FEATURE: “Who Runs the World…?" Incredible Female Artists to Watch in 2018 (Part I)

FEATURE:

 

“Who Runs the World…?”

IN THIS PHOTO: Liv Dawson 

 Incredible Female Artists to Watch in 2018 (Part I)

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I guess, if you are a Beyoncé fan, the question…

IN THIS PHOTO: ADI/PHOTO CREDIT: Kristin DeLeo Chalmers 

posed in the headline would be rather obvious – and complete with an exclamatory chorus. The past few weeks have seen a lot of female figures (from the world of entertainment) come forward and document their experience of harassment and assault. That might sound like a depressing way to launch a feature of female artists but I find there are issues in music that will rear their ugly heads – an industry that is no less safe and dependable as acting/T.V. What worries me is how, already, female artists are being overlooked and passed by.

This might not be new to many people’s ears but it is something we need to challenge and rectify. I am always keen to support female artists because, to me, they are more interesting, deep and original. I will do the second part of this feature - and a coupel more - but I have seen a few great artists, I feel, will be big propositions in 2018.

Here is the first instalment of names worth following in the coming year…

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Wyvern Lingo

PHOTO CREDIT: Ruthless Imagery

Location: Bray, E.I.R.E

Genres: Alternative/RnB/Pop

Official Website: http://www.wyvernlingo.com/

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

Stefflon Don

Location: London, U.K.

Genres:  Rap; Alternative; Hip-Hop

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

Follow: https://www.facebook.com/stefflondon.official/

ADI

Location: Tel Aviv, Israel

Genres: Futurebeats

SoundCloud: https://soundcloud.com/adiulmansky

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

Lola Coca

Location: London, U.K.

Genres:  Hip-Hop; Pop

Official: https://www.lolacoca.com/

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

Snoh Aalegra

Location: Stockholm, Sweden; Los Angeles, U.S.A.

Genres: Soul; Cinematic-Pop

Twitter: https://twitter.com/snohaalegra

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

Avante Black

Location: U.K.

Genre: Alternative-Pop

Official: https://www.musicglue.com/avante-black/

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

Miya Follick

 PHOTO CREDIT: Maya Fuh

Location: Los Angeles, U.S.A.

Genre: Alternative

SoundCloud: https://soundcloud.com/miyafolick

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

Koko Clay

Location: London, U.K.

Genre: Future-Soul

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

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

Billie Eilish

Location: Los Angeles, U.S.A.

Genres: Alternative; Pop

Official: http://www.billieeilish.com/

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

Harper

Location: London, U.K.

Genres: Pop; Alternative

Official: http://www.harpertheartist.com/

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

 

Elena Ramona

Location: Surrey, U.K.

Genres: Pop; Soul; Alternative; Dance

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

YouTube: https://www.youtube.com/channel/UCmVSlZvqOYKf3qp0bA8b8Bw

Tash Sultana

PHOTO CREDIT: @samgehrkephotography

Location: Melbourne, Australia

Genre: Alternative

Official: https://www.tashsultana.com/

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

Liv Dawson

Location: London, U.K.

Genre: Pop

Official: http://www.livdawson.com/

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

Princess Nokia

Location: New York, U.S.A.

Genres: Hip-Hop; Alternative

Official: http://www.princessnokia.org/

Follow: https://www.facebook.com/princessnokia92/

Emma Blackery

Location: Essex, U.K.

Genre: Pop

Twitter: https://twitter.com/emmablackery

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

Jorja Smith

Location: Walsall, U.K.

Genres: Singer-Songwriter; Alternative

Twitter: https://twitter.com/jorjasmith

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

Cardi B

Location: New York, U.S.A.

Genre: Hip-Hop

Official: http://iamcardib.com/

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

Rews

Location: London, U.K.

Genres: Rock; Alternative

Official: https://www.rewsmusic.com/

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

INTERVIEW: Ryan Hassan

INTERVIEW:

Ryan Hassan

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IT is rare I get to chat with a drummer…

Especially one who has worked with some of the biggest names in new music. Ryan Hassan has teamed with white-hot rapper Kofi Stone and, between them, created something incendiary and hypnotic – in the mighty and memorable Bomb Squad. I speak to Hassan about the track and how he came to meet Stone; some of those big names he has worked with – whether there is more material coming along.

On the subject of drumming: I ask if that is the place he feels safest – as he steps up-front on Bomb Squad – and the heroes of the form that inspired him growing up. Hassan tells me about the countries he has toured and what is the next piece of the puzzle...

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

Great. I just released Bomb Squad, my first single, last week -  so it’s been full on as well. Been working on the next tracks as well as practicing for collaborations I've got coming up.

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

I’m Ryan Hassan. I’m a drummer and producer from Glasgow, Scotland. Right now, I play drums for Fatman Scoop, The Logans; Brian McCafferty - and a few other artists. I’ve previously worked with the Bay City Rollers, Clean Bandit; Kloe, Lucia, November Lights; That Drummer That DJ (and many more).

I’ve toured everywhere from the U.S.A. to Russia and with everyone from McFly to Kid Ink. I’ve also just released my first solo record, Bomb Squad, with Birmingham rapper Kofi Stone.

Bomb Squad is your new song – it is as explosive as the title suggests! What compelled its creation?

I was doing a live show called That Drummer That DJ where I took the biggest records across every musical genre and remixed them live - and re-drummed them live with different D.J.s. From that, I had the idea of producing my own beats; that kind of grew into producing tracks and asking guests to feature on them - and working them into the live set.

It just naturally progressed to releasing these tracks.

The song bridges the bombast and fury of Rage Against the Machine with sounds of Danny Brown and Grime. How did you come to meet Kofi Stone – and how closely did you work together on the track?

We met doing a festival together in Greece with Tinie Tempah. He was being managed by a friend of mine, Chris, who also manages Scoop - and he introduced us. Kofi came up to Glasgow twice after that (after two missed flights and a train). He laid down all his parts for what became Bomb Squad.

It came together quickly: the vibe just felt right from the beginning.

Will you two work together on more songs? Are there other tracks in your thoughts right now?

I hope so.

We’re both busy doing our own thing at the moment - and I've got some guest vocalists lined up for new material. I’m working on finishing them right now: maybe even a collab with Scoop would be great.

I'm really excited about the new material.

It is unusual for a drummer to steal the spotlight and, at the same time, allow another light to shine at the front! Do you see yourself on the microphone at some point – or are you happy creating those hectic beats?

Definitely not! (Laughing).

I prefer to always be behind the drums. I’ve always wanted to push the boundaries of what is possible as a drummer in terms of recognition and creativity. For me, playing varied styles of music; working with different artists and being out there doing live shows is the driving force.

I’m happy as long as I’m creating and playing drums.

Tell me about your relationships with the drums and how you got started? Who were the drummers you idolised growing up?

I started playing when I was eleven-years-old. I had a drum lesson that day in school; just playing a really basic beat - and I was terrible. I didn’t have the coordination or anything, but I absolutely loved it. A little while later, me and my friends started sneaking into school after it closed to get extra time playing the drum set…and that’s where I started to develop: from being pushed in that group to keep up.

We eventually got caught when one of my friends used a floor-polishing machine on a carpet - and burnt a hole through it and we all got kicked out of school. The school got a real drum teacher shortly after that and I never looked back.

I went to my first concert around that same time to see the punk band The Offspring and Ron Welty was playing drums. I was blown away hearing drums through a system that size - and I knew there and then that’s all I wanted to do.  From taking lessons, I was really influenced by guys like Dennis Chambers and Steve Gadd - and my parents had already introduced me to people like Max Weinberg, Stewart Copeland and Pick Withers; who were great for me in terms of technique and diversity.

But, my poster-on-the-wall-drumming-heroes growing up were Travis Barker, Jose Pasillas; Chad Smith - guys like that.

You hail from Glasgow. How vibrant and varied is the scene in the city? Do you think Glasgow gets the respect it deserves?

I think the scene in Glasgow gets a lot of credit.

Such a small city has produced so many major artists and many more have been discovered there - like the famous Oasis story, as an example. I'm also very inspired by the New York scene; where you can find a really bustling jazz scene or Hip-Hop scene - as well as all the mainstream.

In addition to opening for Rod Stewart; you have toured worldwide and performed at big festivals. How instrumental and formative have these experiences been?!

Massive.

Having the experience of playing huge stages and learning what it’s like to tour; right down to things like how to respect crew and engineers - and not getting in their way whilst trying to do their jobs. There’s a big difference going from doing six shows in a van with your friends to doing four months on an international tour; flying every day and having to build relationships with people around you (that you didn’t know before).

Just seeing the level of musicianship needed to cut it at that level; the discipline and everything else that comes with it. Watching Beyoncé’s band warming up, for example, was an awesome experience. It’s definitely pushed me in terms of my practise schedule and knowing how good a track has to be to appeal to audiences that size.

