CREDIT: Karol Orzechowski

Do you think you will come to the U.K. very soon?

Well. Sebastian’s living in London for the better part of this year - so you might be able to get him to play you some tunes. He’s real pretty on a classical guitar and quite generous with his serenades - if you ask him nice. But, as for touring the U.K., nothing is booked yet…but it’s on our minds….

In a real way.  

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

I don’t know how possible that is to answer: I listen to a lot of records. But, I will say this: Paul Simon’s Graceland was on heavy rotation throughout the making of our new record.

Rhymin’ Simon got to us, baby. He got to us!

PHOTO CREDIT: Pedja Milosavljevic

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

Aesthetic normality - safe, popular; commercially accessible art…it wasn’t put here by artists. It was manufactured - and not to enhance the collective body of human understanding or to impact culture in deeply significant ways: it was put here to turn a buck. So here’s my advice: listen to the sounds in your head. Meditate on them. Try and produce them as you hear them. Vividly. Without apology. Without embarrassment. There will always be folks trying to tell you what music should and should not sound like. These people cannot hear the music in your head - nor have they tried. These people are not artists...

They are critics; business-people and fearful children - petrified of the portrayals of human experiences into which they have not journeyed. They are not muses. Do not follow them into their Shadowlands. Face as much truth as you can bear on your own…

...Never stop loving.    

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

Well; we’re Jewish, so… you know… we’ll eat Chinese food and watch Free Willy on V.H.S.  

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).

Friendly Rich’s The Great Blue Heron…

… and Sulker by The Sulks, please and thanks

_________

Follow The Holy Gasp

Facebook:

https://www.facebook.com/TheHolyGasp

Twitter:

https://twitter.com/theholygasp

Instagram:

https://www.instagram.com/theholygasp/

SoundCloud:

https://soundcloud.com/theholygasp

BandCamp:

https://theholygasp.bandcamp.com/

INTERVIEW: Wulfman Fury

INTERVIEW:

Wulfman Fury

________

THE chaps of Wulfman Fury…

tell me about their new track, Nightsweats - and what comes next for them. The five-piece hail from Sheffield. I learn more about the city’s scene and why the Yorkshire hotspot deserves more attention and acclaim. The guys tell me about their favourite music and what it is like being affiliated with Mile Kane – band member George used to perform alongside him. The boys talk about touring and why it is a natural home for them; what dates they have coming up – and a few new artists worth investigating.

I find out about their inner-workings and creative process; what they have planned for the coming year – and how a song like Nightsweats is pitched/created.

________

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

Good, thanks - apart from our drummer, Dave, has tonsillitis. We have had a busy month launching the band; releasing the video and single; doing two secret warm-up shows and our first official show in Sheffield.

So; this week is a chilled one. Just doing some laid-back writing sessions.

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

We are Wulfman Fury. A five-piece Garage-Rock band from Sheffield - who announced ourselves to the world at the beginning of October (2017).

Nightsweats is your new track. What is the background to this one?

It’s not just our ‘new track’:  it’s the first we have put out. It’s about sleep paralysis. Myself (George) has had it about six times. The first few were extremely scary and trippy. It’s where your brain wakes up but your body’s asleep. You’re aware but your body is trapped and you’re unable to move. Often; it involves a person or creature pinning you down.

It’s incredibly surreal and isn't like a dream - it feels very real!

How did a song like Nightsweats come together? Do you all pitch lines or will someone come in with the bones – the band then flesh it out?

The idea was brought into the rehearsal room by George with the chords, riff and melody - and we probably had the main bones done in about twenty minutes. George then went away and finished the lyrics. Within two weeks, we were in George’s ‘Fox Den Studios’ and finished it in under two days.

All self-produced and mixed.

It is an intense opening statement! Will there be more from Wulfman Fury?

Yes! We have twenty-two recorded tracks and we’re currently working on four new songs. It would be silly to just put it all out there straight away; so, we’re releasing a second track and video called Draw the Line at the end of next month - and a third track and video, Waterslide, at the end of December (via AWAL).

Then...an E.P. with some bonus tracks on it in January.

George. You used to play with Miles Kane but have stepped into this new venture. What was the reason for assembling the band and do you still keep in touch with Miles?!

The last ten years of me moving to Sheffield; getting into bands and producing; touring with Miles and building my own studio has all built up to this moment: to get my own band together. I’ve got an amazing set of guys around me now - and a real asset of having my own studio.

Yes, we’re still in touch but he’s over in L.A. I sent him the video for the first track the other day and he seemed to dig it.

