INTERVIEW: Lavender Child

INTERVIEW:

Lavender Child

________

MY quest to discover great and fascinating female artists…

finds me at the feet of Lavender Child. The Canadian musician has presented Happy Illusions to the world. It has a vivid and interesting story – one that has its roots in ecology and the environment; disillusionment and the contrast between empty passion and disassociation with perception and expectation. I discover what the talented songwriter has planned and what she can reveal about her E.P., Reflections; why there is such a strong scene in Canada – and whether a tour of the U.K. is a possibility of the future.

Lavender Child tells me about her music tastes and working with Dylan Mitro on her new video; the interaction and affiliation she has with the natural world; plans for the Christmas period – some new musicians that are worth pursuit and affection

________

Hi, Lavender Child. How are you? How has your week been?

Hi, Sam. Doing well, thanks! It’s been a little hectic but also an incredibly uplifting week - seeing the project finally come to life.

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

Of course! Hi, I’m Lavender Child. I’m a singer/composer from Toronto that writes dreamy/ethereal Alt-Pop. My debut single and music video recently released - and I’ve got much more content coming for ya soon!

Happy Illusions is your new single. How demanding was the creation and recording of the song? Was it quite an informative and rewarding experience?

A lot of time, money; work, love and collaborations have gone into this project - Happy Illusions being the first glimpse into it! It’s definitely been a huge learning experience being my first time writing, recording; mixing, mastering and taking on video production. It’s been both exhilarating and exhausting, but overall, a pretty surreal experience - that I’ve been dreaming of for a very long time.

I believe its origins stem from your time at an outdoor music festival. Tell me more about that…

You got it!

The single, Happy Illusions, was inspired from a weekend at an outdoor Electronic music festival four years back. The environment alone was stunning: lush forests with enchanting art installations throughout the trails. But, once the music began, I felt this disillusionment from the serene surroundings. The chaos of the eager crowds - and loud music - had you feeling like you were in the middle of a club rather than a forest. Trash littered the ground and people dressed in flower-crowns were crashing through the bushes - creating their own shortcut to the next musical act.

My head was spinning from the irony: both in relationships to nature and each other. I heard so many strangers say “I love you” that weekend but the words felt empty: it really had me questioning the authenticity of a community when it’s under the influence.

It was one of those moments where you feel a little alien to the people around you: an observer rather than a participant. I couldn’t shake the feeling when I got home...so I wrote about it.

The video is quite impactful and vivid – almost like a scene from a 1960s gathering. Was it quite instinctive in terms of concept/composition?

Dylan is a really special artist and human. he has a very sharp eye for aesthetics and a gentleness that truly captures the beauty of the people around him. He put a lot of work into preproduction, planning every second of the video; allowing the filming days to feel seamless and organic.

I really feel like the whole crew contributed so much to the vibe that was captured: the grace and beauty from the dancers, the careful attention-to-detail from the make-up artists and cinematographers - and the general positivity and calmness that each person emanated.

There were lots of smiles and special moments out on the Bruce Peninsula that I will forever hold in my heart.

Dylan Mitro directed the video. How involved did you get with storyboarding and discussions? Did he bond with the song quite quickly?

Dylan actually approached me to create this video.

Initially, I had no plans for a music video - so he really took the reigns of the project. In our first meeting, I shared the overall concept of the album and the inspiration for the track. We listened to the song together and then had some great chats about the festival experience and life in general. The next time we got together; he had the entire storyboard completed along with a presentation of his vision for locations, fashion; colour themes etc.

I was completely blown away by his professionalism and his deep understanding of what the song was trying to convey.

Listening to the song’s connections between nature and humanity; the simple, yet timeless, affiliation with the outside world – do you think more artists should address themes such as nature and the natural world?!

I think that nature is incredible but an artist should address whatever themes/topics they feel inspired to write about. The diversity in passions, and inspiration that they draw from, is what makes each artist so special.

Happy Illusions is taken from the forthcoming E.P., Reflections. It sounds like there might be more nature and serenity on the record. What themes do you tackle on it?

Absolutely!

I feel pretty passionately about the environment, community and self-exploration. The E.P., Reflections, is a manifestation of these thoughts.

How did you get into music way back? Was music something you always connected with at a young age?

I was definitely that kid who hogged the karaoke machine daydreaming of being onstage performing. My mom always said that I was singing and humming before I could form proper words. I started private singing lessons when I was in grade-one; joined a choir before I could read; sang in talent competitions, performed in musical theatre; sang on the bandstand with the Hamilton Rising Star Jazz Band and eventually went on to study Music at Humber College for five years. Safe to say that I’ve been nerding-out on music since day one…

It’s a pretty integral part of my life.

You are a talented Canadian musician. Is the country somewhere that naturally breeds and supports great artists? Are there are a lot of supportive local musicians?

Toronto has some really incredible talent.

I’ve connected with so many inspiring musicians throughout the music program at Humber College and I feel so blessed to be part of such a supportive musical community. I’m not the best with grant-writing (haha) so I don’t personally have experience with funding - but I know it’s out there, which is great  (smiles).

IN THIS PHOTO: Daniel Caesar/PHOTO CREDIT: Keavan J. Yazdani

Who are the new artists you recommend we check out?

Two Toronto gems I’d recommend would be: Daniel Caesar - for some sultry jams and Babygirl - for your moody night-in.

IN THIS PHOTO: Babygirl/PHOTO CREDIT: L-Spex

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

Norah Jones- Come Away with Me

Come Away With Me had a permanent residence in my mom’s car growing up so, from an early age, my favourite song to sing was Don’t Know Why. The whole album is nostalgic for me - and always makes me think of my mom (smiles).

Feist – Metals

Metals was the first album that I listened to and thought: ‘This is the kind of music I want to create’. I played it on-repeat for months; adoring and studying every piece of it. I was really moved by it all: the stunning orchestrations supporting her voice, the emotional lyric along with the natural imagery…there’s just something about her music that feels very honest. Feist has, and always will be, one of my biggest inspirations.

Julianna Barwick – Nepenthe

Nepenthe is this meditative wash of angelic vocals and, about halfway through listening for the first time, I suddenly felt more love for myself than I ever had before. It was this earth-shattering realization where I finally understood how important it was to love myself to truly have the capability to give love to another partner. It was a pretty epic moment. Haha. I hugged myself for the rest of the album and really started to get involved with self-care after that night. I’ll be forever grateful to Julianna for sparking that moment of self-love!

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

Work with people who inspire you/the ones that make you smile!

What tour dates do you have approaching? Are you heading to the U.K. soon?

No tour dates (yet) but I would love to eventually make it to the U.K. – and, really, anywhere else in the world! I’ll keep ya updated.

Right now, I’m focusing on the E.P. premiere. and then. a local private screening of the remaining music videos – that I will, hopefully, begin releasing in January!

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

I’ll be busy working - but I’m sure there will also be some yummy food and time with loved ones happening somewhere in there too.

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

Braids - Miniskirt

________

Follow Lavender Child

Facebook:

https://www.facebook.com/2LavenderChild/

Twitter:

https://twitter.com/_lavenderchild_/

Instagram:

https://www.instagram.com/_lavenderchild_/

YouTube:

https://www.youtube.com/channel/UCV0zmmPeEKPnqj--WbeZezA

SoundCloud:

https://soundcloud.com/lavenderchild-489143343

INTERVIEW: Anna Winkin

INTERVIEW:

 PHOTO CREDIT: Skay 

Anna Winkin

________

IT has been fascinating stepping into Anna Winkin’s world…

and learning more about the young singer-songwriter. She tells me about her current single, The Most Important, and the E.P., Space for Love. I ask about the themes and stories that compelled both; the artists and sounds she grew up listening to; whether there are going to be more releases from the E.P. – and whether there are gigs coming before the close of the year.

Winkin discusses her background and what the music is like where she was born (in Belgium). I ask about her favourite albums and what is coming in 2018 – she gives advice to new songwriters; some thoughts that might help them in their careers.

SINGLE AND E.P. PHOTO CREDITS: Muphovi

________

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

I am good! My week has been exciting, busy and uplifting! I have just come back from Belgium - where I did my E.P. launch. It went very well. The venue was packed and we all had a great time!

I am very happy about the night!

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

My real name is Anne-Laure Winkin and I am from Belgium. I came to London six years ago for music. I did a degree in Popular Music Performance at BIMM (London) and just finished my Masters in Jazz at Guildhall School of Music and Drama. Throughout my studies; I learned a lot about who I am as an artist and it came out as an E.P. - which was released last week (Thursday, 16th November).

I (mainly) find my inspiration in nature and spirituality - and am willing to use music to help people reconnect with themselves; have more compassion and to help create a better world.

Space for Love is your E.P. What sort of themes and ideas compelled its creation?

I am passionate about self-development. Creating this E.P .has been a process of self-discovery.

I like to use music to uplift myself and to transcend my doubt, worries and fears. It is a sort of meditation; an adjustment inside. I also have this will, through my music, to bring peace of mind, self-awareness and love to the people I am reaching. The title, Space for Love, really represents the idea of making space in our mind and our hearts; to clean up our thoughts in order to have room to receive love in all areas of our lives.

