INTERVIEW: Bree Taylor

INTERVIEW:

Bree Taylor

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I have been a fan of Bree Taylor’s music…

since her debut single. I was keen to catch up and see how she was doing. Taylor reveals the story behind her latest track, What You’re Looking For, and the influences that go into her music. I ask how anxiety/depression and music connect with her – whether the former is helped by the latter. She tells me about the artists that have inspired her sound and what comes next.

I ask Taylor about the music scene in Canada (where she is based) and why there is such a proliferation of great acts from there; whether there are plans regards a U.K. jaunt – and how she will be spending this Christmas.

PHOTOS: Devyn Hill

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

It’s been great!

I’ve just been working my day-job and promoting the new single and music video for What You’re Looking For.

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

My name is Bree Taylor and I am a singer-songwriter from Toronto, Ontario (in Canada). I have been writing since I was a little girl and have always had a passion for music. What You’re Looking For is my third single that I have released - and I am so excited that everyone is loving it. I also love acting, reading; spending time with my friends/family and dog; working out/yoga.

I also post weekly YouTube videos.

What You’re Looking For is your new single. Can you tell me the origins behind it?

Well. This song is based off a specific experience with a guy that I have a history with…

We had an intense connection from the moment we met but the timing was never on our side. However, this song has become about so much more than that experience. It is about how so many guys, nowadays, don’t know what they want when it comes to a relationship or dating - and end up wasting great girl’s time playing games.

With all the dating apps. now; guys find it so easy to meet girls and are so often just looking for a quick ‘hook-up’ - and want to use girls for their bodies instead of spending time getting to know them and letting things just happen. Unfortunately, I have encountered many of these guys in my years dating and have so many friends who have had similar experiences and struggles in the dating scene.

This song is about having the self-respect to walk away from a situation that does not serve you (or fulfil you). We all deserve to feel loved and wanted and to be someone's number-one - and that’s what I want people to take away from the song.

It seems to carry personal weight and relevance. Would you say love – and the conflicts and complexities of love – form a basis for your creative drive?

Yes. I have always been a hopeless romantic and relationships - and love/dating have been huge influences on my songwriting.

I find writing, especially songwriting, to be so therapeutic and a lot of my emotional struggles flow through into my songs. A lot of what fuels me creatively are things myself or my friends go through - and love/dating tend to be a large part of our lives and struggles. I am a storyteller and I write about anything that my heart needs to say so, whatever topic that may be...I let it flow out of me.

For now; my heart seems to want to write about love…

I know you have an impressive body of work under your belt. Will this translate into an E.P. or album soon?

Thank you (smiles) and, yes - I will have an E.P out in the spring.

I am also working on writing new music - so lots of exciting new things in the future.

It seems, from the video of your latest single, you have a natural flair in front of the camera. Do you think you will do more acting – and continue with music – as we head into 2018?

THANK YOU! That means a lot to me - and I have actually been pursuing acting as well for the past year. I do love being in front of the camera and have found a passion for acting in recent years.

Acting is something I have had a secret passion for growing up - but was always too scared to pursue as a kid. However, over the past few years, I have been training here and there and decided to really start pursuing it after filming my first music video for Broken Dreams (a little over a year ago). I have really been working on my acting this past year - and am so glad you noticed the work I have been putting in through this new video.

I definitely have plans to continue with acting into 2018...

It seems you were born to be in music. Is it right music was in your life as early as your delivery? Do you have an entertainment/musical background and family?

It was!

I was delivered to a mix-tape my dad made for my mom when she was pregnant with me. There isn’t a lot of musical background in my family, actually. My papa, on my mom’s side, plays violin; my grandma, on my dad’s side, can sing and had been in choirs - but that is about it for musical talent in my family history. In terms of entertainment, though; my grandpa, John Badham, had an amazing career in sports radio broadcast here in Canada.

However; I am really the first person to pursue a career in music/acting in my family. 

Can you remember the artists you grew up with?

I grew up listening to so many amazing artists.

I listened to EVERYTHING growing up...from Country, Punk; Pop - even Metal. Some bands/artists are: Blink-182, Sum 41, Avril Lavigne; ABBA, Shania Twain; Amanda Marshall, Michelle Branch; Elton John; the Eagles, AC/DC; Red Jumpsuit Apparatus; Christina Aguilera…the list goes on and on…

Some write music to normalise and rationalise anxieties and deeper feelings. What does music mean to you - and how important is it regards your happiness and spirit?

Music saved me...

I am the exact same, in that music and writing is therapy for me and, 100%, helps me deal with my anxieties and emotions. Music and creating/writing is so essential to my very existence and happiness that I can’t see myself doing anything else.

Music was there for me when I had no one; when I was struggling; when I have been at my highs – and, especially, my lows - when my faith was wavering and I want to create music that does the same for someone else. When I am singing or writing or performing, I feel like I am doing what I was meant to do and I am my happiest, best self. I thrive when I create and there is nothing better than seeing something you created come to life and people connecting with it.

Music is SO essential to my spirit and every fibre of my being.

Canada is a breeding ground for great music. What is it about the country that leads to such excellent sounds?

I have no idea!

I think we just have incredible talent here. I know myself and many artists I know from Canada have been through a lot in our lives and have a lot to say - so that might have something to do with it. Lots of passion comes through in our music. Canada does have so much incredible talent and I think that isn’t necessarily credited to where we are from - but how we are brought up; how music has influenced and shaped us as artists - and the experiences we have to share through our music.

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

Well. I am performing at a corporate Christmas party in a couple weeks - but that is a private show. I will be booking a lot more shows/festivals in the New Year; though, so be sure to check my website for show dates.

Will you be heading to the U.K. next year, do you think?

I might be!

No solid plans yet - but I would love to come out to the U.K. at some point.

IN THIS PHOTO: Meghan Patrick

Who are the new artists you recommend we investigate?

I highly recommend my good friend Nicole Rayy. She is an incredibly talented songwriter and performer!

I also am in love with Meghan Patrick’s music. She is a Canadian Country singer who is killing it right now.

I also LOVE Phoebe Ryan. She has such a unique voice and sound.

 IN THIS PHOTO: Phoebe Ryan

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

Such a tough question! There are so many!

Shania Twain - Up!

Because I grew up a huge fan of Shania’s music - and that was one of my favourite albums of hers. It really helped me get through a lot as a kid. It holds a special place in my heart - and pretty much any Shania song brings back wonderful and happy memories for me.

Paramore - Riot!

Because it represents my Punk-Rock phase - in my teen years - that really helped influence me musically - and helped me through a lot of tough times battling depression/anxiety and dealing with being bullied in school. I listened to a lot of Punk-Rock and Metal at that time. Paramore are one of my favourite bands. There isn’t a single song on this album I don’t love and it just takes me back.