How did you all get together and do you all share a love of the same artists, in general?

Myself and Dave, the drummer, have worked together on a few previous bands. We started the project and then started bringing in other people as the ideas progressed. Will on keys works for me in my recording studio. He’s a great all-round musician. Joe - lead guitar - is my younger brother. He can hit the harmonies and Steve is the dark horse of the band.

An amazing bass player and songwriter.

Sheffield is your base. It does not get a lot of attention in the press but is responsible for the likes of Arctic Monkeys. Do you think the press should feature more Sheffield acts?!

Sheffield is an amazing city...

I have a real love for the place and the people. It’s not just Sheffield, is it?! Like a lot of industries in this country. it’s too over-focused in the South - mainly London. It’s not surprising when you look into the backgrounds and upbringing of a lot of big artists these days: London, privately-educated; parents (are) multimillionaires. Mumford & Sons, Florence and The Machine; The Vaccines, Sam Smith... the list goes on...

The problem is; their privately-educated friends from school get the opportunity to do the free internships at labels and in the press. Those internships are out of reach for the working-class in the North. Who do these people go to look at when they’re scouting for bands and looking for new bands to write about?! Yes; their mate's new band from private school... sorry; bit of a rant there...

I think people from the press should get their arses out of London more. But at the same time, as a new artist, you shouldn't worry about the divide. Write good tunes and get them out there - and start building fans in your local city. 

What is the local scene like? Is it still as productive and epic as it was in the 1990s, would you say?

I think the local scene has really grown in the last few years.

There seems to finally be a buzz back again for new bands. There are some great smaller venues like Cafe Totem. I think, finally, bands are removing themselves from the ‘Monkeys sound’. There are some great Punk bands around here. My favourite new Sheffield band are called The Seamonsters: a six-piece all-girl band. I see real long-term potential with those.

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

We’re just focusing on Sheffield for now.

We have our first headline show 25th November at The Washington - and a big end-of-the-year blow-out show 16th December at Yellow Arch. Few shows already booked for next year - but keeping them under wraps for now.

It seems like the road is the natural hunting-ground for Wulfman Fury! Is that arena where you all feel the most alive and true?

I like your wordplay, there!

You can write, record and rehearse all you want - but playing your own songs live is what it’s all about, really.

If you had to list the dreams and goals for the band next year; what would they be, would you say?

Our main focus, for now, is to win over Sheffield.

Keep building and selling out the gigs and putting out good tracks - and just enjoy being creative together.

Can you all select the one album that means the most to you? Which would they be and why?

George: Unknown Mortal Orchestra’s self-titled (first) album

I had been listening to this album for over a year and read an interview with the singer and producer, Ruban Nielson. In it, he revealed that it was all recorded in his bedroom with one SM58 microphone - which gave me the inspiration and confidence to record and produce our tracks; instead of taking them into a big fancy studio.

Dave: Rubber Soul - The Beatles

I think it’s their finest hour as a band

Will: The Great Indoors by Brendan Croker

It was the first album to make me think about writing a song.

Joe: Fun House by The Stooges

An album with incredible energy - and some huge tunes on it.

Steve: Grace by Jeff Buckley

Because, I swear that album was given to us from God. It's the perfect mix of occasionally aggressive guitars and soulful vocals.

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

Have a good name and concentrate on writing: it’s, by far, the most important part. Don’t overplay your hometown: some bands I see are doing three gigs in the same week in Sheffield - people are going to switch off.

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

We’re family boys. We will disperse back to the 'rents and be sat by the fire eating and drinking - as you should be.

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).

George: The Budos Band - Chicago Falcon

Dave: Prince - I Wanna Be Your Lover

Will: Broken Social Scene - 7/4 (Shoreline)

Joe: Pixies - Bone Machine

Steve: I Don't Know Anything by Jamie Lenman

(His new album is killer)

_________

Follow Wulfman Fury

 Official:

http://wulfmanfury.com/

Facebook:

https://www.facebook.com/WulfmanFury/

Twitter:

https://twitter.com/wulfmanfury

Instagram:

https://www.instagram.com/WulfmanFury/

SoundCloud:

https://soundcloud.com/wulfmanfury

YouTube:

https://www.youtube.com/channel/UCFDS6oavRc6cXUrXD8S4mpg/videos  

INTERVIEW: Morning Tourist

INTERVIEW:

 Morning Tourist

________

I got to learn more about Sean McKinney in an expansive...

and revealing interview. Morning Tourist is the alter ego of the London-based singer-songwriter. He has been gigging for a year and received local and digital radio-play. He talks to me about shows he played in Germany; how this year has been; what he has planned for the end of the year – some of the gigs he has left in the diary.