I strongly believe that our thoughts have a massive influence on our lives. Sometimes, we complain; saying that we have all sorts of problems but, if we have a closer look at our thoughts in our daily actions, we might discover that we were putting out the wrong intentions and that we had the wrong way of thinking. That’s the reason it caused a problem in the end. So, if we clean up our thoughts, we make space for better situations to come our way...

In order to create this E.P.; I had to create space for love and inspiration in myself. In each tune of the E.P., I bring up a topic that has to do with being calm and listening - in order to act with awareness, daily.

The Most Important is its current single. What is the story behind that one?

This is actually the first song I wrote from beginning-to-end!

Before that, I started to write a few songs - but never really finished them because I didn’t trust myself. I remember, on that day, I was playing the piano next to the T.V. at my parents’ in the living-room in Belgium (not a very good place for a piano, I know!) and I was arguing with my brother, who was watching T.V. - an argument about who was allowed to put the volume louder. I won - because I arrived first at the piano. It first came with the piano-lick and then the melody of the chorus came. It felt surprisingly good - and even my brother (who is not a singer at all) started to sing with me (and we were laughing about it).

After that, a verse came and then a pre-chorus. I could hear all the harmonies in my head and I was feeling very excited! When writing the lyrics, I was thinking: ‘What is my intention? What do I want to say/do to the world?!’ That’s how I started the verse: “I will pray for this world to be better etc.”.’ That was in the summer of 2013: it took me a very long time to have the guts to reveal it to my friends/musicians -  and have the courage to make this vision a reality. I had the time to grow since that year and, with time, my ideas became clearer and stronger - and this will of bringing up some type of awareness around me grew inside.

With this song, I really want to bring more compassion, love and awareness in the world.

Is it quite satisfying seeing your work out there? Has it been quite a tough creative process?

It is! It has been a journey.

When I decided to make an E.P. - two years ago - I didn’t realise all the work that it would involve. Creating the video was also another challenge - as I wanted it to reflect my ideas in a way that people can access and relate to. I wanted to make the information and the message reachable because, with this type of message, it is easy for it to become cheesy or to be taken as visionary.

Do you know what comes next in terms of recording? Are you working on stuff for 2018?

I already have new songs that I wrote over the last couple of months - and am planning to go back to the studio around January. At the moment, I am mostly looking for a bit of exposure and to gig (both in Belgium and London).

PHOTO CREDIT: Muphovi

Tell me about the musicians you grew up on. Who are the artists you look up to?

It is when I saw the music video of Janet Jackson All for You that I knew I wanted to become a singer. She was my first role-model.

After that, I discovered Alicia Keys (who is still one of my main influences). Destiny’s Child have also really been present in my musical evolution. My parents used to listen to a lot of African music and, as a therapist, my mother also listens to relaxation and spiritual music (Deva Premal, for example) and Celtic music such as Enya - from who I also got a bit influenced. The artists I look up to at the moment are Lianne La Havas - who I became a big fan of when she released her first E.P. in 2011! Other artists I listen to a lot at the moment are: Amel Larrieux, Sona Jobarteh; Jhené Aiko, Deva Premal; Emeli Sandé, Agnes Obel; Saint Savior, Corinne Bailey Rae etc.

Are there going to be any more songs released from that E.P.?

All the songs of the E.P. have been released (on 16th November). New music will come - either in 2018 or 2019.

You are from Godinne, Belgium. What compelled your move to the U.K.? Was there a bit music scene there?

I have been attracted by the diversity of London...

There is a music scene in Belgium but it is much wider in London - with many more opportunities in the field. I also wanted to be in a city where I could learn English and meet people from different cultures.

London is your base. What is the city like for you? Is it an inspiring place?

It is very inspiring and very rich on many levels.

I like this city because it is a place where people from all over the world come to pursue their dreams. So many people are open-minded and are ready to take risks; to follow their heart - because they know you have to make the most of your life. I really like that. I believe it is important when you have dreams and want to make them a reality; to surround yourself with people who do the same...

I also now have many friends I can call if I need musicians or advice for anything regarding the music industry etc. Even though I like it for this aspect, I really like to go back to Belgium from time to time in order to slow down - as I feel that in London everything is always going fast and people never really take breaks (shops are even open on Sundays!).

I also love going back home for its nature. Godinne is a small village near the river Meuse - and there is a lot of nature over there. I find it very relaxing and peaceful.

IN THIS PHOTO: Ibeyi

Who are the new artists you recommend we check out?

Ibeyi, Judi Jackson and Alice Phoebe Lou.

IN THIS PHOTO: Alice Phoebe Lou

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

The Diary of Alicia Keys – Alicia Keys

Discovering Alicia Keys when I was a kid wasParadise! These songs are the songs of child/teenagehood. I could actually say that through her music: Alicia Keys taught me how to sing my heart out!

Aventine - Agnes Obel

During my degree at BIMM; I had a tendency to think that, to be a successful artist/singer, I had to be a loud singer. Thinking this way was not good for me because I am naturally shy and have a smooth tone. That yea; I discovered Agnes Obel in more depth and that made me realise that, if I want to, I can only use piano and strings and sing very silently - and still give an amazing and powerful performance.

PHOTO CREDIT: Sophie Lex

…But Seriously - Phil Collins

This album reminds me so much of my childhood - because my parents used to listen to him a lot.

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

I am not sure I am in the right place to say anything - as I’ve only just started my own career. I would say to stay true to yourself and make sure you only do choices that are aligned with your heart.

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

28th November: London E.P. launch upstairs at Ronnie Scott’s Jazz Club (the second E.P. launch).

30th November at 229 the venue (London).

PHOTO CREDIT: Sophie Lex

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

I think I will take a time for myself and my family...

These last few months have been a bit crazy - with the preparation of the release and the gigs. Now, I need to take the time to sit, be calm; read and spend quality-time with my relatives. I also want to take the time to let the inspiration come so I can write new songs.

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 Wanna Be Like You - Ibeyi

________

Follow Anna Winkin

PHOTO CREDIT: Skay  

Official:

https://www.annawinkin.com/

Facebook:

https://www.facebook.com/annawinkin/

Twitter:

https://twitter.com/AnnaWinkin

Instagram:

https://www.instagram.com/annawinkin/?hl=it

YouTube:

https://www.youtube.com/user/Laure0081

SoundCloud:

https://soundcloud.com/annawinkin

INTERVIEW: Jimmy Sweet

INTERVIEW:

 Jimmy Sweet

________

THE U.S. musician Jimmy Sweet…

gives me some time to discuss his latest cut, You Say You Don't Love Me - in fact; it is his debut release! It is brave, in the sense that the song was originally recorded by Buzzcocks. I ask Sweet whether the band is big to him and when he first encountered them. He talks about his next moves and the music he was raised on; whether there are gigs coming up – and playing with his covers-band, The Goodtime Boys.

I learn more about Jimmy Sweet’s musical tastes and why he is a fan of Glam/British music; what he has planned for Christmas; if a U.K. tour is a reality – and why, this week especially, he is need of relaxation and a break.

________

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

Not bad. Taking a vacation this weekend to Santa Barbara, California. I’m looking forward to some relaxation…

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

My name is Jimmy Sweet. I was born in San Jose, California - but I have been living in Los Angeles for nearly eighteen years.

I guess I can call it home, now...

You Say You Don't Love Me is your debut single. What was the reason for picking that song for your introduction?

I wanted to do a cover song to hopefully grab people’s attention, and being a Buzzcocks fan, it seemed like the way to go?!

It was originally performed by the British band, Buzzcocks. As an L.A. artist; how did you come to discover the band? Why did that song stand out?!

I’ve been a Buzzcocks fan since I was a teenager...

I remember seeing them live in Santa Cruz when I was sixteen-years-old. I also had the chance to open for them in Los Angeles about ten years ago - while I was playing in Hot Hot Heat at a festival. I’ve always loved the lyrics to this song.

It’s such a great love song - so it inspired me to slow it down and try sending the message in a different way.

Your take brings new aspects to the song! Can you see yourself tackling other artists’ tracks further down the line?

Absolutely! I’d love to eventually make a 1970s Punk cover album of all my favorite songs - and give them the melancholy treatment.

Is there any more material coming soon? What are you working on right now?

I’m actually working with producer Mark Rains (Black Rebel Motorcycle Club); finishing a string of original tunes to be put out every couple months in 2018. We just finished a song called Burning Like a Fever (that’ll be released on Valentine’s Day).

You perform with your covers-band, The Goodtime Boys – which contains members of Fleet Foxes, Hot Hot Heat and The Growlers. How did you come to meet those players – and is there any possibility of an album from the band?!

We were all friends previously. A club in Hollywood, called Good Times at Davey Wayne’s, asked me if I’d put a cover-band together - and I asked them to join.

That’s where the name came from...

L.A. is your base. What is the city like for an artist who favours the exciting and ambitious? Do you feel fulfilled there?

There are so many places to play here: it’s definitely worth living here if you’re a musician or an actor.

It never feels like you can’t fulfil your dream.

I'm interesting discovering the musicians you grew up on. What are your earliest recollections of music?