I think the days of touring musicians brushing their teeth with Jack Daniels are long gone! (Laughs).

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

I’ve got a busy November and December with The Logans and Brian McCafferty - with shows all over Scotland. In the New Year, I’m going to be on the road with Fatman Scoop (dates to be announced) - and I’ll be doing some solo drum and D.J. shows starting in February in Boston, MA. 

I’m hoping to be doing more with November Lights as well - but there’s nothing confirmed there so far.

Can you see yourself touring internationally as we head into 2018? What ambitions do you have for the year ahead?

Yes. As soon as Scoops' dates come out; we will be all over and with my own material. I’m going to be doing a bunch of shows in the U.S.A. - starting off: February 18th in Boston.

IN THIS PHOTO: November Lights/PHOTO CREDIT: Cameron James Brisbane

Who are the new artists you recommend we investigate?

November Lights are a band from Scotland who deserves major recognition. They really have some amazing songs - I love their sound.

I’m also listening to Jared & The Mill constantly. They have a song called Song for a Girl that breaks my heart in a good way….and PARTYNEXTDOOR. Not quite as new as the others - but his Seven Days record is a killer.

Devon Taylor is playing drums on tour (with him) and opening for Halsey right now - so he’s also worth checking out.

IN THIS PHOTO: Devon Taylor

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

Dire Straits - Brothers in Arms

That’s a record that connects me to my family. It’s one of the first I ever heard - and it’s one I still listen to regularly.

Blink-182 – Blink-182

This is the album that really gave me the push to be a professional drummer. I doubt I’d be doing what I’m doing now if I hadn’t heard this album.

Death Cab for Cutie - Transatlanticism

Probably my most listened-to album of all time. I love the chilled vibe of their music and it’s a record that taught me the most about playing grooves and playing for the music - but still doing it in a creative way.

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

Be willing to suffer for your craft...

It could take a long time for anything to happen; there will be times when you have no money; there could be times when everything you’re working on falls apart but, if you love what you’re doing, then you push through - and every good thing that comes of it is worth it. Don’t always trust social media: no one sees the bad days behind the good photos.  

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

No plan.

I will be home for Christmas watching Christmas Vacation; playing the PS4 - and eating way too many chocolates (as usual).

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).

Demi Lovato - Tell Me You Love Me

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Follow Ryan Hassan

Facebook:

https://www.facebook.com/thatdrummerthatdj/

Twitter:

https://twitter.com/ryanhassan

Instagram:

https://www.instagram.com/ryanhassan/

Spotify:

https://open.spotify.com/artist/1v0n9I0MPeGKlyY3FO66ZC

YouTube:

https://www.youtube.com/channel/UCE_fva1ICCb2prL2oG6mo_Q

INTERVIEW: Loraine James

INTERVIEW:

Loraine James

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I know a few artists who mix disparate genres…

and make it hang together – few do it with the same skill and beauty as Loraine James. She tells me about her new album, Detail, and what themes/stories went into the songs. I find out about her influences and how the London-based artist has progressed. She reveals her road into music and whether there is more material afoot; what her songwriting process involves – and the new artists she recommends.

James talks about her background and upbringing; the great venues/locations she has played in already – and what she has planned for the remainder of the year.

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

I’m good thanks.

Just chilly for the most of it. Haha. Job-hunting: that lovely kind of thing

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

I always hate introducing myself. Haha. So, I’ll try...I’m a producer/musician from London who makes sometimes glitch; sometimes ambient - and sometimes in-between Electronic music.

Detail, your latest L.P., was released back in May. What was it like putting the album together? What were the kind of things that inspired the songs?

It was really fun and stressful.

I started producing the album at the end of December 2016; around the time of finishing my dissertation - and starting fully focusing on it in the New Year. It was really cool making this album as I’d always work on my own when it came to my own work – so, to collaborate with people on the record was fun and I’m really happy with the turnout... 

Artists such as Aoki Takamasa inspired me because I was just listening to all the intricate details in his drum-work - and that really was an inspiration to really focus more on every single section of my songs.

Are there going to be new releases from Detail? Any more singles arriving?

There’s a new single out this week called Silver (featuring Sadie Sinner and Le3 bLack).

This song was an idea (idea-number-nineteen, to be precise) for the album I did late last year - and came back to mind only recently (like a few days ago). So; I made it into a song and here it is. Haha. Yeah, this is going to be the last song for a while from me because of creative/mind-block when making music under ‘Loraine James’; so, I’m going to be doing other things like more gigs, workshops; collaborative music projects and my other music project with my mate Will Primett (called Hydra).

It seems like you source from genres such as Math-Rock and Ambient. Is your record collection more attached to modern sounds – or do you dip into the archives and source from the classics?

Erm. I’d say most of my record collection is from the 1990s-onwards; with early Aphex Twin albums etc. - but I also do love listening to Steve Reich’s work.

Who are the artists most influential and important to you?

Telefon Tel Aviv, Aoki Takamasa; Circa Survive, Deftones…the list goes on.

I love the attention-to-detail on quiet sounds in tracks - to the spacey calm and somewhat soothing vocals from Chino from Deftones. I don’t sing that often but, when I do, I definitely draw inspiration from him.

Do you remember when you got into music? Was there a moment where you knew you had to pursue this passion?!

I started learning the keyboard when I was six - but I think I was around fifteen when I wanted to pursue music for a living. I think what triggered it for me was when I performed a piano piece that I had made the night before for assembly - and the response I got was great.

I am interested learning about artists’ songwriting process. Do you consciously set time aside to write – or do you react to immediate inspiration and creative spark?

My brain, sometimes, does this annoying thing where I set myself time to do something and, when it comes to it, I don’t do it – so, I’m definitely more inspired immediately and spontaneously.

London, and its eclectic spirit, seems to impact your music. Are you influenced by the city and the people around you?!

Definitely. The diversity of people, music tastes and weather. Haha. There’s a lot that can get you inspired but, sometimes, it’s also nice to get away from it.

Already; you have performed at some great venues and made impressions in the music world. What has been your proudest memory so far?

Being a part of The Cocoa Butter Club has been one of my highlights because there’s always so much love - and I’m about everything they stand for! (….check them out).

IN THIS PHOTO: Yaeji

Which new artists do you recommend we check out?

Yaeji is an artist I randomly came across on YouTube. She does amazing straight-to-the-point Electronic music - and she’s also just released her second E.P…so check that out.

IN THIS PHOTO: La Leif

La Leif is an awesome Electronic musician/producer who I saw live when we were playing the same bill at Rye Wax recently. She performs her music analogue and has a great E.P. out called Nest.

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

The only live date I got at the minute is in Leicester on 25th November at The Shed.

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

Telefon Tel Aviv - Fahrenheit Fair Enough

Lusine - Serial Hodgepodge

The Mercury Program - A Data Learn the Language

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

Might be cheesy as a biscuit but try not to be like anyone else: just be yourself.

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

Well; when it’s Christmas, it’s also more-or-less my birthday…so, I don’t know. 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).

Lapalux – Essex Is Burning

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Follow Loraine James

 Facebook:

https://www.facebook.com/lorainejamesmusic/

Twitter:

https://twitter.com/LoJamMusic

Instagram:

https://www.instagram.com/setfiretoloraine/

SoundCloud:

https://soundcloud.com/lorainejames

BandCamp:

https://lorainejames.bandcamp.com/

YouTube:

https://www.youtube.com/channel/UCcNXCJCHrXEmtR071dR4kPA

FEATURE: We’re in Fashion! The Role of Image and Fashion in Music

FEATURE:

 

We’re in Fashion!

 PHOTO CREDIT: Pinterest 

The Role of Image and Fashion in Music

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PERHAPS it is less prevalent now but, traditionally, there…

has always been a link between fashion and music. Yesterday, on BBC Radio 6 Music, it was their ‘T-Shirt Day’. The point behind it was to celebrate the noble and community-driven spirit of the band T-shirt. Of course, it is not all about bands: plenty of solo artists find their faces/images embossed onto a T-shirt. I wonder whether we still associate music and fashion the same way as we did years ago. Most artists have merchandise and, if they are savvy, will print out T-shirts/clothing for fans and gig-goers. It is a great way for artists to accrue revenue and subsidise their expenses. I know a few acts who have their own look: whether that is a clothing choice or make-up; a brand that is unique to them. I was fascinated by T-Shirt Day as it meant listeners came forward; sharing their snaps of all (band) T-shirts and memories attached to it – a song from that artist was played in return. I have an old Jeff Buckley T-shirt and, although it is faded beyond recognition, it is a treasured item. I have a Queens of the Stone Age T-shirt that I plan on wearing for their gig at the O2 in a couple of weeks. I will come back to the idea of a band/artist T-shirt but, for now, a look back at previous decades and how fashion has evolved. With every important movement comes a new brand and look. I am fascinated by artists like Buddy Holly and Elvis Presley who had a very particular style and aesthetic.