Misery Business and Crushcrushcrush are two of my all-time-favourite Paramore songs.

Taylor Swift – 1989

Because there isn’t a single song on that album that I don’t love - and I can listen to it over and over again. Lyrically, all her music just speaks to me - but there is a song for every mood on that album.

It is just such a well-produced and well-written album.

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

Surround yourself with a great team of people who can help you make your dream come true. It is a lot of work and effort to make it in this industry and every bit of wisdom and assistance helps.

Keep your circle small and filled with positive and supportive people - and be aware of negative people who will drain you of your energy or try to take advantage of your and any success you start to have.

Also...family is everything!

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

I don’t have any plans yet - probably will spend a lot of time with friends and family and catching up on some of my favourite shows (that I don’t get to watch often with my busy schedule).

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

I am OBSESSED with Taylor Swift’s new song, Gorgeous

It is so FUN and catchy; fresh and flirty - I love it! I think it is a song that all girls can relate to when they are crushing on someone. She just slays with lyrics

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Follow Bree Taylor

Official:

http://www.breetaylor.com/

Facebook:

https://www.facebook.com/BreeTaylorOfficial/

Twitter:

https://twitter.com/breetaylor

Instagram:

https://www.instagram.com/breetaylorofficial/

SoundCloud:

https://soundcloud.com/bree-taylor-4

YouTube:

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

INTERVIEW: LAMIA

INTERVIEW:

LAMIA

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TODAY is dedicated to female artists…

and the finest in music today. I have been speaking with LAMIA - who is a Berlin-based artist impressing fans and striking curiosity. Her latest single, Falling Apart, is around and I wanted to know more about it. I query whether there is more material afoot and what the coming months hold; what the Berlin music scene is like – and whether its fabric and environment is why so many are locating to the German city.

LAMIA tells me about her past and musical tastes; some new artists she would recommend to us; how her touring plans are shaping up – and whether she will be in the U.K. anytime soon.

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

Hey! Yeah, I’m good, thank you. My week’s been very busy.

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

I am a twenty-two-year-old female producer and vocalist from London - based in Berlin.

Falling Apart is your new single. Can you tell me the story behind it…?

Falling Apart is about creating illusions to hide weaknesses and living in two minds.

It’s about the separation of your inner-thoughts from what you present to others. I wrote the track when I was on a really intense creative high: staying up until 7 A.M. writing, gigging; going into university; being signed to a label and going out a lot. It was really thrilling, but I knew that it was slightly out of control.

I got really good at separating my thoughts and feelings to keep up appearances - so, all the stress came out in my music.

It is mixed by James Kenosha. What is it like working with him?

James is an absolute wizard at mixing and producing...

Working with him is very inspiring because he is very efficient - but also relaxed and patient.

There are Hip-Hop, Pop and Jazz elements in the song, Is it fair to say you grew up on a range of different sounds/artists?

I’ve always listened to a broad range of different genres and styles.

My opinion is that, as a creative person, the only way you can really tap into your gift is by being open and allowing small moments of inspiration to accumulate into big ideas…but, in order to do this, you must keep open-minded - listening and digesting everything in equal stature.   

I like the Jazz aspects of Falling Apart. Is it a genre, in your view, that does not get the respect it warrants?

Jazz as a genre is really interesting because I find the culture surrounding it has strong connotations with ‘high-culture’ - and is generally perceived, by people within that field, as a style that is above Pop music in terms of its authenticity and technicality.

Having gone to a conservatoire; I’ve spent time with Jazz musicians and really respect their values of achieving an exceptionally high standard of musicianship - but think that - at the same, this can stifle the appreciation of styles that are, perhaps, not as complex (but still highly creative). 

In addition to songwriting; you are a skilled producer. What was the reason for getting into production?

I initially started producing my own music as an act of defiance - after being told that, as a vocalist and songwriter, production was not my role - and should be left to a formal producer. Following this, I single-mindedly taught myself. When everyone went home for summer at music college; I stayed in the empty flat working during the day - and producing six-eight hours at night. I did this for around four months and, six months later, I was signed to a label.

I found it completely fascinating and thrilling because it opened up a new world of opportunity: I could make any sound that I heard in my head and didn’t have to wait for anyone to help me.

Is it important for you to have that control of your music?

Yes.

I believe that, if you can’t control your music, you can’t control your own path. I am a very ambitious person - so this is very important to me.

Do you remember when music came into your life? Who were the first artists who took your heart?

I think my first musical experiences started when my mum used to play C.D.s in the car. We had loads of them because we used to drive to London to see my dad - and buy them from the bargain buckets at petrol stations.

I would always sing along to the C.D.s - especially Billie Holliday and The Carpenters. 

Berlin is where you are based. You were raised in London. What was the reason for reallocating? What are the differences between the music in both nations, would you say?

Berlin is a very exciting place because it has an atmosphere of optimism and interest in anything that pushes boundaries and tries new things. Berlin attracted me because I think this openness allows really exciting things to develop.

I wanted to be inspired by the music scene here - and implement the sounds into my own production.

Your music has gained attention and love from the likes of BBC Radio 1's Huw Stephens and CLASH. How does that make you feel?

It makes me feel great.

My music is very personal and is an outlet for my thoughts - and it really excites me when people connect with what I’m doing.

Can we expect any new material in 2018?

Yes. There are lots of very exciting things in the pipeline.

IN THIS PHOTO: Smerz

Which new artists do you recommend we check out?

I think Smerz are fantastic. They are a new two-piece Techno/Pop duo from Copenhagen and have just signed to XL Recordings. They are just themselves - and I really respect that.

Also; A/T/O/S - although they are not so new - always blow my mind. They are signed to Deep Medi and combine really cool bass music-influenced beats with R&B vocals.

IN THIS PHOTO: A/T/O/S

Are there any tour dates coming up? Is the U.K. going to be part of your future plans regarding gigs?

I would love to perform in the U.K.; although my focus right now is moving forwards within the Berlin music scene. I am looking for management at the moment, as I think it’s key to work with someone that can speak German.

I am planning on doing a string of shows next year following the E.P. release.

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

Tame Impala - Currents

It is probably going to be the soundtrack of my early-twenties. Somehow; I always go back to (listening to) it - even when I think I’m sick of it.

Burial - Untrue

It changed my perception of production - and got me into Future-Garage.

Life of Pablo - Kanye West

This opened my mind to erraticism and the idea of going against the listener’s expectations. 

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

Get enough sleep and exercise…

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

Christmas is nice because it gives you downtime to reflect.

I usually write a lot of music around that time, because it allows me to process the year that’s past; where I am now - and where I want to be in the future.

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).

A/T/O/S - Variations

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Follow LAMIA

Facebook:

https://www.facebook.com/lamiamusicuk

Twitter:

https://twitter.com/lamiamusicuk

Instagram:

https://www.instagram.com/lamiamusicuk/

SoundCloud:

https://soundcloud.com/lamiamusicuk

FEATURE: Propogandaland: Is Modernity and Technology the Way Forward for Music?!