I used to sneak into my older sister’s room and steal her Misfits albums. But, I remember when she left a V.H.S. tape with no label - and I popped it on and it was a New York Dolls concert. I was thirteen-years-old and my life changed at that moment. The world was no longer a safe place...

I fuck*ng thrived on that.

You have played on the circuit with Roland Bolan (son of T. Rex legend, Marc). Is 1970s Glam a genre/time you are inspired by?

100%! I absolutely love the British 1970s Glam movement. It only lasted from about 1970 – 1975 - but so many great songs.

Who are the new artists you recommend we check out?

 My wife’s band, The Wednesday Addams.

IN THIS PHOTO: The Wednesday Addams

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

The Stooges – Fun House

It’s gotta be one of the nastiest-sounding records I’ve ever heard (in a good way).

Pulp - Different Class

Every song is a hit! I’m a huge Jarvis Cocker fan.

The Velvet Underground - Loaded

I’m always trying to recreate that album. Perfection.

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

Being in a band is just a very expensive hobby. Hahahaha. 

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

I’m doing a residency, in March, at Harvard & Stone in Hollywood. I got some incredible bands that agreed to play as well. We have U.K.-based BONES; Love Zombies, Jesse Jo Stark and more.

It’s gonna be a fun month.

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

I’m working, unfortunately - but, it never feels like Christmas in L.A. It’s sunny and warm all year!

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

Lemming - Lucifera 

________

Follow Jimmy Sweet

Facebook:

https://www.facebook.com/JimmySweetMusic

Twitter:

https://twitter.com/JimmySweetMusic

SoundCloud:

https://soundcloud.com/JimmySweetMusic

Instagram:

https://www.instagram.com/jimmysweetmusic/

INTERVIEW: 1971

INTERVIEW:

1971

________

THESE are emotional and changeable times…

for the guys of 1971. Following the death (earlier this year) of their bassist/founding member, Cameron Cranston – future plans have been revised and scrapped. I ask 1971’s Jory about the way the guys are progressing and what they have in mind. I get the lowdown on their current single, Anxiety (In the Depths of Northwestern Ontario) and how things got started for them – and whether writing/releasing their new track was a difficult process.

Jory talks about the band’s start and the music that has guided his/their progress; what the remainder of the year holds in store; the music vibe where he is – and some new artists for us to investigate.

________

Hi, Jory! How are you guys? How has your week been?

It’s been pretty alright.

I was a little anxious about the music video premiere - which happened this morning - but, so far, it’s going really well. Garrett and my other band, Rust Owl, played a show last weekend - and got to see a lot of friends from out of Winnipeg.

We don’t get to see very often, so that was really great.

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

I’m Jory. I play the drums and sing here and there. Garrett is our guitarist and singer - and Tanner is our other guitarist.

Can I ask about the band-name (sorry to ask an obvious one!). Is that year especially important for you all?

Haha. Unfortunately, I can’t answer that question.

We used to make up a different story every time someone would ask - but the true meaning is still between us. 

Can I also ask about February this year – when your bassist/founding member, Cameron Cranston, died? He was only twenty-five. What impact did that have on the band? Did it take a while for you to regroup and continue?

Well. We’re actually not continuing as a band.

Once he passed it wasn’t a question: we knew we couldn’t continue without Cran. This E.P. coming out is the last release for us - with the last recorded material before Cran passed away.

It’s like our final tribute to him (and to the time together as a band).

Anxiety (In the Depths of Northwestern Ontario) is your new track. It, obviously, is tinged with a sense of emotion. What is the tale behind it?

Garrett wrote it a while back for Cran while he was going through a really difficult time. We can’t really get into specifics - but it was dedicated to him well before he passed.

We’d been playing it for about a year and toured it a couple times.

A new E.P., No Matter Where You Go, There You Are is forthcoming. Does the title allude to Cameron? What kind of themes run through the E.P.?

Absolutely. No Matter Where You Go, There You Are is one of his ubiquitous sayings. They’ve all resonated with us and we still quote him all the time - but that one stood out the most and always meant to us; especially now.

I think the saying speaks for itself...

I know you’ll be releasing the E.P. – via Art of the Uncarved Block – on 7” vinyl and cassette. I am impressed bands like yourself are keen to preserve traditional formats! A lot of Canadian acts are releasing material on cassettes. Is there a link between Canada and music’s heritage do you think?!

I couldn’t tell ya if I think there’s a link there...

We’ve always found cassettes to be the most popular format we’ve released on. I, personally, like cassettes quite a lot. I think their popularity has a lot to do with their convenience; since they’re easy to store; they’re cheap and not too much commitment for fans when buying them. Vinyl is expensive as hell and not always the best investment. But, for albums that I feel really committed to; vinyl is where I go.

We’re releasing the vinyl ourselves - Art of the Uncarved Block is releasing the cassettes.

What is the music scene like around Winnipeg? It seems like Canada is among the most productive music nations around. Why do you think this is so?!

Winnipeg has a pretty recognizable scene in Canada.

There’s a lot of bands and musicians here if you compare it to our population - and even more small and large festivals in the summer…one almost every weekend.

I think there was more going on for us in the East - but there are some really great bands in Winnipeg and there’s always a show to go to. The scene is pretty tightly-knit here.

I personally love touring Canada despite the low-population density and long-ass drives. We’re pretty big hosers and more Canadian than we might like to admit - coming from a fairly isolated town in the dead-center of the Canadian shield. Driving through the landscapes, regardless of which province you're in, is always special to us. Being in the middle of nowhere is a pretty special feeling that I understand not everyone gets to experience. For that, we’re fortunate.

There is so much great music in Canada and audiences really appreciate music I think; even with the highly-saturated music market (so to speak). There’s a lot of really creative stuff coming out of here and we were extremely fortunate to have met so many like-minded individuals and amazing creators along our journey.

Can you tell me how you all met? Was the bond instant and brotherly for you? Why did you decide to all make music together?

Yeah. It was pretty instant. We all knew each other in high-school and were friends - but playing music together really solidified our relationship. Tanner and Cran had been best friends since they were in Kindergarten.

This band was, kind of, more than a band to us. We are really like family. We spent the majority of our formative years together - and this extended family of friends sort of grew out of it in a way.

IN THIS PHOTO: Triples

Who are the new artists you recommend we check out?

Damn. Where to start?!

I really think everyone should listen to everyone Art of the Uncarved Block is working with; especially Worst Gift, Low Sun; Shaman and Triples. Trying not to be biased here but we’re fans of everything on that label and feel real fortunate to be working with them now.

I also think people should check out Albatros; a seven-piece (I think now. They used to be a nine-piece) Punk band with a brass section from Quebec city. Dead Soft put out a killer single last summer and are always a fav.

Other great Vancouver bands are Sightlines, Togetherness; Dad Thighs and Cheap High. Our pal Suz, from Worst Gift, writes amazing and amazingly sad songs under SVBRIII.

For Montreal; I’ve really been digging yoo doo right and Bécyk Fantôme. I saw this band from Saint John’s, NL the other week called Incredible Woman - which was the best show I’ve seen in 2017.

My pal Cassia (of Wares) put out one of my favourite albums of the year about a month ago.

As well some of the bands here in Winnipeg; Satanic Rights are some bad ass-rockers; Mmars are some bad-ass fuzz boys, Homeward Bound are great hooky Dog-Rock; M&M Meats bad-ass Meat-Wave, Permanent Mistake bad-ass mistake punk. I like Slow Leaves’ latest album, Jensen Fridfinnson, is going to have some great stuff coming out soon. Slow Spirit are great - and Pleasure Dens is a pretty good band. Roger Roger is great if you’re into really sweet Folk music. I would also say Lucas Roger - if I didn’t play in his band (because I was a fan first).

IN THIS PHOTO: Slow Spirit

Also; everyone should listen to Missy Jacobson and Mike Procyshyn: two great songwriters from Kenora.

Lastly; my favourite album of the year was Protomartyr’s Relatives in Decent. Highly recommend.

IN THIS IMAGE: Protomartyr

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

Also very tough but, instead of listing almost everyone like the last question, I’ll have to say Tournament of Hearts by the Constantines (for every reason).

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

Don’t wait, don’t hesitate. Learn everything you can about the way the music scene works early as possible. Even if you’re fiercely D.I.Y., like we used to be; learn how the industry works. Don’t procrastinate and shy away like we did early on.

You’ll thank yourself later...

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

We won’t be touring this release but we will be playing December 23rd at the Good Will Social Club in Winnipeg; December 29th at the Kenora Curling Club.

Are there plans to come to the U.K. down the line? Have you ever been here before?

Yes, I’m hoping to take Rust Owl to Europe in a couple years (if all works out). We have yet to tour Europe - but all our friends have had great experiences.

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

We’ll be rehearsing with our friends - that are filling in on bass - for the release shows, mostly. We’ll be in Kenora; so we’ll be visiting with a lot of family and catching up with close friends.

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).