In the 1950s and 1960s; Greasers and Teddy Boys could be found perambulating the streets. Early Rock and Roll pioneers, like Presley, inspired young listeners to adopt the same looks and mannerisms as their hero. Whilst legends like Holly and Presley did not, as such, spearhead a fashion revolt in these decades – they were incredibly influential musicians whose looks and styles resonated with those who sought a new identity and persona. I wonder whether, those who are adopted into clothing/image clans and tribes, feel outsiders and isolated?!

IN THIS PHOTO: Teddy Boys

Certainty, there was a popularity and wave that drew people in: becoming part of a sub-culture that strayed from the conventional and normal. The American, hip-swivelling cool was appropriated by slick-haired guys and impeccably turned-out girls – frequenting milkshake bars and diners. That might seem like a cliché image of the 1950s but one can draw a line between the blare of jukeboxes and diners and the musical stars of the time. By the 1960s, when U.S. Rock and Roll took hold; tastes and fashions assimilated the music – more and more people mimicking the same kind of styles prevalent in the music industry. Teddy Boys were a distinctly British phenomenon. It was typified by young men dressed like Edwardian dandies – decked in Saville Row garments that were almost re-introduced after the Second World War. It was a rebellious statement and iconic look that was inspired by the American Rock and Roll of the 1950s.

IN THIS PHOTO: Teddy Girls

Teddy Girls wore drape jackets and pencil skirts; long plaits and straw boater hats – there were other configurations and options, but that gives an impression of what to expect. One can trace Teddy Girls/Boys to the early-1950s, in London, which spread across the U.K. Maybe that epoch of British/world music was seen as a little vintage and bygone – quite ‘square’ and unhip – but it showed how inspirational music was. To create a fashion culture from music seems like a straightforward concept. If an artist/genre captures the imagination, then the fashions one associates with the artists would, in turn, feed into the consciousness. As the 1960s progressed; phenomena like Psychedelic music and the Summer of Love changed tastes. Peace, pacification and togetherness saw the striped jackets, innocence and gelled hair (in boys) replaced with something a little less organised and uniform. I associate the 1950s/early-1960s with a sense of order and smartness. Although some of the music was rebellious and raucous; the fashions had a dignity and suave that evolved into something less tactful in the space of a few years. Music during the early-1960s saw bands like The Beatles – their initial period of music carried on U.S. Rock and Roll and was less experimental – influence fashions. Their mop-top hair and fashion compelled a generation being brought to life by their extraordinary sounds.

IN THIS PHOTO: Getty

Many had not heard music as striking and original at that time. The guys were pushing Rock and Pop to new heights, and so, seeing the band rise to prominence meant many were copying the fashion and looks of The Fab Four. It wasn’t long until flower-power and psychedelia played a much more dominant role in fashion choices. As The Beatles moved into their more experimental phase – from 1966’s Revolver onwards – and artists like Jimi Hendrix brought a sense of acid and trip to music; eyes were opened to the bright colours, flowers in hair and looser morals. Maybe that shift in innocence was the most prominent trait of the 1950s-1960s transition. From the prim and neat fashion of the 1950s/early-1960s, by the middle of the decade; the popular music at the time was, as you’d expect, guiding fashion decisions. I am a fan of the Flower Power boom and the rather uncouth, unwashed look. The flowers-in-the-hair seems ludicrously juxtaposed against today’s climate but, back then, the world was facing the same sort of issues we have now. Artists reflected the need for peace and calm with songs that embraced togetherness and nature; the beauty of the world and togetherness. Perhaps the Antifolk movement that followed was a reaction to the somewhat tame sentiments coming from music. The biggest change in fashion can be seen between the 1960s psychedelia and colours to the rebellious and intense look of Punk.

PHOTO CREDIT: Getty

Whether you trace the explosion in fashion/a look to The Clash, Sex Pistols or Ramones: Punk of the early-1970s fostered a generation who were keen to mimic and idolise their heroes. It is interesting seeing certain genres propel their own fashion. You get a certain style with Soul and Disco but, when it comes to Punk, there is a very definite projection. From the ringed noses and lips to the spiked hair (often coloured) and leathers. This get-up can be seen as a natural extension of the Rockers – who clashed with the Mods in the 1960s and 1970s. By 1964; clashes between them intensified and, by the early-1970s, the movements had quietened. The groups were seen as troublemakers but, aside from the conflicts, the two tribes had their own look and fashions. The Rockers were greased and rode motorcycles; influenced by icons like Marlon Brando – a tough aesthetic that reflected the Rock sounds of the time. Mods rode scooters and were clean-cut and suited – inspired by Blues, Soul and Beat music (bands like The Who and Small Faces were their leaders). Punk eradicated the suaveness and prim fashion of Mods and upped the Rockers rawness. Bands like Sex Pistols acted as rebels and dissatisfied youths who were rallying against the nation and Government. If the Mods preferred the 1960s fineness; the Rockers, the classic Rock and Roll a decade before – Punk was in the moment and reacting to the divisions in the country.

PHOTO CREDIT: Getty

Many see it as a purely British movement but Punk transcended around the globe. Perhaps less troublesome than Rockers and Mods before them: Punks still mirrored the unruliness and rabble of the music they lionised. Frontmen like Johnny Rotten and Joe Strummer articulated the inner-pains and angers of their generation. It was unsurprising such a powerful and vital movement should see its acolytes adopt its garb and colours. Punk clothing and elements are still popular in some areas. There are plenty of modern Punk bands but many dress in a ‘Punk style’ as part of their everyday attire. That cannot be said of Disco and Mods – although, the latter has been modernised and streamlined, to an extent. It is interesting looking at the connectivity between music and fashion. Whilst Mod-influenced music has continued; there are 1950s-influenced artists – fashions from that period have not survived to the present time. Music that has endured – Punk and Rock – have found their modern-day fans/artists updated trends and keeping the spirit alive. Not that we have such a wave of Punk bands and the eye-catching fashions of the time – but there are those who still look up to Sex Pistols and the finest Punk pioneers when it comes to forging their identity and personality. It is not about fads and fitting in: musicians in each genre vocalise stress and misunderstandings many of their fans stigmatise. If a Punk artist talks about dissatisfaction or pain; if they verbalise something few feel confident addressing – that is much more powerful than fitting in with the fashions and tastes of the time. I think that is why the Punk look has survived. It represents non-conformity and being outside the circle – at a time like today; many feel isolated and alone.

PHOTO CREDIT: Pinterest

We can skip over some of the 1980s fashions – quite tragic in a lot of ways. Although the music of the 1980s was terrific: the bright clothing, huge hair and Primark-lite clothing has, luckily, become extinct. I am planning a piece on the 1980s and how the sounds of the time are proving popular with a lot of new artists. It is possible to return to the decade without degrading that by dressing like a 1980s star. That said; many young listeners looked at artists from Madonna and Spandau Ballet and were captivated by how they looked. The New Romantic era saw acts like Duran Duran and ABC – maybe outside the nucleus but still playing a similar style – proffer their version of Goth, perhaps. There was a more romantic – and less moody – sense but, in the big coats and outrageous hair; one can draw a line between Goth styles and the New Romantic wave. Maybe it was a little too dandy and wimpy. One cannot imagine someone dressing like Spandau Ballet and surviving a trip through the London Underground! Although those styles/fashions were a reaction to the limits of the period – the music endured but the fashion did not – it showed how influenced people were by musicians. Into the 1990s and, I guess, the biggest fashion asset was Grunge. Britpop did have its own look but not as defined and popular as Grunge. That is, to me, one of the last and great coming-togethers. You can talk about Acid House, Rave and Alternative Rock genres as having their own D.N.A.: Grunge was a different beast. Like Punk and its ragged clothing and attitude-laden swagger: Grunge was a more introverted, though no less angered, form of music.

IN THIS PHOTO: Duan Duran/PHOTO CREDIT: Getty

The artists during the late 1980s-early-1990s had intensity and vitriol but it seemed, in terms of lyrics, they were more introverted and depressed. Punk was about uprising and protest: Grunge was more concerned with alienation and youthful disenfranchisement. Baggier trousers and fewer tattoos; leaders like Kurt Cobain spread-heading a look that was taken to heart by legions of teenage fans. One can argue whether the fashion of Grunge was as important as the music but the two went hand-in-hand. There are few Grunge fans who would have detached from the perceived fashions of the time. Longer hair and looser clothing; maybe hair dyed black and band T-shirts adorned. There would have been variations but one knows the sort of look a Grunge fan would have sported. That movement lasted until, I guess, the mid-1990s and I wonder whether any movement has taken its place. I started by looking at T-Shirt Day on BBC Radio 6 Music because most of the inclusions were from older acts. Merchandise is important now but one wonders whether it is a commercial endeavour rather than part of a genre’s tapestry. Many artists make more money from T-shirts/clothing than they do albums: others are the other way around. I have a few band T-shirts and would proudly wear them. In the arenas, small venues and concerts; these T-shirts are a symbol of belonging and unity. How far they spread outside the venues is debatable. There are so many genres and styles out there: none really have that universal appeal that leads to its own look and movement.