FEATURE:

  

Propogandaland:

IMAGE CREDIT: Bolshoye Gore Malenkoi Zhenshchiny by Georgii & Vladimir Stenberg, 1929/Collection Susan Pack  

 Is Modernity and Technology the Way Forward for Music?!

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MANY might irk at the proliferation of this…

PHOTO CREDIT: Getty

topic on my pages! The clash between modern-thinking and progressive creation/traditional and analogue recordings is something I have seen coming to the fore a lot lately.  This is the second consecutive article that brings in Kate Bush – can you tell I am trying to secure an interview with her?! I will talk about nostalgia and musical past; bring some academic studies into the fray – that argue for and against the digitisation of music – but I want to bring Bush into the argument (I shall leave her be in the coming weeks!). To me, like Björk and Kate Bush symbolise what music should be. Björk is someone who has pushed boundaries and embraced technologies but at her core is the tradition and foundations of music. She is an artist who embraces digital means but does not rely on. It may seem like Björk symbolises the Internet culture and those enamoured of music’s digital growth. I feel the opposite when thinking of her: there is something of the older-day and nostalgic when one thinks of her. Maybe it is the way her music creates nostalgia and memories; the physicality and beauty projected from the speakers. If she modifies technology and is keen to explore the limits of the modern day – her music still reminds me of a time when artists were not reliant on big studios and gadgets. Many modern artists are recording in a D.I.Y. way. They have iPads and other tablets where they can create a song and stream it to the world. That is not, necessarily, a way to bypass the studio – cost and economy have forced them to take a more self-sufficient route. I mentioned Kate Bush (again) because, as recently as 2011, she was expounding the virtues of tape and analogue sounds. She, like most out there, cannot eke out a living relying solely on tape and older technologies – in a hyper-digital and computerised industry; she would not be able to get her records out to people. We are told music needs to be shared on social media and streaming is the way forward.

PHOTO CREDIT: Getty

Whilst I agree social media and these services are invaluable promoting music; I argue recording in a digital and modern way is the way we should be going. I am seeing a lot of artists, aside from Bush, expound the benefits and purity of tape. We see modern stars and shots from the studio; these glossy and fulsome sounds coming from our laptops. There is a double-link of intangibility right there. We rarely sit alone and listen to a record player or stereo: most of us are connected to phones and have their minds strapped to laptops. As I write this, I am on a laptop and listening to music through headphones. I wonder whether we are connected to music the same way we were, say, a decade ago?! Before I expand on my argument; I want to bring an article from 2009 - that reacted to the rise of technology and the Internet in music – claiming digitisation was not the worst thing that could happen to music:

“Chart-topping artists and superstars rarely sell more than half a million CDs in large markets such as the UK and Germany. To return to generating a good level of sales from each piece of music and to take account of the changed pattern of media use by consumers, developing additional revenue streams is vital to success. No record label can afford the luxury of passing up contributions to sales from Apple's iTunes, Nokia’s Comes with Music or Amazon’s MP3 Shop. “The major music labels have largely ignored the internet trend and are now having to hand over parts of the value-added chain to the new players if they are to succeed in still cutting themselves a slice of the digital cake,” said Peterson.

PHOTO CREDIT: Getty

For more than a decade the industry has needed the structural preconditions for more fragmented music marketing (in the form of downloads, live concert streaming, ringtones, video game music or merchandising) to be put in place. The changes required were new business models for subscription services and licences to internet portals, new contracts with artists to cover the full scope of the digital value-added chain, and—not least—innovations by new market players.

Price war on music downloads leading to erosion of margins

The new sources of revenue are likely to lead to an upward trend in music market sales

after 2010 for the first time since the mid-1990s, although the traditional market players will have to share a significant part of those sales with the new download platforms.

Despite the positive prospects, the change process in the music industry is far from being completed. Necessary innovations in how it approaches its customers, continued and increasing fragmentation, and new market players will maintain the pressure on business models and prices. There are still open questions during this experimentation phase – for example, whether the trend towards even cheaper music will continue, or if charges for hits from well-known artists will increase in future. At present, new players are forcing themselves into the market, using combative pricing to position themselves as price leaders and secure significant market share as quickly as possible. If this strategy wins, margins will melt away for all market players.

IMAGE CREDIT: Pinterest

Media industry still faced with digital turnaround

The print media are currently undergoing a similar structural change, as are TV providers and the cinema sector. “The example of the music industry shows that critical competitive advantage can only be achieved with consistent alignment to the new needs in relation to media use, together with intimate knowledge of customers and rapid positioning of new ideas on the market,” said Peterson. “Just as the music industry served for a long time as a warning of how a media sector can be steamrollered by digitalisation, now it is demonstrating that digital turnaround with fresh growth in sales is possible.”

The strategic principles determining whether and how traditional media groups can profit from this digital change process are being set down right now. The music industry demonstrates that only groups with structures capable of adapting can make a profit from the dynamism of the internet”.

PHOTO CREDIT: Getty

I am a hypocrite in the sense most of my musical tastes and time comes from the Internet. I stream artists and look at videos on YouTube. When one looks at a YouTube video they are invariable witness to a parade of grating and obnoxious adverts that are hard to shift – often promoting technology and the latest piece of must-have kit. I wonder whether there is too much influence coming from technology companies and streaming sites. There are benefits to the streaming sites – which I shall look at – but I wonder whether we are being told digitisation is the way music can progress. The headline for this article – and the photos that score it – seems like I am accusing the music industry of being Soviet and communist. They are not, as I know to be true, forcing anyone to put their music out a certain way. We do not have Stalin-like figureheads banning warm and traditional forms of music. The industry is an open and receptacle one that welcomes innovation as much as heritage and legacy. Combining the two would seem the idea solution, right?!

PHOTO CREDIT: Eternity in an Instant via Getty

One cannot write and release in 2017 and negate the Internet and technology. That, in itself, might compel ethical conundrums and issues but there are plenty of advantages available to musicians. They can release music quicker and get it to a bigger audience. No longer do they need to rely on the record companies to get their music on the radio – that was the way it happened before the Internet. Unlike previous decades; unsigned artists have the same chances and exposure as some of the mainstream’s best. That parity and equal platform is exciting and inspiring. I do wonder whether the listener is losing out the more electronic music becomes. I revert back to Kate Bush who, in an interview with a Canadian radio station, said she prefers the warmth of tape and analogue. She has said it many times and had another point: one does not get the same listening experience listening through a laptop. When we used to rely on record players and tapes/analogue; you got a real feel and sense of connection to the artist.