Well. I’m currently listening to Housepanther as I write this…so let’s play Housepanther’s track, Train Station Floors

________

Follow 1971

Facebook:

https://www.facebook.com/1971canada/

Twitter:

https://twitter.com/1971canada

Instagram:

https://www.instagram.com/1971canada/

SoundCloud:

https://soundcloud.com/1971canada

YouTube:

https://www.youtube.com/channel/UCwoeAbibU9i83qEIdu2whAA

FEATURE: And Dream of Sheep: Why Sleep Deprivation and Pressure is Damaging Musicians’ Health

FEATURE:

 

And Dream of Sheep:

Why Sleep Deprivation and Pressure is Damaging Musicians’ Health

___________

ONE of the growing problems I am discovering…

ALL PHOTO/IMAGE CREDITS (unless stated): Getty

in the music industry is the poor emotional health of artists. I have discussed mental-health in depth, but this is a lot less complex – how so many musicians are not getting a lot sleep and, because of that, it is impacting on their career. Not only does a lack of sleep cause discoordination, fatigue and depression – it creates physical issues and can affect health in the long-term. I will bring in an interesting argument/article that theorises the benefits of insomnia; how it can promote creativity and is beneficial to musicians. To me, where I will bring in some supportive pieces, there is too much pressure from the music industry. I will bring in ‘periphery’ concerns such as high rent prices and competition but, from a health perceptive, it is troubling seeing so many musicians unable to sleep adequately. One of the biggest contributors to the problem is the amount of stress a modern musician faces. The need to get gigs and earn a crust means (musicians) have to work longer hours and are unable to switch off. Music has, over recent years, become a digital-heavy industry; one where artists can control their environment through laptops and technology. Social media is a useful tool for artists: the fact they are spending so much time on it is having a detrimental effect. To maintain a career in music – without considering success and growth – the sheer determination and work ethic is driving many to extraordinary lengths. I have spoken to a number of musicians and there is a direct connection between their sleep problems and the hours they have to pull.

Social media is a great way of getting music out there. It gets sounds to the people readily and quickly but so much of it is tied to popularity and marketing, Musicians cannot put a song out there and see it grow – able to sit back and have other people do all the work. You can say that has always been the way with music but the growth of competition, combined with the digitisation of music, means so many of us are unable to extricate ourselves from technology. I will go on but, to bring some black-and-white science to the fore; here is an interesting article that shows the extent of the problem.

“The National Institutes of Health estimates that roughly 30% of the general population suffers from sleep disruption. According to the American Psychological Association, most healthy adults do best with 16 hours of wakefulness and an average of eight hours of sleep per night. However, individual needs can vary from requiring as little as six to up to 10 hours of sleep per night. Sleep requirements do not decline with age, though the ability to sleep soundly may.

Sleep experts cite stress as the number one cause of acute sleep problems. You’re worried about an upcoming gig, which causes you not to be able to sleep, and pretty soon you are also worried about not getting enough sleep. In this way, anxiety and insomnia exacerbate each other. Yoga, meditation, and other mind-body relaxation techniques can often help you cope.

 Travel, especially when you cross time zones, can upset your biological (circadian) rhythms. Compound that with being in a strange place, and you have a recipe for exhaustion. Environmental factors like a room that’s too cold or hot, noisy, or bright, may be beyond your control on the road.

Inadequate sleep will reduce your musical abilities, overall wellbeing, and quality of life. Numerous studies have proven that inadequate sleep can cause reduced cognitive functions, such as those needed for effective concentration and decision making. It can affect your irritability, patience, and ability to get along with others”.

A little later, when bringing in a competing article, there are some interesting arguments that state a certain rationing of sleep can be beneficial for a creative brain. I worry success and survival is tied to numbers and scoreboards. There was, years ago, far fewer new musicians operating away from the mainstream. There was not the same problem we have now with artists having to sacrifice health and happiness in order to make a go of their chosen careers – by the same token; we are in a position when anyone can come into music and that, in turn, provides a huge and bountiful market for the public. Take a case-study of Musician A. She/he will release a new song and put it out to the world. It does not end there…over the course of days/weeks; Musician A monitors how it is doing and ensures the song gets out to radio stations and promoters. It is not over then. After that; they have to make sure the song gets on playlists and is shared on social media. Visibility is so much a part of the musician’s career. Many feel, if they take time off from social media and connecting with the digital world; their music will suffer and they will be overlooked. I am in the same position: writing endlessly in the hope someone, somewhere will see my work and give me an opportunity. Competition so stiff and vast, every artist around feels insecurity and is expected to work themselves half to death. Is that pressure coming from the artist or the industry?

It is a subjective debate and it is not easy to answer. I feel there is more weight on the latter’s scales. Of the artists I have spoken to; they always come to the same conclusion: if I do not concrete my whole being to music, I will risk losing fans/following. That is paraphrasing, but the general gist is obvious: artists are sacrificing their free-time and health in order to maintain a music career. It is hard to say exactly how damaging the issue of insomnia and physiological strain is putting on the individual. It will vary person-to-person but it is clear something constructive needs to happen. I will move on to the cost of living, anxieties and relationships – before then; I found an interesting piece that explained why early rising can benefit the creative drive:

YOU HAVE LIMITED FOCUS.

We’ve all been there. You’ve just gotten home from work, maybe you still need to make dinner for yourself and all you want to do is sit on the couch and flip through your favorite TV shows or dig into some Netflix. You’re not alone. This is absolutely how everyone else feels after a long day at work too. Most work days, about 5 hours in- I am mentally fried. Later that night I go home and try to work on some memorization or sing through some music and it feels almost impossible to focus or retain information at that point. We only have a few good hours of focus in us per day. Make sure you’re using them wisely! Get up a couple hours before you have to go to work, and start hashing out some art! It’s the best way to truly make progress. Don’t wait until the day is over and you have nothing left to give. Put your passion first.

YOU WILL FEEL LIKE YOU HAVE "STOLEN HOURS" WITHOUT DISTRACTION.

When do you receive the most phone calls and texts? Generally after you and everyone else gets home from work. If everyone else is still sleeping or getting ready for work, chances are, you are going to get way fewer distractions. Hearing your phone buzzing or getting endless messages and e-mails can disrupt your practice in no time. Getting up earlier gives you the feeling that you have stolen some extra hours just for yourself.  Jump into your day with music FIRST.  There will be plenty of time to watch cute cat videos on your phone later.

YOU WILL FEEL LESS GUILTY.

I don’t know about you, but I tend to let a lot of guilt creep up when I feel like I don’t give much focused attention to my art. I feel like it’s slipping away from me. I feel like I should be getting more done, or be further along in my studies. This is all part of the emotional roller coaster that we artists get to ride for our entire life!  Weeeee!  If I have already gotten events created, pictures posted, blogs written, songs practiced, and created posters for my next gig by the time I get to work, I come home feeling WAY less guilty. I don’t have to be a zombie attempting to practice after work AND be really sad about it too. Boom goes the dynamite.

YOU WILL WAKE UP WITH A PURPOSE.

If you have a solid reason WHY you need to be getting up in the morning, you’ll absolutely do it. I know that I wake up every morning wanting to get ready to make more music. You can either make art now, or make excuses later on. Period.

YOU WILL GET WAY MORE DONE.

It is truly amazing how much you can get done even if you wake up only 1 hour earlier than you did before. Maybe it’s the proximity to my coffee pot, or maybe it’s just that my brain is so fresh, but I can get about two or three times as much done BEFORE work, as I do after a long day.

YOU WILL HAVE GOTTEN THE PRODUCTIVITY BALL ROLLING.

Life is a series of tasks.  If you hop out of bed in the morning and you get straight to doing the work you were born to do, that creates a ripple affect in entire your day.  You will be more present at work and you will have more energy to manage the rest of the items on your daily to-do list. Bodies in motion tend to stay in motion. So start your day strong and create all the inertia that you can.

Some of the above is true and, by putting in an extra bit of work at the start of the day means there is time near the end to get to sleep early – decompress sooner than usual. The flaw with that debate is you are not gaining any more sleep-time. Perhaps there is the tactical psychology behind the reasoning – the consistency and quality of sleep is improved if you can detach in the evening hours – but I worry these points are a rather subjective and flawed viewpoint. Another article, from The Guardian a few years back, brought actor/musician Matt Berry together with Glass Animals’ frontman, Dave Bayley:

"When you're sleep-deprived I imagine it's quite similar to having taken certain drugs," says Bayley, who has a degree in neuroscience. "The logical side of your brain is slowly withering away because there's not enough energy to power it, and all these crazy ideas start happening that your brain would normally suppress. I find the brain a mystical beast. It's so bizarre and interesting."

IN THIS PHOTO: Glass Animals' Dave Bayley

Berry had a similar experience in his studio, which has neither windows nor clocks. "It was kind of dreamlike. Sometimes I'd go back the next day and think: 'Wow. Some of it doesn't sound like me.' There are things I wouldn't have done during the day – lots of things coming in and out of focus."

 Some studies have suggested a correlation between creativity and sleep disturbance, known as "creative insomnia", although this has been disputed. There is, however, plenty of anecdotal evidence from musicians. Artists such as Chris Martin, Moby, Tricky and King Krule have all talked about finding sleepless nights inspiring as well as tormenting.