McKinney discusses his E.P., Quiet Lives (out on 10th November), and the sort of themes/songs we can expect. I find out about the musician’s influences and what music means to McKinney – and the albums that have made the biggest impact in his heart.

________

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

Good, thanks. I’m on holiday this week - which is a good start as far as weeks go.

I just moved house so have been kept busy with that. Doesn’t feel like much of a holiday when you don’t go anywhere; so I’ve been trying to replace that feeling with productivity. I got some writing done, put a dent in my book; got to the movies; saw Blade Runner 2049 (mixed feelings) and The Death of Stalin (class).

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

My name’s Sean McKinney; I’m from Surrey and I play under the name Morning Tourist. I gig every week somewhere in London - sometimes with help - mostly by myself. I recorded my debut E.P., Quiet Lives, at the end of last year. The E.P. sounds like a band but it’s just me - and Tom Davis - who recorded it, playing the drums. The songs are somewhere between Folk, Alt-Rock and Power-Pop.

I’m really proud of how the record came out so, since then, I’ve been trying to get people to hear it - whilst slowly building towards the next one.

Tell me about the E.P., Quiet Lives. It is out on 10th November. What can we expect from it in terms of themes?

I started collecting the songs that ended up forming the record just after leaving university. So, the record seems pretty informed by that period of time; feeling a bit lost at sea, trying to figure out what to do next. I was increasingly discouraged by the traditional avenues of starting a career or entering an industry - and felt a general disconnect from my generation and the way the world was going.

It all sounds pretty sceptical and gloomy but, I guess, the resolution and levity comes from an ownership of those feelings and turning them into something you can put your faith in and take control of – which, in a roundabout way, is the record itself - or whatever your version of making a record is.

Is there a song or line from the E.P. that hits the heart hardest, would you say?

Rabbit Hole, the last song on the E.P., has a weight to it that, maybe, feels different to the other tracks. It’s kind of a tornado of unanswered and unanswerable questions; avoided truths, omens; reminders - without really resolving any of them. The repetition, and the Pink Floyd-esque inflexions, kind of give it this ‘descent-into-despair’ feeling. It was a song that fell out fully-formed more or less - which isn’t that common for me. It usually goes down well and can turn heads at gigs when people aren’t really listening...

So, yeah - probably that one.

I am in interested finding out how you got into music. Was it something that spiked the imagination as a youngster?

When I was really young; Rock music was just tied up with skateboards and Bart Simpson: something rebellious and cool. It was more an aesthetic interest than anything else. I don’t think the music actually came in ‘till later. I have a clear memory of my uncle, who played a little guitar, singing us Simon and Garfunkel songs at Christmas and stuff. I think, as well as liking the songs - which I still do - it was him holding court and having everyone’s attention when he played – and, as an ‘everyone-look-at-me’ kind of kid; I think that captured my imagination.

When I was a teenager, and I really started playing, it was Punk and (all about) being angry and contrary to everything. But, playing in bands at that age, (also) meant you were involved in a community of young creative people doing something similar; trying to break off and do your own thing.

The music wasn’t always great - but we had the right idea.

A lot of musicians are self-taught – others attending schools and academies. To me, it sounds like everything you play stems from hours or practice and intuition. Would that be a fair assumption?

Yeah, you’re about right: I did study music but I’m not sure how much my musicianship actually improved from it. That came from years of messing around on the guitar, making the pieces fit and, as you say, intuition. Not sure why this sounds wrong or right but I know what it’s supposed to sound like. You don’t need to be a great musician or a trained musician to be a good songwriter or to start a band. I think it’s about making your ability, or lack thereof, work for you.

Anyway; I’m sure I’ll be learning guitar for the rest of my life.

This summer, you performed in Germany. What was the vibe like out there? Are you keen to explore Europe more?

Germany was fantastic; I toured with my friend Bristol singer-songwriter, Ead Wood. We booked it ourselves not really knowing what to expect and, at the first date in Cologne, about thirty people turned up (this number is increasing every time I tell the story). None of them knew who we were: they just came to see whoever was playing that night. They all sat there politely for an hour-and-a-half and dropped money in a hat for us at the end. Sure enough, the exact same thing happened the following night in Berlin. There’s just a support and interest for independent music out there that is harder to find over here.