IN THIS PHOTO: Nirvana/PHOTO CREDIT: Getty

Sure; we still have Punk bands and Metal gods; Rave artists and 1980s Pop bands – those compelled by the decade. Looking back at band/music T-shirts is remembering times when fashion was as woven into music as anything; when a genre’s completeness and membership was about the music AND fashion. That does not really happen now. I guess merchandise is as close as we get to fashion in music nowadays. Ever since the 1940s and 1950s; music-lovers have followed their idols and dressed the same way – stunned and hooked by the power of the genre. Maybe there are too many sounds out there and no real way of focusing on a single movement. That lack of tribalism and community is a problem in music. I am not saying something as common and simple as a T-shirt/look but we associate Punk and Psychedelia with clothing as much as the music itself. Nostalgia can be found celebrating bands/artists and the T-shirts we proudly sported back then. There is something bittersweet about dusting those T-shirts off but allows one to reflect on the past – when certain genres had their uniform and created a sense of belonging and safety. I feel music would be a lot stronger and compelling if we could revert to decades past and rediscover that spark. I love how fashion and music interconnect and play off one another. Character and personality help preserve music and ensure its fabrics and spirit remains for future generations. If we were able to find a way of igniting that spark; crystallising a genre’s brilliance with its own look; starting a revolution of looks and sound, then, hey…

PHOTO CREDIT: Getty

WHO knows what could happen?!

TRACK REVIEW: Bassline - Best of Me

TRACK REVIEW:

 

Bassline

 Best of Me

 

9.2/10

Best of Me is available via:

https://soundcloud.com/basslinebandofficial/best-of-me-single

GENRES:

Funk

ORIGIN:

Toronto, Canada

RELEASE DATE:

22nd June, 2017

The E.P., Bassline I, is available here:

https://basslinebandofficial.bandcamp.com/releases

__________

THIS review will take in some new…

elements and considerations. I will split the introduction between praise and constructive criticism. That might sound harsh on Bassline but, as you will see, the guys have a lot to offer. I will come to look at the ‘praise’ side of the coin but, before I do, I will look at some aspects of the Toronto band that requires a retool. I feel Twitter is becoming more and more dominant in the market so it is, in 2017, crucial every artist makes their presence known on the service. I have looked hard but cannot find the Canadian band on there. Maybe I am searching for the wrong terms but there seems a lack of Bassline on Twitter. They have an official site and Facebook but, when it comes to music and promotion, the most influential and important platform is Twitter. One of the reasons I have discovered so many great artists is Twitter. It is a place you can easily and quickly share music and get it to the masses. If you are on Facebook; it is easy enough to get fans but I find it harder finding promising music. The whole process is a lot less smooth and accessible: there are really no other social media channels for the musician to exploit. Twitter remains the faster and more available option. For artists starting out; there is a whole lot of work to do that demands your full attention and diligence. Getting the social media side of things worked out and formulated is paramount. One of the great things about social media – there aren’t many – is the way one can get music to the masses at the click of a button. Nobody says music is easy but it is a lot less stressful if you get your sounds out to the people as quickly as possible. Bassline have a great official site and take advantage of other music services. I am predicting big things for the Canadian band as we head into 2018 – they look set to make progressions and big steps.

I have been lamenting the way music has changed and how busy it has become. That might sound like someone growing old before their time: tormented by the changing conditions and sad things are no longer simple. It is weird finding things become so detach and digital. I know there are physical formats but the basis and fundamental foundation of music has been eroded. Maybe there is no way back – and it is a sign of the times – but I have every hope the state we are in now will yield results. The biggest benefit of the modernisation of music is the fact new artists can come into the market. Once upon a time; you could not get onto the radio unless you had a recording contract. Now, in this digital time, anyone can come into the business and get themselves known. What I recommend Bassline is to embrace everything out there and promote their music across all social media and music-streaming sites. I will talk about Canadian bands but what I find interesting about the nation is the way they embrace older technologies and formats. More artists (from here) are on BandCamp and release music to cassette – a lot of Canadian acts doing split-releases and putting music out on tape. Maybe there is that sense of preserving the old methods but the need to tie that with technological advantage and the necessity of social media is essential. I know the band will augment their basis and get more fans in. Right now, they are a national treasure and building their name among Canadian fans. I would like to see them get worldwide acclaim and have their music taken to heart. That will come in time and, as we step into the coming year, it will be an opportunity to get out to the world. I feel the U.S. and Europe will be markets they will exploit and find footing in. How far they can go is up to them but, by sharing their music everywhere, that will bring in venues and people.

I am going to ration my Canadian assessment because, right now, nearly one-fifth of all my work revolves around Canadian artists. I am British and, if I am taking in another nation to form an alignment, it would probably be the U.S. It makes sense because of the size of the market and the variation. I am not down on Canada: quite the opposite, in fact. The music there is different to America and, in my view, goes a bit deeper. I mentioned how the nation still embraces the beginnings of music and seems attached to its start and authentic soul. This is reflected in the music that comes out of Canada. There is something more touching, natural and deep when listening to artists. The U.S. has more promise and profitability but Canada has a wide and varied landscape that finds all sorts of musicians provide music of the highest order. Toronto is an area I keep coming back to and discovering joy in. Crystal Castles and Broken Social Scene are two bands who have put the city on the map – showing what strength and durability there is from Toronto. It runs deeper than that and, if one looks at the new acts emerging, there is a wealth of colour and interest. Lido Pimienta is a multi-talented artist that is working in galleries and on the stage. She has made bounds this year and got her music to a wider audience. She writes from the soul and addresses issues that are key to her; matching that with a physical and expressive performance (when you see her perform live). LUKA is a minimal group and, last year, played small venues around Canada. Songs like Always the Same Bed have captured the imagination and it seems like the band can transcend from Toronto – making a bigger name in Canada and getting their music across the world. Crooked House Road is an artist I have featured before.  Led by Shania Silver-Baird; there is a sassy and emotive vocal backed by Folk thud and drama. It is a mix of theatrical and rooted that has seen crowds spread the word far and wide.

Harrison produces delicate and slight beats with an edge of the 1980s. The beatmaker from Toronto that produces sensual, sinuous Lounge-scented tracks that can get people up and moving. Mazola are a Garage four-piece that have made impressions with singles like Heaven and Sweater Song. They have made steps and movements this year and, with their reputation growing, next year could be their biggest yet. That is just a summation of the Toronto talent – the pool gets wider by the year – but so much variation and interest linger in the city. Extend the net to Ontario and you have a rival for cities like New York and London. I am always amazed by Canadian music. Unlike other nations; the artists there preserve and revitalise genres that have risked slipping into obscurity. It is wondering watching the nation blossom and get so much attention internationally. I will cover this in more detail later but, right now, wrap up on this point. I will keep my eyes out for Toronto – even though I am going to limit my exposure to the nation – because the musicians from here are doing wonderful things. Bassline fits in perfectly and are among the hungriest acts from the city. They have exploited the venues there but, the way I see it, there are opportunities waiting out there. It is challenging getting your voice heard but, in a vibrant city that looks after its musicians, I feel their stock will grow in 2018. I am excited to see where they can go and whether they conspire with any fellow acts. That might be a way into the wider market: hook up with other musicians in the city and push their sounds to new crowds. Bassline are a force on their own but, conspiring with other singers/musicians might lend their work a different edge and dynamic. Maybe they have plans for next year – I am not sure whether a new E.P. or album is on the way – but they will end this one with more touring.

Bassline I is the debut E.P. from the band and, after performing at the Toronto Undergraduate Jazz Festival and The Rex – a Jazz and Blues bar in Toronto. I will talk more about their recording methods and the way they operate but, right now, the style they play and the genres one can experience. One hears Bassline and you get blown away by their funk swagger. The electricity, rouse and spirit that emanates from their songs have infused and infected listeners and fans. We have a lot of Funk music in this country but, when thinking of new artists, I often have to look internationally. D.J.s like Craig Charles expound and expose the best Funk music from around the world. A lot of his set/tastes revolve around older artists. Maybe there is not a huge market for the genre right now but, if that is so, that would be a shame. There is something about Funk that gets into the bones. The immediacy and fun of the sound cannot help but get the listener involved and active. Maybe commercial tastes favour Pop and Indie but, if you think of how music has evolved the past few years – one could argue a desire for Funk is quite strong. We need fun and energy in music: the more contemplative and serious sounds are not providing escapism at a time when we need release and relief. The effects, drama and physicality one experiences when listening to Funk means you get something unique and different. I love the sound of Bassline and see they take the heritage and history of Funk and give it a modern sound. The range of instruments and players in the fold provide a full and dynamic clash. I can imagine their live performances are very different when compared to their studio work. It is the recorded material I am charged to review but, as I will allude to in the conclusion, I would be keen to see them come to the U.K. and bring their brand of music to us. We have a few Funk bands but the genre does not get the oxygen it warrants. I have mentioned D.J.s like Charles – someone with a deep love of Funk – but he can only do so much.