Unusually, Berry set out to make music that might help other people alleviate their insomnia. He abandoned plans to theme it around childhood or being underwater because he didn't want to trigger unpleasant memories in certain listeners. "I tried to make it interesting but I've left it as blank as I can," he says. "I've used basic elements such as water and air. Other than that, it's whatever images you can conjure up from it. I'm not trying to push anything on you".

There are remedies, programmes and treatments that have been suggested for musical insomniacs – is that more a case of medicating rather than addressing? I have respect for Berry and Bayley’s experiences but they are in a privileged position. Most artists do not have the same opportunities and success as they do. The issue of sleep and an exhaustive schedule is not common to every new musician starting out. There are those who can balance the demands of the industry without sacrificing their well-being and sleep habits. The artists I am familiar with have to balance a full-time job with their music: working, essentially, two jobs in order to fund their passions. Many could claim musicians make the choice and do not have to follow their paths – that would be somewhat glib and unhelpful. I mentioned how rent prices are causing issues. We all know most of the labels and opportunities are based in London. Rent prices are much steeper in the capital than they are other parts of the country. Recent studies suggest things are levelling out but, at the moment, it is barely feasible for a musician to reside in the capital. I have seen many filled with ambition – looking to rent there – and have either found life too expensive or not been able to find a flat to begin with! Many who live outside London, where rent prices are cheaper, have the added stress of commuting and the costs associated with that.

I am looking for prices in London and the average room in a decent-ish London pad can be anywhere from £600 - £700 a month (or more; the flat pictured would cost WAY more than that per month!). Put together travel, food and utilities and the average musician does not have enough money to socialise. Cutting loose and detaching from the work environment is a great way to promote better sleep and mental-health. There is that desire to be close to London in order to be visible and local. So many musicians are overlooked if they are not within touching distance of the capital – the sight of the media and venues does not extend as far as it should! All of these elements, combined, is seeing musicians build their hopes up and dream; have those dreams eroded and return to a more ‘modest’ – and less desirable – existence. It is a vicious circle and stress that is making the issue around sleep even worse. The pressure of finance and living conditions exacerbates the issue; reduced sleep means the energy levels sap; the creative flow is limited and that can add to depression and anxiety – causing real problems and dangers. Maybe all of these issues are too weighty to deal with and cure; perhaps it is impossible to deal with every concern and create a perfect environment for a musician.

PHOTO CREDIT: Pinterest

The modern music industry provides a chance for everyone to come in and get their work out to the people. The flip-side is the level of commitment needed from a musician; the amount of time the individual needs to spend on their work – and the effect it is having on their sleep/health. The less time they have for social activities (less money in their pocket) then the unhappier they will become. Of all the artists I have heard from; there is the feeling any ‘wasted hours’ – chilling or sleeping – will be detrimental to their success. We need to, therefore, break out of the head-space that puts this much pressure on the artist. Behind the digital screens and social media sites; there are few bodies and safeguards looking after the artist – whether they are rested enough and have adequate support. Many are lying awake wondering if they are good enough; if they have done enough and are worthy. I know medicines, exercise and designated time for socialisation is a good way of combating sleep issues but it is the pressures of success and physiological considerations that are hardest to treat. There is this perceived ideology social media success and streaming figures are the mark of success and popularity. The dwindling venues scene – so many great spots closing – and raising rent prices is putting fiduciary stress on the artist. Put all that together with growing mental-health concerns and it is putting so much pressure on musicians. I know it is not a simple fix but we need to realise how damaging a lack of sleep can be; how a pressurised music scene is creating more problems than productivity. There are benefits to a lack of sleep – it can lead to greater productivity – and rebalancing your sleeping habits means transposed priorities (getting more work done earlier in the day means you have time free in the evening) is a nice solution. I worry too many artists are burning out and sacrificing something as fundamental as a good night’s sleep to balance the demands of a music career. If we were able to create an industry where a musician felt less pressured and overworked; that would ease their minds and promote greater mental-health. It is a side of music we need to tackle and get to the roots of. If we do, and can prevent musicians giving up so much of their time and life; then that will create an environment where we place…

BALANCE over obsession.

FEATURE: The Growing Rise in Sexism and Sexual Harassment Claims: Is It Only Limited to the Film Industry?!

FEATURE:

 

The Growing Rise in Sexism and Sexual Harassment Claims:

IN THIS PHOTO: Sarah Silverman/PHOTO CREDIT: Ramona Rosales/August   

Is It Only Limited to the Film Industry?!

___________

A simple answer to that question…

PHOTO CREDIT: Bustle/Getty

would be "no!". Although there have been numerous allegations made against figures in T.V. and film – we can naively sit back and say the music world will not be affected. I am going a bit off-piste and addressing the wider world of entertainment. I will, soon, bring in a couple of articles/interviews that look at the problems arising – and the figures who are fighting against sexual assault and sexism. I guess that is part of the problem: the women coming forward are victims of sexism and male machismo as much as anything. We cannot say this is a new phenomenon or something that has cropped up the past few years – a lot of the allegations are from years ago. The reason why I have sourced a photo (as the thumbnail) from The Guardian is because of the interview they conducted with Sarah Silverman – a comedian who has never been shy of making her voice heard and tackling wrongdoing. She does not specifically allude to controversies around people like Kevin Spacey and Harvey Weinstein: she looks at sexism and unequal rights/values affecting U.S. society; how more needs to be done to redress the ill – and how she, and her female peers, are an important part of the fight (and I really like the photo, too – hopefully, a lawsuit is not forthcoming!). Whilst figures such as Silverman – I shall come back to her in a bit – are providing inspiration and fuel: the likes of Morrissey are not helping things one iota! It seems, on the subject of sexism and sexual assault; women are adding sense and rationale: a lot of male interjection is either an unhelpful or insignificant maxim.

IN THIS PHOTO: Morrissey/PHOTO CREDIT: Getty

In the BBC article - it concerned an interview Morrissey conducted with the German newspaper, Der Spiegel - when asked about the allegations concerning Kevin Spacey – actor Anthony Rapp claims Spacey took advantage of him when he (Rapp) was fourteen – the former Smiths man stated:

"I don't know about you, but I was never in situations like this in my youth…I was always aware of what could happen. When you are in somebody's bedroom, you have to be aware of where that can lead to".

Morrissey is a musical genius, no doubt, but a bagpipe of bullsh*t when it comes to serious debate and controversial topics – he seems to put his foot in it and make everything worse! Moz, when talking about the allegations directed at Harvey Weinstein (and the assaults perpetrated), had this to say:

"Afterwards, they feel embarrassed or disliked. And then they turn it around and say: 'I was attacked, I was surprised'.

"But if everything went well, and if it had given them a great career, they would not talk about it."

"I hate rape... But in many cases, one looks at the circumstances and thinks that the person who is considered a victim is merely disappointed."

The interview also saw Morrissey talk about the ‘tradition’ of musicians having sex with their groupies – something that was seen as commonplace (although he was, obviously, not involved with that as part of The Smiths).

IN THIS PHOTO: Sarah Silverman/PHOTO CREDIT: Getty

I will come to cover-girl Sarah Silverman – and her interview with The Guardian – as she has a very healthy and mature approach to the likes of Harvey Weinstein and what we can do to stem the issue. I think a lot of the allegations coming out concern events that happened a number of years ago – does this mean there are far fewer cases of sexual abuse and molestation in the entertainment industry today?! It seems, with high-profile cases in the U.S., the seedy log of sh*t that has been festered for years is in no danger of subsiding. It may seem, from the outside, like a few privileged creatives not knowing any better – doing things they consider normal and, only now, realising that it was inappropriate. Jeffrey Tambor, star of Amazon’s hit show, Transparent, has left the show after claims were made of misconduct and sexual assault – he took the decision to leave; fearing the claims would see him sacked. From comedians, actors and producers; we are seeing new revelations and accusations come to light. I wanted to write this piece and discuss two things: why the issues are not reserved to film/T.V. – and will be a problem in music – and why men need to do more to counteract the issue. It seems the male chromosomes have been rather cowardly and shy. It is not a battle-of-the-sexes, here: men are causing the issue and, even if a high-profile figure is not culpable and under suspicion, they should feel the need and duty to attack their peers!

IN THIS PHOTO: Jeffrey Tambor/PHOTO CREDIT: January Images/Rex/Shutterstock 

Silence does not exculpate them: it does show a culture of fear and acceptance is creeping in. Is it okay to say nothing and assume, as some do, these allegations are either exaggerated or concerned with a practice that was concerned normal back then?! Even though the likes of Tambor and Spacey have expressed regret and repulsion – the fact they were found out after being accused means there is a deep-down problem that needs eradicating. People knew better back then: it is not acceptable to say things were different and they knew no better. That does not wash with racism, domestic assault and bigotry: it is definitely not the case when it comes to sexual inappropriateness and assault. Whilst more claims are coming to light – and stars from across the entertainment world are being outed and facing heavy penalty – I am not hearing a lot of male input! Where are the contemporaries offering condemnation and disgust?! Actors like Matt Damon have been accused of aiding and shielding figures like Harvey Weinstein – the Borne actor remaining quiet when he knew, full well, what was happening at the time. Most of the aggrieved and emotional proclamations coming from the news are from women: the vast majority, in fact! If I were in a position of influence and discovered someone in my field has committed such crimes; I would be out there and offer nothing but judgement at the accused.