We didn’t pay for accommodation the whole time we were there - and people couldn’t have been more friendly or helpful. We partied, swam in lakes; saw friends and family. It was class. We’ve started booking another German tour for February. We were asked back everywhere we played and they seem to think we can do even better in the winter months.

It was an experiment that we are going to try and replicate with a bit more efficiency and then, following that, I will absolutely look elsewhere in Europe.

Is there going to be more material next year? Are you working on any more stuff at the moment?

I’m putting the next one together now...

Always trying to write. I’m about four/five songs in - I’d like to have seven again this time. I think that’s a good length to (still have) the arc of an album - but, on an E.P., I’m trying the George Carlin ethos of releasing one a year but, songwriting being the way it is, you don’t always get to decide when things get written. It’s also got to be a bit better than the last one - so, I’m being discerning and diligent. Hopefully, near the beginning of next year, I’m back in the studio.

Although; I do want to make sure Quiet Lives gets it’s day in court as well - before the next one takes its place...

How easy/hard is life like for an independent musician in 2017? Do you think young artists need more support, from the Government, funding and fuelling their passion?

The way technology has opened up independent artistry has, obviously, democratised things in a way that is revolutionary. It is easier now – than it ever was - to put something together and get it out there for people to find but, equally, it’s now arguably harder than ever to get paid for it. Also, now that everybody ‘can’ do it; it, sometimes, feels like everyone ‘is’ doing it - and decent artists can easily get lost or discouraged in a world of people all vying for attention. This is something I hesitate to label as ‘bad’ because, from another angle, it’s a great thing that people who want to express themselves can and are doing so. But, I still I think it’s made the landscape difficult to navigate. I do think arts funding is important at this time - but it’s also not the Government’s responsibility to ensure we all get what we want in life.

Unfortunately, anyone trying to do anything for themselves has to recognise, or at least assume, the world will be indifferent. The way Government needs to help is by protecting live music and live music institution - and making it as easy as possible for communities to offer artists the ability to create, practice and perform. Just because something doesn’t make loads of money doesn’t mean it’s not important and, in this climate, those things need to be protected. Plus, if we all had a bit more money in our pockets at the end of the month, people might be more willing to start paying for music again…

But, we would probably have to turn our guns on the banks to solve that one.

Looking back on your career so far; which memories stand out as especially fond and treasured?

I played Oxjam before I had a record, a name for the project or anything online. Due to someone pulling out, I ended up on a relatively big stage; it was the first time I’d really played a full set of these songs. Needless to say, it went down really well and I remember thinking for the first time that I might be on to something. At the end; the compère said: “Where can the people find your stuff?” and I said: “..they can’t”.

The tour of Germany was obviously a great experience and a revelatory one at that; like stumbling on the doorway to Narnia or something. It was entirely of own making and it was a success…plus, we had a lot of fun. Making the record was an amazing experience - watching something finally coming together after months and months overturning it over in your head. The process, the product - the whole thing - was incredible.

IN THIS PHOTO: Margaret Glasby

Who are the new artists you recommend we check out?

I usually get to these things late; so my idea of what’s new may differ from the reality but Margaret Glasby and Julia Jacklin only have one record - so they must qualify, right? Superb albums; real character.

IN THIS PHOTO: Julia Jacklin

The Big Thief record is great too. Unfortunately, I won’t be seeing them on their current tour. Pinegrove are also over here doing shows - that I will sadly miss. I love them and haven’t had the chance to see them - on account of my aforementioned late coming.

IN THIS PHOTO: Big Thief/PHOTO CREDIT: Shervin Lainez

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

Tough this...

Ask me on a different day and I’d probably give you three different answers:

Elliott Smith – Either/Or

He’s the best. He made beautiful music that stands at a crossroads between lots of things I like. His songs have a 1960s classicism to them as well as the rough edge of Punk - and the delicacy of more intimate music. His music is undeniably melancholic and his story only feeds that - but manages to be simultaneously optimistic, outward-looking.

All of his albums are brilliant but, for me (as for many others), Either/Or is where you start.

Nirvana – Nevermind

It’s one of those ‘everyone-who-heard-it-went-out-and-started-a-band’ albums. But it’s true. it made me want to play music, scream; shout and jump around. It was just so sloppy that it made you think that you could do it too - but not so sloppy that it lost its accessibility. At some point or another, I’ve learnt how to play every song on it and, with the exception (maybe) of Smells Like Teen Spirit, I will still get excited if I hear them come on in a bar or something.