PHOTO CREDIT: Getty

Now, this far down the line, are we sacrificing the potential of music? Its humanity and physicality is being switched with instant appeal and gratification. We are a consumer society that wants takeaway food, fast; we desire our good delivered in a one-day window; we crave the limitless T.V. channels and the expedience of technology. How many of us, in reality, sit down and think about what we are buying/watching?! Often, things go in one ear and swiftly exist the other. We absorb and experience things at the rate a hummingbird flaps their wings – losing out on the true nature and potential of music. I can listen to a song from, say, Madonna from the 1980s, through a C.D., and match that against a song off of Spotify, fed through my laptop. Even if the songs have equal quality and appeal – the effect I get from the former is much stronger and resonant than the latter. Whilst music can only develop and survive through technology – given the exponential growth and population explosion – I wonder whether the need to provide and sustain is compromising quality and nuance. How many of us hear a song now and feel we’ll cherish it decades down the line? The artists might have the promise of durability but is it the way we are digesting their sounds resulting in scepticism? Certainty, I am someone who hears a lot of music and there are few that remain in the brain that long.

PHOTO CREDIT: Spotify

It is not their fault: the saturation and wave of music we are exposed to is challenging. Are we being forced to listen to music in a manner that means we are always looking for something new? That might sound cynical but many of us jump to the next artist and rarely stick with something. In a sense; we are always looking for something shiny and fresh – streaming sites are creating a market where attention spans are short and the imagination is curtailed. I will continue my point but want to bring in an article from this year - that examines the connection between digitisation and capitalism: how music’s economy and D.N.A. is being directed by the rise of technology. There are some interesting thoughts that captured my attention:

“One striking feature of culture in modern capitalist societies is that the main ways in which people gain access to cultural experiences are subject to frequent, radical and disorienting shifts. This has been very apparent in recent changes in musical consumption. Over the last 20 years, there has been a marked change in dominant ways of experiencing recorded music. In the mid-1990s, most music consumers in wealthier parts of the planet would buy CDs or cassettes from specialist or general record shops, and play them back via electronic devices in the home and car, and in some cases via mobile devices such as the Sony Discman or Walkman; radio and television provided important further exposure for musical recordings. There was a shift in the early twenty-first century to the personal computer and mobile digital playback devices such as Apple’s iPod as the prevalent ways of consuming music. More recently there has been a further change. A new ecology of musical consumption is emerging, based on subscription audio streaming services and Internet-connected mobile phones. While only a minority of music consumers currently consume music in this way, even in the relatively wealthy Global North, this configuration is slowly reviving the ailing music industries, and looks set to be the future of recorded musical consumption in many places – until the next transformation comes along”.

IN THIS PHOTO: Kate Bush (who has said she prefers the warmth of analogue tapes)/PHOTO CREDIT: Getty

Is the obsessional we have with technology and easy access denigrating music’s fabric and the way it affects us I feel people are yearning for nostalgia and older music is not, necessarily, to do with quality and a lack of real depth. We are implicitly and worryingly being fed this notion streaming and modern ways is where music is stronger. By that; the consumer is not able to bond with a musician the same way they once were. Maybe that is invariable and unavoidable. The study examines the see-change since the turn of the millennium; how music has altered radically given the impact of digital methods:

“The digitalisation of music after 2000 seems to have pushed more and more academics to turn their attention to the question of change in the music industries. Copyright and intellectual property have rightly been treated as major issues, with some addressing music as part of broader accounts of problems concerning copyright in the digital era (e.g., Vaidhyanathan, 2001Vaidhyanathan, S. (2001). Copyrights and copywrongs: The rise of intellectual property and how it threatens creativity. New York, NY: New York University Press. [Google Scholar]), and some devoting their attention to the particular struggles that have taken place concerning copyright in the wake of digitalisation of music (David, 2010David, M. (2010). Peer to peer and the music industry: The criminalization of sharing. London: Sage. [Google Scholar]; Hesmondhalgh, 2009Hesmondhalgh, D. (2009). The digitalisation of music. In A. C. Pratt& P. Jeffcut (Eds.), Creativity, innovation and the cultural economy(pp. 57–73). London: Routledge. [Google Scholar])”.

Is it a coincidence I am more drawn and comforted by older music than the new breed? Maybe there are too many artists out there – meaning any long-term relationship is unlikely – but I feel there is an intrinsic relation between digital means and the way music makes us feel. Nowadays; modern artists have one eye on streaming figures and getting those viewing-figures at their peak. Are they thinking about the way people see their sounds and take them to heart?! If our mainstream best are more concern with popularity and numbers: do they have any realisation in regards the short-term nature of their impact and (the fact) their songs will dissipate before long?! It is so hard for modern artists to remain in the consciousness given the way music is ‘evolving’? What have been the biggest changes we have seen this century?

PHOTO CREDIT: Getty

“In the twenty-first century, consumers remain subject to regular and radical changes in the prevalent ways in how music is experienced, but new technologies have untethered listening from the home. Today, instead of CE corporations, it is mainly IT companies and to some extent telecoms companies that shape musical experience. The power of these companies derives from, and in turn contributes to, an interlinked set of economic, social and cultural changes in modern capitalist societies. Seeking new markets, businesses have moved the key frontier of commodification and consumption beyond the homes and cars of the era analysed by Williams (though of course these continue to be key markets), via his concept of ‘mobile privatisation’, to what we might call networked mobile personalisation. By reducing the pooling of resources and sharing of products among families and communities, this encourages greater purchasing and stronger individual affiliation. It permits burgeoning networked interactions between individuals that can potentially take place anytime, anywhere, and be monitored. No doubt this shift answers to desires for personalisation, mobility and connection, deriving from a new sense of individualism and even atomisation in modern societies. It is deeply shaped by advertising, marketing and the promotional industries. And it is a source of disorientation, expense and huge social waste.

What is more, these changes in how music is consumed may be having negative effects on the role that music plays in people’s lives (see essays by Marshall and Toynbee in Marshall & Laing, 2014Marshall, L. & Laing, D. (Eds.). (2014). Popular music matters: Essays in honour of Simon Frith. Aldershot: Ashgate. [Google Scholar]). Many music fans report a sense of loss regarding music’s power. Some would say this is merely nostalgia, but the ubiquity of music, its constant presence as background, heard in a rather distracted way, seems to be connected to a loss of its cultural and emotional force. It is hard to say how much this derives from sociocultural and political changes as they affect what musicians produce, and how much from the new formation of musical experience itself, including which music comes to be circulated widely. It may well be both”.

PHOTO CREDIT: Getty

The study I have quoted raises valid concerns/points but there is a band of artists keen to take music back to its truer times. It is no coincidence so many artists are recording to tape and ignoring the ultra-hyper-new shine of the studio. I will write a separate piece on the 1980s but I am discovering so many new acts reverting to that sound and incorporating the decade into their music. I feel the reason for this is not to push music forward but hint at the past and how good it used to be. Again; that is not an indication regarding quality and the short-term impact of modern music: it is a way of bringing in the simplicity and analogue joys and fusing them with the new and exciting digital times.