IN THIS PHOTO: Kevin Spacey

It is positive seeing women coming forward and revealing these men for who they are – the fact they felt they could not come forward before suggests there is a lot of fear; maybe they would not be believed?! I think the music industry is in a volatile position at the moment – in the sense, I know there are incidents like this (Weinstein, Spacey etc.) that are not being reported. We know there is a massive amount of sexism in the music industry and, hand-in-hand with that, there are men who feel they can get away with assaulting female artists – because they are in a position of ‘respect’ and authority. Maybe there are different dynamics in the music industry – compared to the relationships one finds on sets and in studios. For an actress; she would work very closely with a director/producer – often taking directing that involved physical contact and intimacy – and that, in turn, leads to that director/producer taking things too far – assuming that is allowed and consensual. Male actors would, obviously, find themselves in close proximity to a female co-star. The fact this expressive and untamed approach to human contact continued off-set is the result of ego and ignorance – their cachet means they can get away with it and the woman wants it. Perhaps there are a few claims that are slightly overwrought and misunderstood – where do we draw the line and how do we define what is inappropriate and acceptable?

PHOTO CREDIT: Irina Munteanu 

Obviously, laying on top of someone and forcing yourself on them is degrading and immoral; pinching a woman’s bottom and making lurid advances is despicable and illegal. Is, therefore, something like a misplaced hand on the knee or an innocent sexual comment less serious? Are we talking about semantics and should we be a little more open-minded and tolerant when it comes to relatively ‘minor’ incidents? I feel every accusation/claim is not equal but every one of them is important and warranted. Bringing this back to music and I have witnessed, first-hand, directors (for music videos) advance on female artists and make suggestions few would argue are connected to the process of making a video. I have read new stories where female Pop artists have been assaulted and raped by producers and colleagues. We are all sage and observant enough to realise a woman’s need for sexual expression and liberation is not an open invitation for men to assault and abuse them. Even if a Popstar (other genres are available!) deliberately and provocatively exposes flesh in order to shift a few units – they are not asking to be touched, assaulted and taken advantage of! I am part of the camp who feels we need to look at sexuality in music and whether videos/photoshoots, in some cases, are sending bad messages to young and impressionable listeners – young girls thinking the way to get ahead in the world is showing their breasts and showing as much skin as they can.

IN THIS PHOTO: Beyoncé/PHOTO CREDIT: Getty

As I said, just now: artists like Beyoncé and Katy Perry – a distinction in intentions and severity – are showing spirit and confidence in their body; promoting their femininity and trying to inspire young women – they are strong and passionate figures who will not be cowed and seen as second-class citizens. I have been watching unfolding events (in the media) and seeing various stars admitting indiscretion and wrongdoing. I know there are equivalent issues in music but, right now, there are very few cases coming into the spotlight. The working dynamic and logarithms of the music world are not comparable to those of acting – artists/bands tend to work alone and have relatively little contact (physical) with a producer/director. Even though there are fewer opportunities for latent abuse of power – and blatant sexual assault – that does not mean the issue is moot. Far from it, in fact! I have written extensively on sexual imbalance and sexism in the music industry. From the male-dominated major festival headliners to the sweaty studios; the high positions and management roles in record labels – it is a veritable sausage-factory! I am seeing changes where more women are being recognised and studios are opening their doors/minds to female involvement – it is a minor change that does not go far enough. As we are seeing more and more cases of sexual assault in the entertainment issue; I wonder whether music should be more aware of the skeletons in its closest. I have heard/read about incidents where female artists have been assaulted by a male peer/producer.

IMAGE CREDIT: Pinterest

There have been even more cases whereby a female artist has been touched inappropriately or subjected to vile abuse and sexism – not only from those within the industry but fans/those who attend their gigs. If many male figures in film/T.V. are standing silently by as their associates collude and squirm – should music, A) unearth and expose sexual assaults present within its walls and, B) ensure its men – those not guilty of these offences – provide stern and unwavering finger-pointing at those who are in the wrong? I would say so and, the more we overlook and do not act, the more that will fester and fart. I will come back to this in a bit – because I want to draw a very striking line through each sector of the entertainment industry; drill down to the nub of my discourse – but, as promised, a look at the recent Sarah Silverman interview. In a candid and intriguing interview; Silverman was asked to give her views on the Weinstein accusations. The Guardian’s Sophie Heawood revealed more:

"The Harvey Weinstein scandal broke a fortnight before we met, and has been growing ever since, with daily news of further rapes and assaults across the industry. I point out that this has been a horrible two weeks for women in Hollywood. “No,” replies Silverman, still smiling. “It’s probably been the best two weeks for women in Hollywood ever. It’s a better two weeks than the silence of the past. I mean it’s finally exposing it. The enabled fucking monsters are gonna think twice now. And that’s what it’s all about,” she says. “Be scared,” she adds, addressing the exploiters. She asks me what today’s latest developments are, because, “It’s crazy, working on the show I can only catch up on the news at night so I end up sitting on the side of my bathtub, just scrolling.”

Rather than wholeheartedly scorn and attack Weinstein: Silverman suggested it was not so much a case of exonerating these men but understanding why they commit these acts in the first place. Weinstein is, as she says, a ‘monster’; but one who felt he could get away with assaulting females in his industry without ramifications. As Silverman revealed:

IN THIS PHOTO: Sarah Silverman/PHOTO CREDIT: Ramona Rosales/August

“I’m not trying to have empathy for Harvey Weinstein, he’s clearly a monster, but monsters are made. Listen, we spent the past 60 years, especially Jews, trying to figure out the pathology of a Hitler. So to understand someone’s pathology is not a waste of time.” She has wanted to join in with #metoo, “but I didn’t want to pull away from it because so many maniacs from the far right jump on me when I say my stuff. It’s not that I need to be heard on this – I just would want to add my voice – but I wondered if maybe that would be unhelpful.”

Silverman, herself, had exposure – maybe that is the wrong choice of words! – to workplace sexism and inappropriateness…

“The first penis she ever saw belonged to her boss when she was an 18-year-old waitress in her native New Hampshire. He called her into his office “and I was literally shaking, thinking I was in trouble, but he was just asking me benign questions – until I saw that he was fully jerking off in front of me. And I just said…” her voice fades to a whimper: ‘I have to clean the popcorn machine,’ and I left and I never told anyone. For years. But of course those guys know who to pick on. They don’t pick on me now.”

IN THIS PHOTO: Grimes (who has been the subject of sexism and unwanted sexual advances)/PHOTO CREDIT: Teen Vogue

The point of sourcing this interview – and a couple of photos – was not to make my journalism more credible and stronger by proximity: I wanted to bring in a very strong and brave voice; a guide for women who have experienced the same problems. Maybe Morrissey’s bell-ended approach to sexuality and morals are, unsurprisingly misinformed and inexperienced – not a man who has been in a position to refuse or pursue many women – but he has acid a face-full of dirt to the argument. I am either seeing men commit great (in the pejorative sense) acts of repugnance; sit dormant and feel obliged to report such transgressions – those affiliated with these perpetrators turn a blind eye and, in some occurrences, feel nothing wrong has happened. Music is not an industry that can wash its hands and get through airport security without a thorough cavity search. There are more tumours, crooked teeth and festering boils on the body of the industry than there is anywhere else – the film industry and music world would give a pretty close battle when it comes to sexism and who is the greatest (again: regarding pejoratives) offender. I would argue music is a far more pitiful climate regarding sexism and abuse – in the sense many women do not feel they would be listened to and believed; a lot of incidents are being silenced and smothered. I know, from music videos and photo-shoots, there is inappropriate touching (from men); producers caught out and putting their hands where they have no business; male music gig-goers inappropriate in theory conduct; male musicians taking things too far and assuming a smile or affectionate word gives them carte blanch to do as they please.

PHOTO CREDIT: Alberto Oritz/Flicker

It is not only sexual assault but sexism, that concerns me: I am seeing incidents of sexism occur in every corner of the industry. Every week, when I get a slew of interview requests, you can guarantee the majority of them concern male artists. I know full well there are as many female artists as men but they are not being provided attention and publicity. I get sick of the raft of male artists but cannot refuse – or I would not have any work to do! Not only are many (of the male examples) samey, dull and unengaging: I have to circumvent P.R. companies and approach THEIR female artists myself! The fact I actively have to search for female artists shows there is rampant sexism throughout the music industry. It is not the case the men are better or more popular – far from it – but it is seen as normal to put them first and provide less attention to their female clients/artists. How interlinked is this ignorance to the presumption (among men in the industry who commit acts of sexual abuse) to the feeling women are inferior and unworthy?! There is not a lot I can do – the fact I am being bombarded with requests for male artists annoys me now – but, whilst the entertainment sector is seeing a rise in sexual abuse allegations, music needs to be accountable and take things more seriously. We all know it is a hugely sexist industry but there is very little being done by those (men) in power. Those in prominent positions need to get off their arses and assuming the music industry will not suffer the same problems as those we have seen in film and T.V. – allegations and incidents will come to light; it is only a matter of time. If we have learnt anything from recent events – and taken to heart words by the likes of Sarah Silverman – then it is clear, now more than ever, that…

PHOTO CREDIT: Getty

CHANGES need to be made!