Kurt Cobain died when I was three but, undoubtedly, Nirvana was still one of the most important bands of my generation…and beyond.

Simon & Garfunkel – Bridge Over Troubled Water

As I said before; this music was around a lot when I was a kid - and I listen to it as much now as we did then. Beautiful songs, immaculately put-together and performed. It makes me nostalgic (in the best possible way) for an era that I didn’t live through; but, it still looms large over the present - as well as for my childhood.

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

You really have to love doing it - all of it - good and bad. If you like your songs, I’d say that’s all the encouragement you really need to keep writing and pursuing it. Have faith that you will improve and things will move forward - so long as you keep it up. Take the work seriously but don’t take yourself too seriously.

Be nice to people.

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

At the moment it’s looking like this, but keep an eye on my page - more will pop up:

02/11: Hard Rock Cafe, Hyde Park Corner

05/11: Hope and Anchor, Islington 

14/11: Apples & Pears, Aldgate 

06/12: Boho, Camden

10/01: The Bedford, Balham

14/01: The Spice of Life, Soho

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

I’m actually going to see my dad in Thailand. He’s living on a beach somewhere out there, stoned;  laughing at the rest of us. I haven’t seen him in a while so we are due a check-in. Should be fun. I’ve never done Christmas outside the U.K. before so that will be interesting.

Needless to say; I won’t be at the pub on New Year’s Eve…sorry fellas.

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).

Can you play Hot Dreams by Timber Timbre

For no reason other than I saw them at End of the Road festival this year, not knowing who they were - and haven’t stopped listening to this song since.

Thank you.

_________

Follow Morning Tourist

   Facebook:

https://www.facebook.com/morningtourist

Twitter:

https://twitter.com/MorningTourist

BandCamp:

https://morningtourist.bandcamp.com/releases

YouTube:

https://www.youtube.com/channel/UCUevNbw68BExicP6WbEj0lQ

FEATURE: The Last of the Great Northern Lovers: Why There Needs to Be a Revolution in Music

FEATURE:

 

The Last of the Great Northern Lovers:

 IMAGE CREDIT: @lightupgoldII

Why There Needs to Be a Revolution in Music

________

THERE are a lot of different issues and areas of discussion…

IN THIS PHOTO: Kevin Spacey/PHOTO CREDIT: Daniel Zuchnik/WireImage

popping up right now. We cannot help but see the ongoing stories concerning the likes of Kevin Spacey – high-profile actors/creatives who have been accused of sexual assault. More names are being singled out and it seems, following the Harvey Weinstein furore; there are people finding the courage to come forward and tell their stories. I have written about music and why there needs to be an explosion of change and progression. I am not saying we need to have people policing the industry and cleansing it: I see a lot of murkiness and poison in other areas of entertainment and it seems music needs to react and show it is can learn from those lessons. Although film and T.V. are not being tarnished too heavily by these accusations and unfoldings; one wonders what will happen going forward. Music is not a space that should be canonised and assumes clean and beyond reproach. It is the same as any other sector of entertainment: people will be committing crimes and abusing trust. I worry there is an institutionalised sense of ignorance whereby eyes are turned blind and people feel the need to bury their experiences under the rug – through fear they’d be marginalised and ignored. All of this is a background that fuels a desire; that kick-starts a need to make a positive change. I have bandied around ideas surrounding a music charity: a universal cause and commitment that will draw together people from music – and other areas of the arts – and send a positive message to the people. The charity – I have dabbled and toyed with names – would join everyone together in a creative and productive cause. I feel music is not being utilised and substantiated in an effective and progressive way. By that; there are few large-scale charities that represent a number of different causes and people. Mental-health is a big concern in music: I am seeing so many scarred and affected by its daily jab and haunt. There are those struggling, financially, who come from poorer backgrounds; musicians and creatives with disabilities and illnesses. It is not only those within music that could benefit and profit from an umbrella charity.