Bassline are not reserved to Funk: they bring in other sounds and create a cacophony of ideas and textures. One detects bits of Rock and Pop in their songs; little Jazz elements and Indie. It is a busy and vivid combination that hits every part of the imagination. I have mooted the band need to get more exposure on social media – that might extend to images, too. For an act that has such an incredible and enduring sound – one wonders whether a few professional shoots need to take place. I think they have a great look and fashion – not only in terms of their music – so seeing more updated, professional shots would be good. This is all designed to take the band as far as they can travel. I am curious to see how they adapt to the coming year. Those who want to get an edge and distinguish themselves from the throng need to be aware of the perilous work and multiple considerations. The Toronto band knows this so, for 2018, I would like to see those images come online. They have a lot of live shots – almost turned the review down due to lack of professional, non-live snaps – but journalists will want to see more in the way of portraits and studio shots. In terms of a ‘brand’ or logo: they have one on Facebook but they can expand this and update their look. Their pages look good at the moment but they have such a visual and evocative side to their music. I would also look for more involvement when it comes to getting their music onto international audiences. The band are pleased their local base is building but we here need the likes of Bassline in our midst. I have wandered off-course but felt compelled to investigate other sides of the band and what they can achieve. The guys self-record and recorded their E.P. at their drummer’s home-studio. It gives the music comfort and a sense of homeliness. That might sound confined and safe but, when one listens to the tracks, you find that is not the case.

A big and strange studio might have put them off and created an unusual environment. They thrive when they are in a setting that is secure and warm. Their homemade world of ‘Groovetopia’ expresses love and togetherness. Critics and fans have reacted to the strong and addictive music one can discover throughout Bassline I. The band is more a ‘force’ than a traditional group. What you get is a real hit from the horns; a full-on charge and explosive performance. Trying to distil that into music; make it sound natural and free in the studio – that is quite a hard trick. No doubt their live performances allow greater movement but, when listening to their recorded tracks, things are not over-produced and tamed. I feel Bassline are one of those acts who can reply to the negativity and division in the world. They are not burdened with a dictatorial and objectionable leader but must feel the strain and pressure from Donald Trump. He is their near-neighbour head of Government that is leading the world into a dark phase. People are responding to this and, together with the ongoing sexual allegations and controversies in entertainment, there is a lot of stress and accusation. Music can respond to this but I wonder whether it is powerful enough to change things?! Certainty; one can have their spirits raised and put their mind elsewhere. It is all well and good having mainstream sounds proffered and promoted – most of what is coming from here lacks real fun and adventure. I yearn for the more carefree and uplifting sounds associated with the likes of Bassline. I know the band will continue to build and gain huge acclaim. For me; they are the definition of a good-time, for-all-the-people display that needs proper celebration. We are welcoming a lot of Canadian acts to our radios so it is only fair we give Bassline that same due. I am not sure why Canadian music is resonating with us over here.

Not that this confusion is a bad thing: the nation does things differently and have a flair and flavour we do not have here. The mainstream best of the year has been great but, when you assess it, how much fun and unity is there?! I have loved albums from Robert Plant and St. Vincent but I feel there is something missing. Maybe it is my view of the world and the fact things are getting harder for us all – nothing can really overthrow the general feeling in the wind. I want music that strips away the negativity and puts my mind in a better place. I do not really get that with the mainstream music of the moment. There are some albums that create a safer and better environment but, for the most part, that is not true. Bassline can give the body and mind the direction it needs without compromising quality and professionalism. Radio and the media need to retune their tastes and give more time to genres like Funk. The same way the best Folk of today integrate other genres and pushes things forward; Bassline bring other sounds into the fold and stir that with some solid Funk. We do not really have artists like this in London so, in a way, the band provide direction to our artists. The Toronto clan have made waves there they are – will musicians here follow suit?! The best way of monitoring that is to get the music as far as possible. The band is doing their part but I wonder whether it will take a few more years before they are staples here. I have mentioned Canada and how a lot of the musicians from there are finding fans in the U.K. Bassline are an act we need to clutch to the bosom and get onto the airwaves. I am not sure whether we can expedite their passage to Britain: the fantastic sounds brewing and percolating from their camp is intoxicating and engrossing.

The second Best of Me bursts into life; one knows the sort of conversations that must have prefaced its creation. I could see the band deciding whether they wanted something sharp and tangy to lead in; maybe a full-on horns section – they have gone with something more subtle. It is a soft, yet alluring, opening that means the song does make a quick impression. The heroine is on the microphone and seems to have someone on her mind. She was losing focus and “losing sleep every night”. The fights and debates are keeping her confined; the stress and conflicts keeping them separated and balkanised. I can hear horns and little bits sparkling from the speaker but it is quite a demure and gentle opening. The most power comes from the vocals which are spirited and passionate. The band plays their part and backs the heroine; the production is lo-fi and clean which allows the raw and real strands full breath and personality. Shimmering and luminous strings glide through the song and, when paired with percussion and bass, gives the track soothe and sensuality. The idea of the track is to step away from the horror of a broken relationship and find some time out. Our girl is looking for solace and time away from the conflict. That desire for time and space comes through in her vocals. The song shifts from a kicking and jabbing thing to a more contemplative and tender offering. Before the next verse comes out; the vocal/composition has an aspect of 1990s Soul and R&B. It is a fantastic tease that has such a sense of sexuality and smooth beating the heart. Maybe the aim is for something else but I was hooked and graced by the potency and beauty of the voice. The instrumentation matches that and takes the song into spine-tingling realms. Before you buckle and are led to the bed; the curtains are opened and the sunshine blares through.

The band brings the energy and funkiness to the party. We have been through the harsh and unforgiving times: here, now, there is rebirth and a chance for a new life. The heroine will not let misery get her down and define who she is. The lyrics are simple and quite common but that is their strength. If they were too complex and oblique; that would cause confusion and be harder to relate to. Things get edgier and more electric as the players unite in a carnival-like atmosphere. Our heroine will not be suffering and sitting at home wallowing – she has had enough disappointment and pain to last her a lifetime. The horns come through the thick and give spunk and smile to the song. The entire feel is one of realisation and growth. Things have been bad but here is where things turn around. Again, before you get caught in the wave of exhilaration and Funk; there is a new phase beckoned in. One hears about the boy and him sitting at home. He was wallowing and downbeat; he has head in hands and brooding on what has unfolded. Nobody could see the split coming but it seems like it is for the best. I have seen many songs document love like this but none that have the same strands and layers. The composition moves through suites and brings different sounds together. Where they go from here is a mystery but I feel the heroine is better off where she is. Maybe there was love and dedication but, now there has been a bad turn, that needs to get out is fierce. I feel there is a desire to find love again but, right now, time for space and assessment. It seems the guy was in the wrong and has been responsible for the way things have turned. That is not uncommon but, rather than spit acid and get bitter: the girl is fighting against that urge and determined to lead her life in a different way. It is a positive and impressive attitude to heartbreak and upheaval. The band works around that and produce party and alacrity. The horns are still pressing but other instruments come into the fold. I have heard few songs that have such a direct and simple heart. Even though the lyrics have darkness and pain; the need to overthrow that with something cheerier and more uplifting defines Best of Me. There are handclaps and funky strings; riffing and Jazz interludes; swooning horns and swivelling percussion – all of this happens towards the end of the song. One can hear these stages unfold and a real evolution throughout. I am stunned by how busy and changeable the song is. It retains its messages and personality but incorporates multifariousness and range. Few bands can provide this on their first release – credit to Bassline for sounding so assured and accomplished on their new single.