INTERVIEW: Featurette

INTERVIEW:

 Featurette

________

THERE is a political and social message behind…

their new track, Upside Down. I ask Canadian duo Featurette about the song and whether President Trump’s governance is causing more problems than it is worth – they have clear opinions on that point! Lexie and Jon talk about their formation and the music scene where they are; the artists they respond to and admire – and whether we can see them in the U.K. next year.

They talk about their backgrounds and whether protest, given the subject of their new song, ever creates change; what new music they have planned; some great new artists we should all get involved with – and whether they will have any time to chill over the Christmas period.

________

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

We’re great!

We’ve just finished a fun tour this weekend - so we’re coming down from that (smiles).

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

We’re an Electro-Pop duo from Toronto - made up of Lexie Jay (Vocals, Keys) and Jon Fedorsen (Drums, Synths). We write our own tracks that are punchy and bass-forward - and love music that’s heavy-hitting and a little bit dark at times.

If you’re into Phantogram, Broods; K.Flay, or Tove Lo - you’ll probably like the sounds we make.

Upside Down is your new single. What can you tell me about its background?

Of course!

We started writing that track last year - we were inspired by the concept of the ‘Upside Down’ in Stranger Things - another world that’s not all as it seems, parallel to ours, but much darker. Over the next year, in the changing political climate we’ve been witnessing with our neighbours to the South, in many ways; we find ourselves in that parallel world right now.

The headlines are darker than ever before: things are changing, and slowly, people are waking up to realize that it’s our responsibility to do something about it - not just place blame. This summer, we revisited the track, chopped it up and resampled it - we basically flipped it on its head.

Everything’s upside-down - but it’s not just ‘them:’ it’s all of us.

It seems, actually, liberty and the devaluation of American principles are at the core. Do you think true values and ethics are being eroded by President Trump? Are his skewed views on proletariat rulership leading American into the abyss?

You got it.

We think that the devaluation of our principles, and the skewed morality of our collective consciousness, has led us into a place where we’re extremely vulnerable. Trump, in many ways, seems to be the manifestation of society’s worst qualities and, somehow, he’s in the most powerful position in the world. But, it’s not just Trump: I don’t think we’re alone in believing that he’s not even sure of what he stands for.

Trump is more of a figurehead that a large portion of the American people are using as a platform to forget their own humanity - and wreak havoc on all those that don’t align with their views. They’re angry. They want to make up for all the wrongs that they felt have been done to them - no matter the consequences or the hypocrisy. Somehow; it’s becoming just that: it’s Us vs. Them.

It’s a dangerous time to live in...

How effective can music and protest be when it comes to raising awareness and shaking complacency? Do you think Trump’s days are under serious threat?!

I mean; it’s a difficult thing...

How many people are going to hear this song and really listen - look past the hooks and dissect the poetry? Further still: how many of those are going to care?! I think that, since Jon and I have a platform – hopefully, a growing one - it’s important to do what we can to raise awareness for what we believe in. More than that perhaps: this is a real issue that’s affecting so many right now; we’re writing from such a real place when there’s a crisis like this.

I don’t think that Trump’s days are under serious threat…and that’s what scares me. He’s been caught in a lie; in wrongdoings and the mistreatment of women - and people so many different times - and yet…he’s still in office. There’s nothing you or I can do to change that for the moment, but it’s important to us that people aren’t scared to talk about it - so that we never make a mistake like this again.

The track is punchy and angry. Did it lay onto tape pretty quick? I imagine it was a natural and pleasing track to capture?

It really was…

The original version - we wrote a year ago - was mostly music: a lot of the lyrics came later. It was a lot less angry. It was more beautiful and a little more organic-feeling (fewer synthetic drum machines and the like). When we saw what was happening in the political climate; it inspired us further and we took the track we had and totally ripped it apart. We kept the music but infused-in energy - and an anger that we hadn’t drawn on in such a way. Our single just prior, Bang, had some anger too; but it was a personal blow - this song is so much bigger than that. There are a lot of angry people now (angry on both sides).

Performing this track live has been like therapy for me - getting all out, you know?!

What comes next in terms of material? Will an E.P. form part of your 2018?

We’ve been writing all summer, actually. We’ve got a lot of new tracks up our sleeves and, although we haven’t fully realized our plan yet; an E.P. might just be coming your way.

Some serious ear-worms for sure…

Can you take me back to the start and reveal how you guys got together?

This one time, at band-camp…we started a band! (*Pause for laughter*)

But, seriously, we were both teaching music at a summer-camp - which is how we met.
Jon’s brother had just won the Lottery - and he moved across the world to New Zealand; leaving behind a guitar that Jon picked up. He brought it with him to camp and wanted to play some tunes for the kids - to show them that you can always learn something new and pick up a new instrument. Great message but, unfortunately, he was a pretty terrible guitar player! He recruited me to join him to strengthen his band a little for the faculty show, and then, we just kept playing after that. We actually recorded an acoustic demo, and no, you can’t hear it!

We soon after traded-up for synths and an electric kit…and we never looked back!

Which musicians did you both grow up idolising? How varied were your childhood homes in terms of the sounds experienced?

Oh man. So different.

Jon: I grew up listening to a huge array of music. My dad was into The Rolling Stones, Supertramp and Phil Collins; my Mom was into Simon & Garfunkel, Enya; lots of Mozart. My older brother went backwards: big into classic 1960s and 1970s Rock; 1980s Rock and Metal. Growing up, there was so much music in the house, that all that was left to take for my own was the Grunge of Nirvana, and then, the cooler fusions of Radiohead; Björk; Portishead and Lamb.

Those led me into Electronic music like Squarepusher, Four Tet and Amon Tobin - before getting into Jazz for school. I guess, during Jazz-school, I was into drummers Bill Stewart, Tony Williams; Jack DeJohnette, Trilok Gurtu - basically, anything that was super-complicated and hard to listen to passively! L.o.L! Now, I think I’ve levelled-off and can listen to music again without focusing only on the drums and the bass.

Lexie: I went to high-school as a Music Theatre major and then followed that with a Classical Voice degree at the University of Toronto - so my music library was nerdy as hell. I got into popular music much later - and I’m still learning so many new bands these days. It’s crazy how much cool stuff is out there! I grew up idolizing Idina Menzel after I heard her in Wicked – wow; what a Voice. When I got into Opera in University; it was Diana Damrau for sure. Not what you wanted to hear probably…but that’s what got me going!

Outside of vocalists, Jason Robert Brown’s writing, especially his work The Last Five Years, was a huge influence on me. Then; I found out about song cycles and art songs in University (Benjamin Britten, Hugo Wolf and Debussy) - and that was a huge reason why our first album, CRAVE, was put together the way it was. It was actually written as a song cycle: one girl’s journey through a relationship - and how it changed her.

It seems Toronto is producing great music the same way a rabbit would produce…you know what! What would you put this down to?

What…more rabbits?!

Haha. Yeah, you’re totally right. There are so many great bands and great players - and new genres and fusion emerging - we can hardly keep up! For us, it’s really important to find those new sounds; stay ahead of the curve - and not (so much) throwback to that ‘1980s sound’, just because we’re using synths. I think that’s what keeps us sounding different

I think it’s a pretty competitive industry as well. The more great musicians there are out there, in a close proximity, the more there will be in a way.

IN THIS PHOTO: K.Flay

Who are the new artists you recommend we check out?

K. Flay is one of my new faves - and she’s really getting her stuff out there (which is great). She speaks to the political level as well.

On a local level: For Esmé is a band that really inspired me at the beginning of our synth journey (I believe she’s coming out with some new material in 2018) and, more recently, we toured with Monowhales (also female-fronted) - who have a raw power you’re totally going to love if you’re into us.

IN THIS IMAGE: Die Antwoord

Some old international favourites would be Moderat from Germany - a huge influence of ours actually - and Die Antwoord from South Africa.

Jon’s also into Future Bass and  San Holo – which I think you can definitely hear in our upcoming tracks.

IN THIS PHOTO: Monowhales

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

Jon: I remember waiting for my brother (who skipped a whole day of high-school) to bring back a copy of Radiohead’s Kid A. We listened to it as soon as we got home and our minds were blown. How could a band do such an about-face?! When it was over, we look at each other; nodded and played it again from start to finish. I think it gave me permission to think outside the box once I started doing music on my own.

Lexie: For me; I really gravitated to Passion Pit’s Manners - that was something that really stood out for me. The sounds, especially on the vocals, were so different from the other stuff I was listening to: I thought it was really playful and unique. I think that’s in part why I use a live harmony pedal on stage now and come up with all my vocal patches for each song - so that I have the same control a guitar player would over their instrument. I want that control to shape and change my vocals to match the song perfectly, just like Passion Pit does.

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

Be brave and say what you’ve gotta say. I think that honesty goes a really long way in this business.