PHOTO CREDIT: Getty

There would be a social media component whereby a site would exist that would house all the charity but provide other options and access. There would be helplines for those who suffer abuse and discriminations; forums that raise issues around sexism and racism – not only in music but general society – and other ills. The hub would be a website that would have a few different sides. I have talked about creating a music website whereby one would have their music needs all in one place. You would be able to converse and connect with musicians around the world. There would be the option to listen to all digital stations available; get all your music needs in one space. I worry sites like YouTube and Spotify have a lot of great music but never organise it in an effective way. I often stumble on songs I had forgotten about or struggle to locate the song I want. This site – as I said; name to be confirmed – would make that easy and draw everything together. That is one of the most important points of any music site: housing what has come before and is around of the moment; making it simple for people to access to. In addition; one can learn how to play instruments and get software/programmes that simulate instruments. There would be links to music educational facilities and chances to collaborate with producers/artists online; a special site where you can bond with fellow music lovers and attend gigs together – share tips and find the best new acts around. A ‘music map’ would compartmentalise all the bands/artists from every town in the world. You can find artists quicker and break it down by town/city; country or genre. It would save a lot of time and make searching a lot easier. Many might be familiar with this kind of thing: I have raised this prospect before and want to make a site that goes a lot further than what is out there.

PHOTO CREDIT: Pixabay/Unsplash

This is not for business reasons or financial gain: there is a lot of confusion, separation and anger right now. I know music will continue as normal and the actual business of recording and releasing is most important. I am worried problems, issues and concerns are going unnoticed; those who want to discover great new music – and preserve that which has come before – are not having their voices listened to. So much of today’s music is driven by business and commercialism: maybe that was always the case but, the larger the industry comes, the greater the need for regulation and order. I am split between the need to provide an ethical platform and open pulpit – where subjects like sexual abuse, mental ill health and discrimination can be tackled – and organise music of the past (so the full spectrum can be discovered and enjoyed) and present (so underground acts and the mainstream can be organised into one site; easier to find those hidden gems, too) into a single place. Social media is great when it comes to sharing bands/artists; albums/songs and news without much thought and effort. I worry music is one side of social media but there is nothing that specifically distinguished and highlights music away from everything else – Twitter and Facebook are open platforms where anyone, anywhere can put what they want on there. Sounds Like Friday Night is a new, live music show that collates performances, comedy and chat into one show. It is presented by Greg James and Dotty (BBC radio) and has been met with mixed reviews. The idea is admirable but I wonder whether it is a natural replacement for shows like Top of the Pops. There are not many music shows on T.V. – Jools Holland’s long-running series is quite niche – so it was as admiral effort to put down.

IN THIS PHOTO: Greg James and Dotty

Whilst its chemistry and construct might not be the breakthrough many had hoped: it is a sign people are lusting after a music show and a return to older days. I am caught in a blizzard of nostalgia at the moment and have been rediscovering sounds that soundtracked by childhood. It is great revisiting the past and it makes me realise the importance of bringing these artists to the new generation. How this site would take shape I am not too sure – what it will be called, and how large it would be, has yet to be seen. I worry we are spending too much time on the Internet but I guess that is the way things are going. The point of my initiative is to get people more involved with other aspects of music – not only the songs/artists themselves but engage in worthy causes and charities; proactively get out into the world and help those less fortunate. I guess the site/idea is a reaction to the problems swirling and how many I see suffering – my social media feeds are filled with updates of emotional stress and loss. Music has the power to make real change and impact the world in a very potent and transformative way. More than anything; I want to utilise what is already out there in the world and put it in a separate environment for those interested. Social media is great when it comes to sharing music but I feel, from a personal perspective, it can be quite destructive and isolating. Music is a sacred and inspirational side of the arts that has created some of the finest work the world has ever seen. I worry – as I have speculated in other pieces – there will be controversy and accusations levelled at some of its stars and figures. We are in a very dark and turbulent time right now so it is vital we find a way of providing love and positivity – tackling any issues and ensuring we learn from it.

PHOTO CREDIT: Getty

I guess ‘love’ is the biggest message from all of this. I feel music is doing what it should do: providing entertainment and pleasure to the people. If we leave it at that then we are ignoring the depths and potential of music. It has the power and strength to change lives and make real changes in the world. I am discussing ideas with web developers and hope to have something formulated but I have been troubled by news coming from the acting world – wondering if it will hit music and, if so, how hard. I am concerned the music business today is too focused on business and streaming figures: that is getting in the way with the joys of music and all it can do in the world. Maybe that is a natural side-effect of a modern and technological world. I am seeing so many problems form and divisions remain. Whether that is sexism or sex; racism and discrimination – there is a lot of work to be done and practices that need reversing. The rise of mental-health issues and struggles is causing much concern. I am troubled by young people’s lack of understanding when it comes to the past. It is not the case with everyone (of a certain age) but I am troubled by the notion certain acts and albums will be forgotten in time. Feeding music and letting its fine and powerful animal do damage through the world is demanded and necessary. Maybe I am a dreamer – and the practicality and pragmatism of the notion will overwhelm the desire – but I feel this is the time we need to put our hearts and minds together and create a distinct movement – whether it is physical or electronic. Oh…and when it comes to the first part of this feature’s title – and whether it has any deeper meaning – I can reveal…

 PHOTO CREDIT: Getty

IT just sounded like a bit of fun (and a possible album title)!