PHOTO CREDIT: Austin Mateka

I know Bassline have a busy next few weeks ahead of them. Their E.P. has been out for a couple of months now and, in that time; they have played to new faces and grown in stature. Canada is reacting to their music but I feel there is a market for them in the U.S. There are some similar bands in America so I am sure the guys could find favour and profit up there. The same is true of the U.K. We would love to see them here very soon. It might be part of their 2018-plans but, perhaps, getting the money together might be challenging. To fund a tour; it takes a lot of planning and finance to get it underway. Gigging locally means the band can save a bit and concentrate on the local mobs. They must be looking ahead and wondering where they can go from here. Their five-track E.P. is quite short and delivers the goods in a fraction. Bassline I suggests there are other works in the pipeline. Maybe the band is already collating material for the follow-up E.P. I would urge them to get Twitter online and get a profile kicking; have some shoots done and get a few images up that stray away from the live setting – they have some modern shots but are not the best in terms of quality. They are starting out so it is understandable there are considerations and aspects not yet covered. When they do get everything sorted; there is no telling where the band can go. I love their dynamics and make-up; the way they record music and, most importantly, the sounds that emanate from them.  Long may their rise and success continue! Crowds and media are monitoring their E.P. and still getting to grips with it. As I step away from Canadian music – to an extent, anyway – I am stunned by the exciting and brilliant music coming from them. Make sure you investigate Best of Me and, if you like that, involve yourself with their E.P. The Toronto band is only starting out but, this time next year, I can see them…

RULING the roost.

_______

Follow Bassline

Facebook:

https://www.facebook.com/basslinebandofficial/

Instagram:

https://www.instagram.com/basslinebandofficial/

SoundCloud:

https://soundcloud.com/basslinebandofficial

BandCamp:

https://basslinebandofficial.bandcamp.com/releases

INTERVIEW: The Ghibertins

INTERVIEW:

PHOTO CREDIT: Andrea Olivo

 The Ghibertins

________

WHEN speaking with a band from another nation…

PHOTO CREDIT: Andrea Olivo

I am always interested discovering their tastes and musical ambitions. Italian group The Ghibertins give me insight into their latest movements and the stories behind their L.P., The Less I Know the Better; working at MOB Sound Studio - what their new single, I’m War, is all about.

I learn more about the guys’ tastes and music that drives them; where they are performing next; how they are spending this Christmas – the words of advice for new artists coming through.

________

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

We are feeling great; finally, our album is close to its release and we feel tired and full of energy at the same time.

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

Sure!

We are The Ghibertins: a Folk-Rock band from Milan, Italy! We have been around since 2012. We released an E.P., Square the Circle, in 2015 - and now our new album is coming out.

The Less I Know the Better is your new album. Can you tell me about the themes and ideas that inspired the record?

The album started with an idea that was changed all of a sudden.

The first-written tracks talked about love and hate! We like to talk about those feelings and undercover the thin line that sometimes divides them; at some point during the writing of the tracks Alessio (Singer-Songwriter) saw images of children playing in Aleppo, Syria inside a bomb crater-pool. That image was so shocking that three songs came out in (just) one day (The Less I Know the Better, Where Are We Now? and I’m War). We thought of all the rage of the 1960s during the Vietnam War - and how this generation is so quiet about what is happening right now.

We simply tried to say something - just hoping that someone would listen...

PHOTO CREDIT: Andrea Olivo

Is there significance behind the title? Which song from the record do you each highlight?

Yes. This album wants all the people who seek comfort in daily routines and who ignore the global geopolitical situation; to awaken from the numbness - in the hope that the bill will never be presented.

The title of the album is born out of the following reflection: that which I cannot see, cannot occur. That which I cannot hear, cannot be communicated to me.

Where Are We Now? is our favourite.

What was it like working out of MOB Sound Studio?

We had a great time.

Alessandro Caneva, the owner of MOB Sound Studios, and Alberto Turra, our musical arranger, are straightforward, practical; talented souls. We worked in an environment full of enthusiasm. Actually, we really had a lot of fun.

 

I’m War is the new single. Can you tell me about the song’s creation and the idea behind its video?

I’m War is inspired by two songs by The Rolling Stones: Gimme Shelter, for how the theme of war gets dealt with - and Sympathy for the Devil for the decision made to let the concerned individual speak. If war was actually a God; what would it think of us? In I’m War; a war made happy and stronger and more secure than ever, thanks to us for the ‘excellent work’ we are doing - and provocatively - suggests new alibies to start a new conflict. To these ‘fools’ who we are employing to bring peace, he says ‘go ahead’; I’m here regardless and I’m closer than what you think (the citation suggests “I’m just a kiss away”).

Seeing the heavy history that humanity has, from afar, as if it were, doing him an injustice. War doesn’t look at age: nor does it make any racial or social distinctions. In his eyes, just like God’s, we are all equals. We are all victims and executioners of what happens today. Choosing Carrara’s marble cave was a perfect idea: you feel both at the top of the world but (also) so tiny and meaningless.

That’s the feeling you want to feel when you play this song.

It seems you are embracing a fuller sound on your new material. What was the decision behind that?

We wanted to bend and play around with Folk music. It’s easier to do that if you go ‘electric’. That’s why we (definitely) introduced drums and keyboards.

Are there any bands/artists you are influenced by? How important are acts like Manic Street Preachers to you?

We have three names: Paul Simon, John Mayer and Pearl Jam.

If You Tolerate This Your Children Will be Next has been such an inspirational song for this album. Alessio felt that the ‘children’ were his generation. As a child, it was naive and too easy for him to think that, in twenty years’ time, his generation would be living in a truly different world.

Now, though, that we’ve passed over to the other side of the barricade; this song is sadly more relevant today and does not sound like a warning any longer – but, rather, a condemnation.

PHOTO CREDIT: Andrea Olivo

How did the band get together in the first place? How did you find one another?

Alessio and Alessandro (Bass) met Lorenzo (Guitar) during one musical contest more than eight years ago. In truth, Alessio and Alessandro kicked out of the contest in Lorenzo’s previous band (sorry, Lorenzo…)

We were fans of John Mayer and, as soon as we had the chance to do something together, ‘The Ghibertins’ were born.

IN THIS PHOTO: Perfume Genius

Which new artists do you recommend we check out?

They are already quite famous - but we would like to recommend two artists. They released two of the best album of 2017: Perfume Genius and Brand New.

Are there any tour dates coming up?

We are working on it....

To be honest; being an emerging local band it’s not easy - but I guess it’s a problem of every band in every corner of the word.

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

Graceland by Paul Simon

It’s very hard to explain why: it’s what you feel when you listen to it and feelings are not always easy to describe. It’s a powerful, emotional album with so many musical influences.

Looking back at the year so far: what have been the fondest memories for The Ghibertins?

We organised a small gig for twenty people/friends back in 2015 at Alessio’s place. It was the first time that we played our songs in front of an audience.

PHOTO CREDIT: Nick Mascioletti

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

To do whatever it takes to have enough money to sustain your project…

We are in 2017 and the music industry changed dramatically. If you really want to do this you have to invest time, resources and money. The ugly truth is that if you want to ‘emerge’ you have to spend more time in front of socials - rather than playing your own instrument.

That’s insane - but that’s music nowadays.

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

Guys...Christmas in Italy…it’s a big thing and, by ‘big’, we mean HUGE. It is that magical time of the year where the dinner-table becomes a battlefield with grandparents and parents preparing ambushes - made of all sort of appetizers; first courses, second courses; sides, desserts; coffee and ‘liquor’.  

We will take the chance to stay close to the ones we love - that most of the year we have to leave apart.

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).

Bon Iver - 29 #Strafford APTS

Brand New – Lit Me Up

Father John Misty - Hollywood Forever Cemetery Sings

​​​​​​​

The War on Drugs – Pain

_________

Follow The Ghibertins

 Official:

http://www.theghibertins.com/

Facebook:

https://www.facebook.com/theghibertins

Twitter:

https://twitter.com/theghibertins

Instagram:

https://www.instagram.com/theghibertins/

Spotify:

https://open.spotify.com/artist/73DTa6RSQuG0SRXUNxehey

SoundCloud:

https://soundcloud.com/theghibertins

YouTube:

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

INTERVIEW: James Walker

INTERVIEW:

 PHOTO CREDIT: Ian Wallman 

James Walker

________

I have been chatting with James Walker…

about his new single, 2009. He tells me more about the new album, English Bones, and the times that inspired its creation; some of the issues faced along the way; how his sexuality plays into his music; some of the artists he grew up on – and what we can expect next from him.

Walker tells me more about his idols and the sounds he was exposed to; what he is planning for next year; working with producer Sam Winfield – and what he would tell new artists of the moment.

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

Hey! I’m really great, thank you.

My week’s been a little manic, actually. I released a record last Friday; turned twenty-five on Monday and have spent the first few days of my year locked away in my bedroom writing new songs - and rehearsing for next week’s tour.

I feel like I haven’t seen the light of day for a while…

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

Sure. I’m James Walker; a singer/songwriter from rainy Reading (in the U.K.). I primarily write Indie/folky - and slightly melancholy - songs inspired by artists such as Leif Vollebekk, Jeff Buckley; Turnover and Tigers Jaw.

I’ve spent the last two years writing and touring my debut record, English Bones - which came out last Friday!