I feel a lot of modern artists are investigating past music – and sampling older songs – because the mere mention and suggestion of them take their memories and minds back. I listen to older music because it hits me in a different way. Algorithms and statistics are defining the business attitude of modern music. I yearn for a time when music concerned the way it made you feel and what you would take from it. Listening to music on a cassettes/vinyl was like stepping into the song and embracing every aspect and component of it. I worry we are only getting a limited sense of connection and quality from modern music. The fact we have opened the floodgates, and offered this unguarded market where everyone can make music, means the battle between quality and quantity is always hard. I think the real issue lies with the dependence and need to embrace the advancements of the modern day. The rebellious and disassociated artists – who feel their music is being led by business and popularity rather than longevity  - are reverting to older means of recording and methods like tape. I feel something as simple as recording to analogue makes a huge impression.

PHOTO CREDIT: Pinterest

I could listen to a modern song recorded on analogue and hear it on C.D. Compare that to the same song recorded in a modern studio – and heard through a laptop – and there is a marked difference. Something as simple as that could be the difference between a song remaining in the mind for years – or is racing out of the brain minutes after it has ended. My greatest hope – sticking with my themes of revolution and propaganda - is seeing a clan of musicians go against convention and not putting their music on streaming services. That might seem suicidal but what would be the result if artists stuck with physical forms and recorded their music on analogue? They could perform modern genres/sounds but would rely on older technologies/formats to get their music out there. I am worried that is the only way new music will have the same durability and meaning as that which has gone before. There are things that need tackling but I feel we are too far down the rabbit-hole to really go back. Generations to come will experience music in a very quick and damaging way. They will be bombarded with artists on Spotify/YouTube and abandon listening to music through hardware. With that will go artwork and all the components that made classic music what is was. If artists are not worried about art-work and getting the sound right; taking time to craft something memorable and inspiring – will the artists we hear today be remembered and celebrated in decades to come?! Maybe musicians from the 1960s and 1970s will still be more popular than current favourites.

IMAGE CREDIT: Prodanny Appetit by Georgii & Vladimir Stenberg, 1928 (USSR, Russia, Nikolai Okhlopkov, 1927)/Collection Susan Pack

Maybe the reverse will be true: we will forget about the better days and rely entirely on streamed and digital music. This is a debate with two sides and no easy answers. I feel the business aspect of music is detrimental and corrosive. There is too much focus on cracking markets, breaking records and producing something quickly – rather than a piece of work that will compel listeners years from now. Comrades of the music world! The way we will match the brilliance and memorability of our pasts then we need to ignore the mindset that suggests all that is digital is gold! Too many musicians rely on it and are producing music to satisfy marketing minds – rather than amaze the listeners. This needs to change because, if we carry on down this road, music will lose its magic and potential. I am not sure whether there is a way to make quick and effective changes but making small steps is the way to cure the issue. I miss the days of cassettes and find analogue a much richer and warmer sound – the likes of Kate Bush are not wrong! We can still hear analogue music – and those classic artists – but, when they take up more of our time than modern artists; does that signal real issues for the music industry?! I would like to see a greater promotion of traditional recording/release and a relinquishing of this eternal and hardcore grip of the digital. The quality is there (and artists have that promise) but living in this digital-focused and technology-obsessed world means…

 PHOTO CREDIT: Getty

PEOPLE like me will always prefer the music of the past.

TRACK REVIEW: Beth McCarthy - Mr & Mrs Brown

TRACK REVIEW:

 

Beth McCarthy

Mr & Mrs Brown

9.4/10

Mr & Mrs Brown is available via:

https://open.spotify.com/album/1A3mNrRZxNk2QagPffpOR5

GENRES:

Pop; Folk

ORIGIN:

York, U.K.

RELEASE DATE:

20th October, 2017

__________

ONE of my drives this month is…

to get more female names on my blog. It is not a deliberate thing but, over the past few weeks, I have been inundated with requests – most of these coming from male artists. I cannot really refuse people on a count of their gender but I am aware there is an imbalance that needs talking about. There are so many great female artists out there and, I think, they are more intriguing and promising than their male counterparts. I will talk more about Beth McCarthy very soon but, before moving along, a chat about female artists and why they warrant more spotlight; York and the great music coming from the county (Yorkshire); moving from talent show auditions and forging a solo career; building a career and making important steps; those artists with character and personality; bringing to mind other names through music; making your mark in a busy market – eliciting personality and uplift through songs. I have talked a lot about female artists – many might tire of it – but it is with good reason. I feel there is a problem in music whereby too many male artists are getting attention; by that, they are being seen as superior and more marketable. It has always been the assumption bands and male acts are capable of pulling in big money; the ones people want to see – at the detriment of female artists. As we witness issues, surrounding sex and gender, in the media; I ask myself whether more needs to be done in regard invigilation and monitoring. There is no rational reason why male artists have the focus and have been getting more chances. I shall not labour the point too much but I am concerned it is seen as normal there is this gender imbalance. Maybe the festivals favour boys as headliners: we need to get out of this attitude and start embracing the fantastic female performers around. Why I wanted to start at this point is because there are some terrific (female) artists who are taking me by surprise. Beth McCarthy is someone dripping with charm and personality.

I wonder whether, when she makes big strides in her career, she will have to work harder in order to get her music heard. I feel there has always been this cliché that women, due to their comparatively meagre stature (physical), would be incapable of shouldering the demands and physicalities of music. McCarthy is someone who shines from the page and takes the heart somewhere very special. She has a long career ahead of her and I am sure she will get to the big-leagues in years to come. Her route will not be as easy and smooth as one would hope. One of the reasons is because she is female. There is a stigma and curse in the industry where sexism is still rife and certain artists are being promoted for the wrong reasons. Sex and image still play a big part; that is quite hard to see and hear about. Whether we can reverse this ideology and achieve parity and a lack of discrimination. I fear we are going down a bad path whereby women are seen as inferior, physically and emotionally, and, therefore, they are not provided the same passage as their male counterparts. The fight will be ongoing but, in terms of artists like McCarthy, she is not inculpating or pointing the finger: she is showing what can happen when you provide music that differs from what is out there. Her originality and natural affinity will see her break down any prejudice and obstacle. I shall predict McCarthy’s progress – like a football pundit guessing the scores to the weekend’s games – but, right now, I am interested looking at where McCarthy is from and her surroundings.