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

FEATURE:

 

New York’s Finest:

PHOTO CREDIT: W magazine

The Best Artists from the Empire State

________

THE state of New York was dealt a blow…

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.

________

Eddi Front

 PHOTO CREDIT: Brooklyn

Facebook: https://www.facebook.com/EDDIFRONTOFFICIAL/

SoundCloud: https://soundcloud.com/eddifront

YouTube: https://www.youtube.com/channel/UCDQM0EApz2Q6AZLegouK3Dg

Eartheater

 PHOTO CREDIT: Brooklyn

Official: http://www.eartheater.solar/

Twitter: https://twitter.com/alexdrewchin

Facebook: https://www.facebook.com/Eartheater-106267762383/

Zuli

BandCamp: https://zuli.bandcamp.com/releases

Twitter: https://twitter.com/zuli_jr

Facebook: https://www.facebook.com/zulidude/

Ex Reyes

PHOTO CREDIT: Leslye Davis

YouTube: https://www.youtube.com/channel/UC76I2Yigv4IjFkd-jdV5vWw

Twitter: https://twitter.com/EX_REYES?lang=en

Facebook: https://www.facebook.com/ExReyesAlways/

Baby Shakes

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

Twitter: https://twitter.com/thebabyshakes

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

Breanna Barbara

BandCamp: https://breannabarbara.bandcamp.com/

Twitter: https://twitter.com/Breanna_Barbara

Facebook: https://www.facebook.com/breannabarbaramusic

>

Josh Michaels

Official: http://www.joshmichaelsmusic.com/

Facebook: https://www.facebook.com/officialJoshMichaels/

Casey Hopkins

SoundCloud: https://soundcloud.com/caseyhopkinsduo

Facebook: https://www.facebook.com/TheCaseyHopkinsTrio/

Vagabon

 PHOTO CREDIT: Brooklyn

Official: https://vagabonvagabon.com/

Twitter: https://twitter.com/vagabonvagabon

Facebook: https://www.facebook.com/vagabonjour/

Patio

 PHOTO CREDIT: Brooklyn

SoundCloud: https://soundcloud.com/patio-681033922

Twitter: https://twitter.com/pati0band?lang=en

Facebook: https://www.facebook.com/patioband/

WALL

 PHOTO CREDIT: Brooklyn

Spotify: https://open.spotify.com/artist/1wwIWCS55JD5X6PlR9aBMT

Twitter: https://twitter.com/wearewall?lang=en

Facebook: https://www.facebook.com/wearewall/

 

Dakota Jones

BandCamp: https://dakotajonesband.bandcamp.com/

Twitter: https://twitter.com/dakotajonesband?lang=en

Facebook: https://www.facebook.com/DakotaJonesBand/

FEATURE: The Best Singles of 2017 (So Far)

FEATURE:

 IN THIS PHOTO: Morrissey 

The Best Singles of 2017 (So Far)

________

I brought together my favourite albums of this year…

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)…

________

Beth Ditto – Savior Faire

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

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

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

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

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

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

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

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

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

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.

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

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:

Vince James

________

I have been speaking with Vince James…

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.

________

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.

​​​​​​​

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.

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.

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…

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. 

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.

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!

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

_________

Follow Vince James

 Official:

https://www.vincejames.co.uk/

Facebook:

https://www.facebook.com/vincejamesmusic/

Twitter:

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

YouTube:

https://www.youtube.com/channel/UCvJo2QXNRfWPE7FJdMdFg7w

Spotify:

https://open.spotify.com/artist/2SS8nqacbNIHsUzBF1UcIs

TRACK REVIEW: Lauran Hibberd - Eliza

TRACK REVIEW:

 

Lauran Hibberd

PHOTO CREDIT: Nathan Russel

Eliza

 

9.5/10

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

__________

ONE of the reasons I am going after…

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.

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.

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.

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.

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.

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.

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’.

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.

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.

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.

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.

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…

WE have a definite star of the future.