PHOTO CREDIT: Ian Wallman

English Bones is your new album. What sort of ideas and themes are investigated within the album?

The record is a collection of songs that were written over an eighteen month period of my life. Eighteen months is a long time and, in that time, I occupied many headspaces. A lot of events - both in my personal and professional life - transpired that gave way to the creation of these tracks; though, primarily, there is an overarching theme of identity and belonging - that takes place in the narrative throughout the record.

Retrospectively, I look back at the lyrical content of the record and can recognise that there is a great amount of internal tension and struggle I felt at many points over the writing process. At the beginning of creating this album, I had just fallen out of a long-term relationship and it crushed my ability to feel like I was enough. Unfortunately, at the same time, I had just released a mediocre debut E.P.; been out on some remarkably unsuccessful tours and generally just felt as though I couldn’t achieve what I wanted to. A great deal of that negativity was channelled and embellished in the text within this record.

Thematically, though, there are many stories that are tackled and presented in the album; although, if I were to give a general gist, would be love, loss; recovery, identity and celebrity stalkers.

PHOTO CREDIT: @uppekkha

Sam Winfield produced – he has worked with Supergrass and Dry the River. What was it like working with him?

Working with Sam is always a dream...

I met him a few years ago when I was recording piano on Adam Barnes’ record - and he runs a great ship over at Studio 91 in Newbury. His experience in production and open-mindedness to new ideas really allowed me to shape the record in the direction that I wanted it to go. In an ideal world, I would have spent a little more time on a few of the songs you find on English Bones - but budgets are low when you’re just starting out.

There was one dreary Wednesday afternoon - where I was recording vocals - and just couldn’t get the take I wanted - and he suggested we switched focus to something else. We changed tracks to Weathered and he asked me to just sing some ad-libs over the introduction: no real focus on what you’re saying, what you’re pitching - just make some noises. After six or seven takes of feeling entirely weird, he called me back into the control room and said: “Give me a second”. Ten minutes later or so; he took off his headphones and played back some wonderfully ethereal choir-pad-sounding layers - which we incorporated throughout the final mix of the song. I know that Weathered specifically wouldn’t have been anywhere near as sonically interesting without Sam’s input. He’s a wizard and worth his weight in gold.

Studio 91 is actually (just) having a massive overhaul and expansion - and I’m so excited to see what happens next (for Sam and the team). Hopefully, I can squeeze some time in there next year.

2009 is the latest track from you. Can you tell me more about it and what compelled its creation?

2009 is the song that almost never was...

It was one of the first songs I ever wrote for myself - and was written back when I was living and studying in Brighton. I was conflicted living there as I loved the city but was having a terrible time. I was living in a student house - complete with the stereotypical housemates coming home at 6 A.M. on coke - kitchen filled with mould; no personal space and no money.

I couldn’t deal with it and moved in with a friend of mine and his folks. It was such a strange demographic to be around - as I’d moved away from home a few years ago and felt as though I had parents to answer to once again. It definitely limited my freedom; no matter how liberal and open they were.

A friend of mine from home, then, also moved to Brighton - and the three of us started a little American Football/twinkly emo band called Cityview (that never launched). We had written a collection of songs together - 2009 being one of them - but never had the time to get in the studio and release anything. We wanted the song to tackle vague ideas of nostalgia; being in bands back in the day; past relationships. Nothing too deep - but it was a lot of fun to write and produce.

When it came to recording English Bones, this song was always in the back of mind. It felt a little bit like closure to get this song tracked and out there and I knew that I wanted to play a little guitar solo somewhere on the record! I wish that Oscar or Zak were the people playing on the record alongside me - but life got in the way.

Oscar moved to Wales and Zak started working in a different industry - and playing with another band on the side. I still miss those boys and that city, though.

How much of your experience of the L.G.B.T.Q. community enforces your music? How interwoven is your sexuality and music, would you say?

Music is a catalyst for self-expression. Over the years, I’ve seen an increase in artists who embrace their sexualities and met many unashamedly forward-thinking people in the industry. The openness of some of today’s larger figures - like Frank Ocean, Sam Smith and Troye Sivan - seems to be informing a more ‘gay-OK’ attitude in the popular music consumer population - which is wonderful. There is still a long way to go, though, and constant need to reaffirm everybody’s acceptance.

My shows are always safe spaces and everyone is welcome. I have seen an increase in the amount of gender-fluid/non-binary people at my shows - and in my Spotify demographics recently. I’m not sure why or where that has come from but it is incredibly welcomed and appreciated. I struggled a lot growing up and coming to terms with being gay: creating and listening to music really was a lifeline. The thought that my songs are helpful to others in any way is an honour and a privilege.

I wouldn’t say that there’s a great deal of L.G.B.T.-specific tracks on this record: I think that my experience of love and heartbreak is akin to anyone else’s but there are definitely issues present on the record. For years, I felt ashamed of who I was and a lot of the darker material on this record is focused on that feeling. The song, Waiting, particularly, is about a very specific feeling of being with someone in a sexual relationship - but feeling like it’s wrong; feeling like you’re dating the wrong person (and repressing that).

My personal life is definitely informed by the L.G.B.T. community. I have only felt proud of who I am for the past few years and I wish that I had come to terms with it earlier on. It’s my prerogative to make sure that everyone knows they are loved and appreciated - and made to feel welcome whenever I meet them. I feel so proud and warmhearted when I see younger people at my shows who are embracing themselves more than I did at that age…hell; I still feel conscious wearing nail polish.

I believe you have a rare heart condition. Is that something that dictates how active you are in music?! What impact and effect does that have on your daily life?

I did! I was born with a blood-clotting disorder that, over the past thirteen years, has resulted in me needing two lots of open-heart surgery. I had multiple pulmonary embolisms that resulted in pulmonary hypertension - requiring a complicated surgery called a pulmonary endarterectomy in 2013. It’s a rare procedure in which they put you in hypothermia and take the blood out of your body (!) in order to operate on the lower bronchi of the lungs, via the pulmonary artery. In a way, you are in some form of suspended animation; there is no brain activity, blood in your body; respiratory effort. Nothing. The One Show did a wonderful piece on it, which you can find on YouTube, and they interviewed my surgeon, David Jenkins. 

It’s a wonderful thing to be able to type this down but the last surgery I had was curative and I no longer have pulmonary hypertension. On the basis that I remain treated with blood-thinning medication, there is no reason that the clots should return - and I should be able to live a normally-active life with no limit on exercise tolerance or life expectancy.

I would be lying if I said it didn’t impact my daily life, though. It’s not that I’m not well but just that I get incredibly anxious. There are times I find myself obsessed with my health - especially at times in which I’m home or in-between tours. I find myself thinking too much about death or that I’m getting ill. I’ve convinced myself many times that I’ve got lung cancer or I’m having a stroke - or falling ill - and I’m not noticing it. I guess that it’s natural given the experience of trauma I’ve had, especially as a kid, but it’s something that’s definitely present and something that I’m learning to work on…

I feel a million times better when I’m out and on the road, though, as I’m distracted by all of the beautiful new cities, people and experiences I’m having. When I get home, I feel as though I’ve got too much time to think - my brain catches up with me and gives me two months’ worth of worries all at once! I’m working on teaching myself C.B.T. techniques and have been attempting some guided meditations in the last few months.

I feel like I’m getting better and accepting that I’m okay - but it’s a process that will take a while...

Which artists have been most impactful in your life? Who do you look up to?

Music has had such a big impact on my life. I honestly don’t think that I would be the same person I am today if I hadn’t have listened to what I did growing up – and if I had a different set of artists as the soundtrack to pivotal moments in my life.

I vividly remember listening to Death Cab for Cutie’s Transatlanticism and William Fitzsimmons’ The Sparrow and the Crow when I was in the I.C.U. - after my surgery when I was fourteen. I also recall being a huge fan of bands like Brand New, The Manchester Orchestra and Lydia as a late-teen. I once played in a Metal outfit and still find myself putting on Opeth or Lamb of God in the car from time to time. Bright Eyes have been a huge influence on me over the years.

I think the music I create today is a culmination of all of the influences I’ve had over the years and, with each new song I write, I feel as though I’m finding out more about who I am - and who I want to be as an artist.

At the moment, though, I very much look up to Noah Gundersen and Leif Vollebekk. They are just stellar examples of artists who, over the course of a few albums, really honed and developed their sound. Within both of their latest records; there is such a strong sense of individuality. They aren’t writing to a brief; they’re not creating music in order to be radio playlisted - and they’re certainly not creating for anyone other than themselves. I like their fearless sense of ‘I’m creating what I want’ and it’s a mantra I want to embrace the further I get down the line.

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

I’ve actually just wrapped up a two-month tour of Europe with Matt Phillips and Judy Blank (who co-wrote and features on a couple of the tracks on English Bones). We were out on the Horizontoer, in the Netherlands, and performed a series of dates after that all over mainland Europe. For the past few weeks, I’ve been at home organising the next steps.