As much as I love London: I always hope, if an artist is in a great area, they remain there. Always, we see London as that destination where dreams come true. It is the equivalent of that American Dream: arriving at the city and seeing all these chances unfold before you. I yearn to be there full-time because I recognise, commercially, this is where most of the jobs/chances are. It is hard building a career in music in provisional towns and non-descript locales. The city provides the buzz, personality and riches to get a career off the ground and inspire the mind. For Beth McCarthy; she is based out of York and I hope, in a real way, she does not succumb to the temptation to move to London. That might happen as she seeks bigger rewards and more regular gigs. At the moment, it seems her surroundings are doing her well. She has easy access to the North and is capable of travelling to London if she wants to perform. It seems, even if you are based in a great northern city, that desire and necessity to come to London overrule the heart. The ‘head’ has that power and pull when it comes to the major decisions. I have looked at some great Yorkshire talent the past few years. One that sticks in the mind – and is familiar to McCarthy’s mutual contact, Jason Odle – is Billie Marten. Odle is director of Ont’Sofa and has played with/written for Marten. I shall not bring her too firmly into the review – lest I divert from McCarthy and why we are – but Marten is someone based in Yorkshire. I know she has recently moved but there is never the temptation, for her, to come to London and release that surrounding of quiet and nature. I feel Yorkshire is that perfect county that provides the clash of countryside and city. York, where McCarthy is based, is a modern city but it is not too far from the epic scenery and panoramic views that can calm the soul and compel the mind.

I am not suggesting there is a distinct link between personality and surroundings but it is easy to craft an openness and happiness when one is in a more relaxed environment. York has bustle and charge but not on the same level as London. The capital is great when it comes to the big money and radio stations; the terrific venues and mixture of cultures. One of the downsides is there is little space to breathe and a difficulty establishing community and clan. This is not a new phenomenon but, as the city becomes busier, I wonder whether it will be able to foster and protect musicians coming through – the fear is they might be swallowed and overlooked as the numbers spiral out of control. The issue of mental-health, and protecting the psychology and emotions of musicians taking shape in a big city, is something that preys heavy on my mind. McCarthy seems to have a relaxed and effortless nature to her. Maybe it is the effect of Yorkshire but I feel she has a base that allows her to recharge and contemplate. The same was Billie Marten radiates a seduction, calm and tenderness: McCarthy has a comparative personality that has immense allure and appeal. Yorkshire is a wonderful county for the creative and somewhere more eyes should be trained. I know career desires and her bulging fanbase will dictate her living situation but I hope McCarthy strikes a balance between Yorkshire base and London convenience. If she is capable of doing that; I know her songwriting will be a lot more expressive and unique; she will be able to have the best of all worlds and gain success. I guess, when one is away from the capital, there is that assumption labels and venues will be myopic. They tend to gravitate towards people on their doorstep: this leads a lot of musicians to relocate in order to be seen and counted. McCarthy has that personality that oozes assurance but has a vulnerability to it.

It is hardly a shock to see, already, she has gained a special place in the national consciousness. I am always torn when it comes to assessing musicians who have spent any time on talent shows. I, personally, cannot stand them and feel they are a cheap and easy way to get into the industry – those who do not want to graft; they want to bypass the true way of making music and get fame as opposed to credibility. Beth McCarthy is not someone you will see stumbling out of a night-club and courting attention on the tabloids’ gossips pages. She has appeared on The Voice but, luckily, has not clung onto that and been defined by it. She appeared on the show at the age of sixteen and was part of Ricky Wilson’s team that year. Even though she was seen by millions of viewers; that experience was a small step in her career. She would, I feel, be in the same position were she not to have appeared on the show. The best thing about that experience was the expertise she would have been afforded and the industry professionals around her. My ambivalence surrounding talent show comes when artists pin all their hopes on it. Those who win these talent shows often have a very short career and produce music commercial and dull. They are not those with any real spark and imagination; labels and managers push their music to the realms of hyper-bland and unlistenable. I am glad McCarthy learnt a lot from that time but am more relieved she does not put it at the top of her C.V. She would have gained the fans and following she has already was it not for that exposure – if T.V. and talent shows are the way to get fans then it raises into question the point of a career in music and operating in a traditional sense. The best outcome from that time is the confidence she acquired and the feedback her music received.  The young songwriter is still making her way into music but, in the past year, she has made some enormous steps. I have mentioned how The Voice was a minor step but, thinking harder, it gave her the stride and impetus to keep dreaming.

Maybe that is the best reason to go on a talent show: it is a way of coping with pressure and what one might face further down the line. It gives the applicant a skillset one might not acquire if they were to go down the conventional route. McCarthy has taken that time to her soul and built her career in her own way. By that, she has played festivals like Latitude and supported Heaven 17; played alongside The Black Keys and HAIM. That is quite an impressive layout for someone who is still very young. Perhaps the time on The Voice has provided the chance to perform alongside these artists but I know the natural fortitude and talent of McCarthy has made the biggest impact. One of the reasons she is getting people talking is the hard work and relentless effort she puts into everything. I see a lot of artists spending too much time on their computers; trawling social media and relying on streaming services to get their music to the people. What I love about McCarthy is the fact she hits the road and is keen to connect with every Regular John/Jane out there. As part of her Outline tour – which she is in the middle of – there are dates around the country. She played in Ayton two days ago and prepares to hit Matlock’s The Lock on 18th (November). I have mentioned talent shows and that ‘starriness’ one associates with its participants. There is a perceived notion there is ego and a sense of delicateness about everyone who plays these shows – the endless sob-stories do not really help shift that perception. McCarthy is not someone you will see being carted between gigs and sheltered away like an arrogant star. She has, as recently as yesterday, been busking on the streets. She played the streets of York and, whilst freezing her fingers/other parts off, wowed those in the vicinity of High Ousegate. Armed with tickets to her homecoming gig – on 25th at The Crescent, York – she performed a selection of songs with her dog, Alfie.

It is great artists like McCarthy – who have had big gigs and experience – mix the larger performances with the roots of performance. She has hit the streets and is keen to bring her music to the honest people she meets. I am not sure how yesterday’s busking went but, aside from the cruel climate, she has allowed her new music the chance to breathe and find new audiences. Many might assume busking is arduous and torturous. Many artists need to do this in order to earn a few pennies. The quality can be quite variable but, when you discover someone like McCarthy, you wish her a lot of success and fortune. She has more traditional (and warmer) gigs approaching but, in the meantime, she is getting out there and braving the elements. I will talk about her latest single soon but, when thinking about her busking and how she approaches music, it is interesting undressing the dynamic and approach of McCarthy. She never refutes the honesty of getting out there and playing music to the people. Performance is in her blood and there is natural warmth coming from McCarthy that captivates and joys people. Marinating her songs with smile and personality means she is getting tongues wagging and interesting a range of sources. I am not sure how her 2018 is looking but I know there will be a lot more gigs. McCarthy is keen to get her career growing and moving – she is doing things the right way at the moment. I worry about new artists and how much they have to work to get their music out there. Are we putting too much pressure on people and risking burn-out?! Beth McCarthy, in a lot of ways, is a poster-girl for how things should be done. She is not tackling the streets of London every day and pushing herself to the point of breaking. Even though she wars with the cold and has to busk every now and then; that indomitable and indefatigable resolve and passion burns through. The hearth in her heart means every moment is tackled and embraced with commitment and excitement. We can learn a lot from her: a modern artist who will be familiar to many lips this time next year.