_______

Follow Lauran Hibberd

Official:

http://www.lauranhibberd.com/

Twitter:

https://twitter.com/lauranhibberd

Facebook:

https://www.facebook.com/lauran.hibberd/

Instagram:

https://www.instagram.com/lauranhibberd/

SoundCloud:

https://soundcloud.com/lauranhibberd

Spotify:

https://open.spotify.com/artist/33ReZaGVb63WaJE68WgWuU

YouTube:

https://www.youtube.com/channel/UCK4H3Oy-dWeZysv2elqXGaw

FEATURE: The Best Albums of 2017 (So Far)

FEATURE:

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

The Best Albums of 2017 (So Far) 

________

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

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!

________

Benjamin Clementine – I Tell a Fly

“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

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

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

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

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

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

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.

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

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

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

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

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:

 Jazz Mino

________

COLOUR is the first thing one notices when looking at…

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.

________

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.

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. 

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.

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).

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.

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).

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!

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.

_________

Follow Jazz Mino

Official:

http://www.jazzmino.com/

Facebook:

https://www.facebook.com/JazzMinoUK/

Twitter:

https://twitter.com/Jazz__Mino

YouTube:

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

Instagram:

https://www.instagram.com/jazz_mino_uk/

Spotify:

https://open.spotify.com/artist/2uiFUbeyr7hVJrlnjolYct

SoundCloud:

https://soundcloud.com/jazzmino

TRACK REVIEW: False Advertising - Hey You

TRACK REVIEW:

 

False Advertising

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

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

__________

ONE of my drives going forward…

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.

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.

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.

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.

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.

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.

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?

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.

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.

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.

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.

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…

THE young trio really is.

_______

Follow False Advertising

Official:

http://www.falseadvertising.co/

Twitter:

https://twitter.com/falseadv

Facebook:

https://www.facebook.com/falseadv/

Instagram:

https://www.instagram.com/falseads/

SoundCloud:

https://soundcloud.com/falseadv

Spotify:

https://open.spotify.com/artist/0w0G0yLuHEK0PKsNnLytAp

YouTube:

https://www.youtube.com/channel/UCXnsouioaufhvdkxR7jC_1g

INTERVIEW: Daniel Carlson

INTERVIEW:

 Daniel Carlson

________

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

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…

________

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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).

_________

Follow Daniel Carson

IN THIS PHOTO: Bridget Beng 

Official:

http://www.danielcarlson.com/

Facebook:

https://www.facebook.com/Daniel-Carlson-184575642396/

Twitter:

https://twitter.com/dancarlsonmusic

YouTube:

https://www.youtube.com/channel/UCvTBtUHwPAWwxtBtLb0douA

Spotify:

https://open.spotify.com/artist/7o4IzYyu1N7NQTxuQDruCi

INTERVIEW: Oriion

INTERVIEW:

Oriion

________

A certain cheekiness and assuredness emanate…

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.

________

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. 

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.

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. 

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).

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)

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

_________

Follow Oriion

 Official:

https://www.oriionmusic.com/

Facebook:

https://www.facebook.com/officialoriion/

Instagram:

https://open.spotify.com/artist/4oKtQhJeLILsjxcj1cCSY8

YouTube:

https://www.youtube.com/channel/UCp9H-ojBd2Bbc3FDgA2errQ

Spotify:

https://open.spotify.com/artist/7s9LTAKRwkBQ0CqWlbE254

INTERVIEW: FRASE

INTERVIEW: 

PHOTO CREDIT: Kodiak Photography 

FRASE

________

I have been speaking to FRASE…

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.

________

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.   

 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

 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!

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. 

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! 

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!  

_________

Follow FRASE

Official:

http://frasemusic.com/

Facebook:

https://www.facebook.com/frase.w.music

SoundCloud:

https://soundcloud.com/frase-w

Instagram:

https://www.instagram.com/frasemusic/

Spotify:

https://open.spotify.com/artist/7s9LTAKRwkBQ0CqWlbE254 

INTERVIEW: Oh Geronimo

INTERVIEW:

 PHOTO CREDIT: L.A. West

Oh Geronimo

________

THEY say, when explaining their new album…

 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.

________

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.

 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.

 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.

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. 

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.

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.

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

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

_________

Follow Oh Geronimo

 Official:

http://www.ohgeronimo.com/

Facebook:

https://www.facebook.com/OhGeronimo/

Twitter:

https://twitter.com/oh_geronimo

SoundCloud:

https://soundcloud.com/ohgeronimomusic-1

Instagram:

https://www.instagram.com/ohgeronimo/

BandCamp:

https://ohgeronimo.bandcamp.com/

YouTube

https://www.youtube.com/channel/UCYtvpoT2mDF_PGout76NVQQ