I’ll be out on the road with Adam Barnes from next Monday, as an opening act for half of the shows - and as his pianist for all of the dates. He’s a good friend of mine and I’ve been touring and performing with him for around seven years now. It’s been a great experience to see him grow and I’ve learned a whole bunch about how to do things from watching him at arm’s length. It’s an honour to be able to open some shows for him and have him involved in my sets, too. He’s even going to playing piano on one of my songs on this tour - so; it’s really like my years of touring as his piano player has come around full circle!

So; I’m out with Adam for November and the first part of December. When I come home, I’m looking into a few local U.K. shows - in the London area - with my friend Josephine Zwaan. After that, I am heading out on a Germany/Netherlands tour in January (for three weeks) with Josephine Zwaan and Youri Lentjes - then heading out once again with Adam Barnes in February. Following that, I’m off to America to record a bunch of new songs in March/April and possibly look at performing at a few shows over on the East Coast. There is also another month-long tour in the pipeline for July/August, 2018.

Yes; we’re already looking that far ahead. It’s scary.

You have just completed a two-month two with Matt Phillips and Judy Blank. What was that like?

It was incredible. I can honestly say it was the most fulfilling, rewarding and reaffirming tour I’ve ever been on. The audiences were wonderful (in thanks to Judy having been a contestant on Dutch national T.V. show, De Beste Singer Songwriter); the songs were well received, the money was decent but, more importantly than all of that, it was a fantastic opportunity to network. I met so many wonderful people on this run - thanks to all of the effort that Judy put in on the Dutch side of the dates. She really pulled out all the stops in making sure that I was playing some lovely venues and, in return, I offered her what I could in the U.K. and Germany. She truly is a wonderful woman who deserves a whole bunch of credit. She’s currently over in Nashville recording her sophomore album - and it’s sounding so wonderful. Definitely; one to keep an eye out for!

I also have to give a huge amount of credit to Matt Phillips for being the kindest man on planet Earth. Being cooped up in the car with me for two months must have been a challenge and I learned so much from his approaches to life; his attitudes towards touring/being an industry professional - and I’ve come to respect him, his companies and everything he does so much. He is a true advocate that good people do live in Southern states - and a man who stands up for what is right. He runs a collective over in N.C. and curates a whole bunch of great stuff in Chapel Hill - and, one of his aims for 2018, is to have every show of theirs featuring one non-cis or non-white (or non-straight act). I think it’s wonderful. There are many great things to be said about that man.

I can’t wait to see him again.

 IN THIS PHOTO: Matt Phillips

Who are the new artists you recommend we investigate?

I have to represent my friends here!

I met some wonderful people over the past year who all make such wonderful tunes. Honestly; they are all worth listening to…

IN THIS PHOTO: Judy Blank

Here’s a brief list of some of my pals, peers and recent favourites I’ve come across in real life: Matt Phillips, Judy Blank; Josephine Zwaan, Youri Lentjes; Adam Barnes, Loud Mountains; Joe Hicks, Chris Ayer; The Brazen Youth, Nick Urb; Kira Dekker; Joseph & Maia, Front & Turner.

IN THIS PHOTO: Adam Barnes

Some favourite artists from outside my friendship circles at the moment are: YEBBA, Tedeschi Trucks Band (I think Midnight in Harlem will forever be a favourite); Hiss Golden Messenger, The Wood Brothers; Phil Cook, Mogwai; Anderson.Paak, Tigers Jaw; Turnover, David Bazan and Kevin Devine.

Man…there’s so many.

 IN THIS PHOTO: The Wood Brothers

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

Only three?! That’s tough!

I think that William Fitzsimmons’ The Sparrow and the Crow will always have to be in my top-three…

It’s a record that really helped me through recovery from open-heart surgery and something that never fails to move me. I spent most days in hospital listening to that record - as there were themes in the lyrics that just resonated with me - and Fitzsimmons’ whispery delivery just touches my soul.

It’s a beautiful record.

Shearwater’s Rook

It is the record that really introduced me into the slightly left-of-centre side of contemporary Folk music - and informed a lot of the choices I made when I was learning piano and arrangement. It’s a really great record and accompanied my later teenage years alongside bands like Okkervil River and Pedro the Lion.

Not sure if it belongs in my top-three but it came to mind first – so, it’s got to have some significance!

Jeff Buckley’s Grace

It has to be in there too; just because of how much of an impact it’s had on the music I listen to today - and the music I aspire to create.

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

Be the best you possible.

Don’t waste time on trying to emulate another artist - because there’s already someone doing that. I often see band-bios in which artists say that they sound like someone else, which I don’t really understand. Sure; you might sound like Coldplay…but Coldplay already sounds like Coldplay and, chances are, they do a much better job at sounding like Coldplay than you will!

For me, it’s about staying genuine to who you are and creating art that you are content with. If other people can listen to what you create and find a meaning of their own within it, great: if they can’t, then there’s a million other artists out there who they will enjoy and will listen to…

I think it’s important to realise that, if you’re making music to impress people or to win people over - or to get playlisted or make the radio - then you’re probably not going to make the best and most satisfying art that you can.

Take your time: there’s no rush to get anywhere. I’ve seen people pick up the guitar and start learning at twenty-four; only to get signed at thirty-two. This is album one for me…literally the first step. I’m not expecting any major breakthroughs, or anything too different from the small shows I’m playing now, for a good few years yet - and that’s fine. I’m willing to constantly work on finding the next opportunity but I’m not counting on life to give me a big break. There’s fun in the graft. There’s joy in the small successes.

Take your time and enjoy everything today.

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

I’m home for Christmas!

Really excited to see my family - my little sister has just gone off to university and I haven’t seen her in a few months. I miss her sassy sense of humour and her stories. I’m excited to see her. We are heading to my grandpa’s house - who is eighty-six this year (and still in wonderful shape!) - and we’ll be having a family afternoon with aunts and uncles (and far too much food).

It’s going to be a wonderful time and, just before December kicks in, I’ll be in Switzerland - which means a whole bunch of Swiss chocolate-themed gifts will be brought home with me.

PHOTO CREDIT: @bscholz_photography

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

As I mentioned before; the first six months are pretty much filled with touring! During this time, I hope that I can focus on eating well, staying healthy; toning up a little bit and just treating myself with a little more care.

I’m looking forward to recording the next set of tracks. In the spring, I’ll be Ashlawn Recording Studios in Old Lyme, CT (U.S.A.). It’s an old farm that’s run by my friends in The Brazen Youth - who are the most switched-on bunch of twenty-year-olds I’ve ever come across. Charlie inherited the land from his family and has converted it into an ‘arts farm’ - and lives there now with his band-mates and friends; creating art and videos every day. It’s pretty off the grid and on 300 acres of farmland. I’m hoping to head over there and co-exist/create for three weeks or so in April. I’d love to rework some of my songs from English Bones and, also, start tracking a few new ones, too.

I’m hoping to record new music in many different places next year: a few of my friends are wonderful producers and I’d love to release a record that is a collection of songs that I wrote, recorded and produced with different people over the year. Alongside Ashlawn and Studio 91; in Amsterdam, my friend Josephine Zwaan runs a studio that is owned by her dad - who is a famous Ghanaian singer. I’d love to record there and get her influence on a track or two. Also, Matt Phillips knows some wonderful people in North Carolina who I’d love to record with, too. There’s (just) a whole world of opportunity and people out there - and I can’t wait to experience the next few years and see where they take me.

It’s a wonderful thing to be alive.

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).

Slip into this pool of calm….

Midnight in Harlem by Tedeschi Trucks Band. What a voice, what a guitar player…what a band.

Thank you so much for having me - and for the insightful questions. See you soon!

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Follow James Walker

Facebook:

https://www.facebook.com/jameswalkermusic/

Twitter:

https://twitter.com/JWalkerSounds

Instagram:

https://www.instagram.com/James_Walker_Music/

Spotify:

https://open.spotify.com/artist/08cmuH6uJGH9dQjvvdkTvR

SoundCloud:

https://soundcloud.com/james_walker_music

YouTube:

https://www.youtube.com/channel/UCgTAkXo2HMoxS37G9VIrduQ

INTERVIEW: Sera EKE

INTERVIEW:

Sera EKE

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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!

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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

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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

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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.

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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

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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…

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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

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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.

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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

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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

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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:

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Spotify:

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

YouTube:

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INTERVIEW: The Holy Gasp

INTERVIEW: 

PHOTO CREDIT: Pedja Milosavljević

The Holy Gasp

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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

_________

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INTERVIEW: Wulfman Fury

INTERVIEW:

Wulfman Fury

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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:

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SoundCloud:

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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.

_________

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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.

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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