Beth McCarthy, as I said, has broken ground the past year-or-so. She performed a stripped-down version of Ralph McTell’s Streets of London that went on to be the official soundtrack for the film, 100 Streets. She went on to find success in the U.S. and performed on the cable show, JBTV – playing shows in Florida and Chicago. Bob Harris named her as one to watch and, at the start of this year, she gave the world the self-released single, Pretty Lies. It gained huge reviews and was followed by Lemonade – named as the promotional single for Worldwide Breast Cancer’s ‘Know Your Lemons’ campaign. These leaps and evolutions are promising indicators as we step into the coming year. McCarthy’s talent and commitment mean she has gained rewards and success very easily. It might not have been easy for her but it appears, to the outsider, people are falling at her feet. I suspect next year will find her music used on T.V. and more singles follow – I wonder whether an E.P. or album will come. When thinking about her progression and personality; I am reminded of certain artists. I keep mentioning Kate Bush – as I write this; I am listening to interviews Bush recorded back in 2011 – and how inspirational she is. I see a lot of Kate Bush in Beth McCarthy. There is the humour and the beauty; the way she can connect with people and affect the heart. Bush is an artist who has built from modest foundations and crafted a huge career. McCarthy’s approach to songwriting and performance reminds me of Kate Bush in a lot of ways. Even though their music differs; I feel there is a lot to compare. McCarthy’s innovation and songwriting put me in mind of Kate Bush back in 1978. I can envisage the Yorkshire songwriter sitting down and writing her songs without interference or technology. There is that smile that buckles the knees and the wit/humour that gets you hooked. The biggest links are when one thinks of the work ethic and route into music.

McCarthy crafts her music and spends her waking hours fantasising about music and what it can become. There is a real sense of belonging when one hears McCarthy’ music. It means everything to get and you know, against the grain of modernity and artists looking for huge streaming figures, it is the nuts-and-bolts that means more. One imagines the words and composition are a lot more appealing than Spotify figures and endorsements. McCarthy is a songwriter who seems counter-cultural and not what one would expect from 2017. One might find her busking in a Yorkshire street or playing an intimate gig here and there. She has played those bigger stages but McCarthy is in no rush to get into the limelight: satisfied getting her music out there and playing among the people. I am writing a piece later that explores the clash between modern ideals and the longevity of older technologies – whether artists of today are connecting with modern measures/means or keen to preserve older ways. I feel McCarthy is a traditional songwriter, in the sense she reminds you of better days and working methods more familiar with the pre-digitisation/Internet days. I have mentioned Kate Bush alongside Beth McCarthy because both have that incredible attraction and personality. I do not mean ‘attraction’ in the sense of beauty – although McCarthy is incredibly beauty – but the way they can bring listeners into their heart and world. One is consumed and helpless when listening to McCarthy and how she radiates from the stage. The cheekiness and accessible personality; the brilliant voice and fantastic songwriting – all of this differs from so many artists of the moment. I know Beth McCarthy has stresses and bad days but she rides above this and has a strength and steeliness that is impressive to see. All of her facets and personality sides are the armour and catalyst for a long and fruitful career.

I will come to look at her single, Mr & Mrs Brown, but, until then, a little about uplift and pleasure in music. It seems music is becoming more downbeat and introspective as time elapses. Maybe that is a reaction and mirroring to the way the world is unfolding at the minute. One cannot escape the black velvet and smoke that is enveloping the planet. The moody atmosphere cannot help but infuse the music we are hearing right now. A lot of new songwriters are failing to escape the shackles and burden that surrounds them. I listen to music for a number of reasons but one of them is to escape from the black days and find something happier. Although Beth McCarthy addresses love turmoil and splits; she does not do it in a suffocating and depressing way. Her latest offering has a definite optimism about it. Even though, in every song, she projects concerns and fears; there is never a feeling of doom and hopelessness. I am always struck by McCarthy’s dexterous and luscious voice that has a child-like innocence but a soulful and soothing underbelly that elicits finery, grace and comfort. There is that clash between the strident and assured woman and someone with a young heart and natural fears. This dichotomy comes through in the music and gets under my skin. Above all the questioning and revelation; we get an artist who puts you in a better frame of mind. I feel that is what we need at a time when there is confusion and sadness. Music should be that maternal spirit that offers protection and gives us guidance. The rhythms, pulse and energetic candour of a song like Mr & Mrs Brown give the heart something nourishing but gives the brain something to ponder. I, when hearing the song, feel the soul of a very bright and loving human emanate and ooze from every note. McCarthy does not hide behind technology and gimmicks: she is someone who is engrossed in what she is writing about and keen to involve the listener in every moment.

The opening notes of Mr & Mrs Brown have that soothing and entranced voice backed by subtle guitar. The song gets to life pretty quickly and there is something delicate and tender about the opening. It all started on a train (“with a smile”) and it appears there is a romance brewing. McCarthy’s voice, in that first phase, has a very modern key and sound to it. One can draw lines to other singers but it is her personality and unique combination of assets that provides the voice a more tremulous and nuanced dimension. The production allows a fullness and sense of drama to mix with a domesticity and intimacy. McCarthy’s phrasing and delivery mean there is a poetic and filmic approach to the performance. Lines trick and tease out of the mouth; you get involved with the scenery and setting of Mr & Mrs Brown. It seems there is something between the subjects but, given the surnames, one wonders whether – in that approach – there is a soon-to-be marriage or an extra-marital affair. My initial perception was the charting of a relationship from the seduction chariot to the settling and confirmation. There is helplessness to the coming-together and the train-set romance. McCarthy’s whispered and honeyed voice gives the song a gravitas and natural conviction few songwriters can achieve. I found myself stunned by the beauty and physicality that emanates from her words. You are part of the story and spectating as the narration unfolds. Instrumentation is kept sparse but the strings provide a rush and sense of excitement we can all imagine. The coquettish looks and furtive exchanges are fleshed-out and verbalise in the strings. It seems, from the heroine’s vantage; this man was the missing part of her. She never knew it but this human has kindled something deep-down and primal. Maybe the setting has progressed from the train but there is an instant affiliation and togetherness that one cannot overlook. The attraction is developing at a great speed and the maturation of passion reaches a palpable high. McCarthy’s voice is layered and produces a wordless chorus that adds shivers and sexuality to the song.

The first section of the song seems to be the realisation and resonance of this person. The puzzle is missing a piece and the fact it has come along is a huge relief. I notice the shift in tone as we go from the furtive and refined distance of the opening to the more imploring and bold suggestion of the centre. Things are right and there are no wrongs – being in love with the hero seems to have put everything in its right place. The song has the combination of commercial ability and individual expression. It is easy to bond with the song and, the fact it has gained a collective love, means people can understand and connect with Mr & Mrs Brown. There is that multifaceted approach that means the song could find fandom on stations like BBC Radio 2 and BBC Radio 6 Music; appeal to the young and middle-age; cross boundaries and genres – everyone will take something different from the song. The chorus has that spirit and sense of celebration that, to me, digs deep. I wonder whether there are pains and struggles that are not revealed in the lyrics. We know the heroine has found someone good but, given the title, is the song an observation of someone else – or is this Beth McCarthy casting herself in a fictional setting?! I sense a degree of past failure and the need to discover a solid love. We all get caught in the safety and revelations of this current bond but wonder how hard the past has been; whether this moment has come off the back of real struggle and introspection. The truth comes through when McCarthy talks about the wedding and the big moment. Taking care of “my sister” clarifies the interpretation and puts the listener into the picture with vitality. One can imagine McCarthy seeing this romance unfold and having concerns for her sister. She (sister) might have struggled to find a good heart and McCarthy wants her husband to treat her well and keep her safe. That protective air and relief mix together and it produces something strange in the listener. It is rare finding songwriters who talk about members of the family and their love – usually, songwriters come from their own lives and talk about their love. Beth McCarthy wants her sister to live “happy ever after” and have that security. It is a touching and commendable message in a song that, despite being deeply personal, will strike a chord with everyone.

I have mentioned, near the top, the gigs Beth McCarthy has been involved in. One can check out her schedule on Facebook and see where she is performing. The Yorkshire songwriter always updates her fans and ensures she keeps everyone informed. That is a rare quality when I feel songwriters are more concerned with figures and popularity than they are connection and humanity. This is not true of everyone but, in McCarthy’s case, she is always thinking of fans and making the bond with those who listen to her music. This year is nearing its end and we think ahead to what 2018 will provide. Given McCarthy’s evolution and success; I know there will be even more treasures and plaudits that will see her get to new audiences. I wonder whether McCarthy has plans touring internationally but I feel the time is now to strike. Her music is really resonating and people out there want to see her in the flesh. How her year will pan out is down to her but I know there are foreign audiences who yearn to see the songwriter up-close. Mr & Mrs Brown is a beautiful and intriguing offering from a songwriter who perfectly balances the familiar and unique. The song addresses relatable themes – we can all relate to an extent – but the way she projects and makes you feel is extraordinary. Kate Bush – back to her – said, in an interview with Jamie Cullum, said the assumption you have to be miserable to write something good is flawed – Ariel, her 2005 double-album, was recorded at a happy time and, as she sees it, one of her finest works. I feel McCarthy is someone who operates at her optimal level when the mood is positive and relaxed. Her latest cut reflects some concerns but I can imagine the creative process and concept was during a fertile and optimistic phase. One can sense a smile and hope when you hear the song. She is someone who puts the listener in a finer place and does something wonderful. I hope McCarthy remains in Yorkshire as it seems the people and evocativeness of the county infect her music. I have mentioned fellow young songwriters like Billie Marten who seems resolved to remain in Yorkshire – where she can step into the countryside and find inspiration in the openness and peace. As Beth McCarthy steps into the coming year – and plays some chilly gigs this month – let’s all hope success comes to her. I hope she gets the attention he music warrants and her live gigs are successful. I wish her luck, promise and plenty of warmth. This year has been an incredible one for McCarthy but I know 2018…

WILL be even finer.

_______

Follow Beth McCarthy

Facebook:

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

Twitter:

https://twitter.com/bethmaymccarthy

Instagram:

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

SoundCloud:

https://soundcloud.com/bethmaymccarthy

Spotify:

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

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)

___________

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…

__________

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.

________

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

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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.

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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

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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

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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.

________

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!

_________

Follow James Walker

Facebook:

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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

_________

Follow Sera EKE

Official:

https://www.seraeke.com/

Facebook:

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

Twitter:

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Instagram:

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

Spotify:

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

YouTube:

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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:

https://inkphy.com/samandspacemen

Spotify:

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

YouTube:

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

INTERVIEW: The Holy Gasp

INTERVIEW: 

PHOTO CREDIT: Pedja Milosavljević

The Holy Gasp

________

A lot of songs are based around personal misfortune…

PHOTO CREDIT: Karol Orzechowski

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

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

________

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

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

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

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

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

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

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

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

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

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

PHOTO CREDIT: Nika Rae Zelina

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

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

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

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

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

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

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

Who are the musicians you are all influenced by?

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

Which new artists do you recommend we check out?

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

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

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

PHOTO CREDIT: Mike Stuls

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

You betcha, baby!

11/14: Sherbrooke, QC – Bar Le Magog

11/15: Moncton, NB – Plan B

11/16: Halifax, NS – The Seahorse Tavern

11/17: St. John, NB – Pepper's Pub

11/23: Quebec City, QC – Le Cercle

11/24: Trois Rivieres, QC – Zenob

11/30: Ottawa, ON – House of Targ

12/02: Toronto, ON – The Smiling Buddha

12/07: Peterborough, ON - Catalina's

12/08: Hamilton, ON - Mills Hardware

12/09: Windsor, ON – Phog Lounge

PHOTO CREDIT: Karol Orzechowski

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

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

In a real way.  

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

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

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

PHOTO CREDIT: Pedja Milosavljevic

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

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

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

...Never stop loving.    

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

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

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

Friendly Rich’s The Great Blue Heron…

… and Sulker by The Sulks, please and thanks

_________

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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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Twitter:

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Instagram:

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SoundCloud:

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YouTube:

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

INTERVIEW: Morning Tourist

INTERVIEW:

 Morning Tourist

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

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

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

________

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

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

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

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

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

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

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

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

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

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

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

So, yeah - probably that one.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

IN THIS PHOTO: Margaret Glasby

Who are the new artists you recommend we check out?

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

IN THIS PHOTO: Julia Jacklin

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

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

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

Tough this...

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

Elliott Smith – Either/Or

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

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

Nirvana – Nevermind

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

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

Simon & Garfunkel – Bridge Over Troubled Water

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

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

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

Be nice to people.

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

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

02/11: Hard Rock Cafe, Hyde Park Corner

05/11: Hope and Anchor, Islington 

14/11: Apples & Pears, Aldgate 

06/12: Boho, Camden

10/01: The Bedford, Balham

14/01: The Spice of Life, Soho

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

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

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

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

Can you play Hot Dreams by Timber Timbre

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

Thank you.

_________

Follow Morning Tourist

   Facebook:

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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)!