Honest music with an honest message that you actually believe in is going to hit harder than any ‘trending’ sound or vibe. Don’t copy or chase sounds: let then influence you and then make your own way - so that you’re creating something that’s your own.

What tour dates do you have approaching? Are you heading to the U.K. soon?

I wish! Lemme call my agent (smiles).

Tour dates are top secret at the moment but we’re hella overdue for a Toronto show - so you know we’re going to be hitting that next – then, hopefully we can jump on a plane! From what we’ve heard; you get one first impression when it comes to the U.K. market. We don’t want to blow it but we’ve got some new stuff coming - that, we think, will push this project over the top - and get us over the pond.

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

Writing, always writing: you can’t stop that process.

We might take a few days for the family but, when the creative juices are flowing, you have to track that stuff in!

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).

Lexie: Kill J - Propaganda

Jon: Moderat - A New Error

________

Follow Featurette

 Official:

http://featurettemusic.com/

Facebook:

https://www.facebook.com/featurettemusic

Twitter:

https://twitter.com/featurettemusic

Instagram:

https://www.instagram.com/featurettemusic/

SoundCloud:

https://soundcloud.com/featurettemusic

YouTube:

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

INTERVIEW: Sands

INTERVIEW:

Sands

________

SANDS is quite to the point and brief when…

it comes to his answers, it seems! That enigma is something that makes one want to investigate the music and discover more about the man behind it. Sands talks about the new double A-side, Let’s Run/Echoes, and tackling a Gene Clark classic. I ask whether the double A-side is coming back into fashion and what the next move is from him; whether there are going to be any tour dates – and whether Sands expected his eponymous E.P. to get such a positive reaction.

I find out about the music that Sands responds to and what he thinks about the digital takeover – whether it is preferable to physical formats – a new artist we should check out; whether he is in the Christmas spirit – and a few words (not even that!) to new musicians coming through.

________

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

Hi. All good. I’m busy mixing.

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

I put out the Sands EP in April and a single a couple of weeks ago. More to come in 2018.

Check stuff out http://www.s-a-n-d-s.net/.  

Let’s Run/Echoes is your double A-side. What was the decision behind releasing a double A-side?

I thought both tracks had kind of the same relevance to me - as well a common musical thread. Plus; I liked the fact it reminded me of artists of the 1960s (that I love).

It seems the double A-side is coming back into fashion. Why do you think this is? Do you miss the days of physical releases – and a time when artists released double A-sides more frequently?!

Dunno. Maybe could be a sort of revival thing…

I don't want to sound like I’m looking too much at the past - as much as I love it; we must always move forward - but I definitely miss that. There was a different magic in it. I mean, you had two options to listen to music: turn on the radio and be lucky your favourite is on; go to a record shop and buy it.

If it's not in stock; order it and come back later on – don’t rely on the free Internet binge.

Echoes is your take on Gene Clark’s classic. How did you come to discover the song originally? What is it about the track that spoke to you?

I love The Byrds but, when I heard his solo stuff, I was completely blown away. 

I got into his catalogue and so much fell in love with the songwriter, singer and musician - as well as the character. There’s an incredible depth to him - truly touching and inspiring. He can have some swing, too. Echoes is the case. It clicked with me lyrically and I wish I’d written the music. 

It’s like a beautiful picture or painting. It takes you in a world of his own.

The video for Let’s Run is out. What was that experience like? Do you like the processes involved in a music video?

I wasn't involved in the making of it, honestly. I think it's a great visual that my friend did. I think it's a nice match for the track and I love the tone of it.

I'll tell you next time, then…

Your Sands EP was backed by some big names and publications. Did you expect it to receive such praise?

No, I didn't! Well...“thanks”…

Is there going to be more music next year do you think? What do you have planned?

Another E.P. is currently being mixed - and is coming out in spring.

Who are the musicians you idolise? Which artists did you grow up listening to?

So many I love…

Lately; I've been a lot into Nick Cave and Iggy Pop.

It seems instruments are as important to you as any other aspect of music. Which instrument did you take up first? What was it about composition and performance that resonated with you at a young age? 

My first was the drums but, with the guitar and those harmonies, I discovered the chance to write a tune.

Playing along with records made it clearer.

Who are the new artists you recommend we check out?

An Australian band called Surfing. I love them.

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

It's impossible to name three that mean the most for me, but I'll give it a go - leaving a blank space would be rude.

Screaming Trees - Sweet Oblivion

Kraftwerk – The Man-Machine

David Bowie - Scary Monsters (And Super Creeps)

Can we see you perform anywhere soon? 

I’ll take the chance to say I don't have any gigs booked. I'm looking for musicians at the moment - because I need to set up some performances.

Get in touch…

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

Have stamina.

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

Honestly; I don't give a sh*t about it!

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

Heaven - The Rolling Stones

________

Follow Sands

Official:

http://www.s-a-n-d-s.net/

Facebook:

https://www.facebook.com/sandsprofile

Twitter:

https://twitter.com/sandsprofile

Instagram:

https://www.instagram.com/and.sands/

SoundCloud:

https://soundcloud.com/s-a-n-d-s

BandCamp:

https://s-a-n-d-s.bandcamp.com/

Spotify:

https://open.spotify.com/artist/7ujyKIIYljfrp6QuJt0xVb

LIVE REVIEW: Queens of the Stone Age: Villains World Tour - O2 Arena, London (Tuesday 21st November, 2017)

LIVE REVIEW:

 

Queens of the Stone Age

 Villains World Tour - O2 Arena, London

(Tuesday 21st November, 2017)

___________

THE last gig I went to…

PHOTO CREDIT: Getty

of this magnitude was when I saw The White Stripes at Alexandra Palace back in 2005 – that was when they were promoting their album, Get Behind Me Satan. That was a bittersweet experience because, having travelled all the way there, the duo was late on stage – and I had to get the last train home without seeing them play a single song (less ‘sweet’; completely ‘bitter’, I guess). I was hoping for better luck when I found myself standing outside the O2 Arena last night. The bustle and excitement prior to the gig was palpable: all shapes and sizes of Queens of the Stone Age acolytes assembling, chatting and buzzing outside the venue. Security was tight for the event – as one would expect for something high-profile – but there was a relaxed and easy mood that circled the venue. Nobody felt on-edge and, in fact, the mounting chatter and colourful conversation meant the gig was all set – let’s hope the band could match the expectation! Things started off a little patchy in the sense the support act, Broncho, were a bit of a wasted venture – not many of the assembled crowd were too concerned. Whereas Queens of the Stone Age’s performance generated focus and admiration: their U.S. counterparts barely registered a flicker of excitement. Their music fell between Indie and Alternative: it had a Queens’ touch to it but the songs blended into one; the sound quite generic and forgettable. The quirky and flaccid stage-manner did not help matters – the high-voiced frontman babbling about Queens of the Stone Age, London and other random considerations. Most were pleased when the band finally announced Queens of the Stone Age: getting the giants on stage a few songs earlier would have been a welcomed treat! The lights went down and the cheering started. The buzz and electricity that resounded around the mega-sized arena was shiver-inducing. I, being in Entrance B, Block 407; Row 3, Seat 603, was quite a way up – right in the seating positions with a far-off view of the stage...

The boys swaggered onto the stage and the crowd were sent into a frenzy. It was no surprise the set was filled with intensity and sweat – a selection of AC/DC songs were played before the band came to the stage; to remember the death of the Malcolm Young. Monsters in the Parasol was a rare early treat – from the underrated and stunning, Rated R – and was a definite highlight of the set. As this was a gig to promote their latest album, Villains, it was no surprise to see the album featured heavily. Most audiences, when seeing a legendary band, yearn for the older hits and established favourites: those packed into the O2 Arena were more than happy to hear the latest gems. Feet Don’t Fail Me, The Way You Used to Do and Domesticated Animals were played; The Evil Has Landed and Villains of Circumstance also trotted out – each song given a nice spin and incredible performance. Although the band chose to feature very little material from the albums Queens of the Stone Age and Lullabies to Paralyze – there was a nice spread and selection of anthems and lesser-expected inclusions. Josh Homme, the band’s frontman, was in typically enigmatic and humorous form. I have read other reviews of the band’s U.K. leg (of the Villains tour) and each says the same: the ginger-haired lead was is in a philosophical and deep mood. Mortality and individualism were mantras repeated throughout the set. Showing little anger or rage; Homme was a calm and pondering presence who urged the crowd to think for themselves; today is all that matters, he said – it is all about the here and now. Those words struck a chord with the crowd: few were going to argue with the conviction and passion of Josh Homme. Early set inclusions Smooth Sailing and I Appear Missing were incredibly popular with the fans – I was pleased to see quite a few …Like Clockwork songs peppered through the set! Not only was the band’s fevered and incredibly potent incredible: the fantastic lighting made each song pop and resonate.

Depending on the song; we were treated to various colours and speeds. One number might have blue lighting slowly flickering; bathing the band in warmth. A more vitriolic and energetic number would see diagonal yellow lighting illuminate like a firework display – another might see red lights intersect and flirt. Some of the band’s antics have drawn criticism over the past few days. Josh Homme was caught smoking during their performance in Manchester – you cannot tame the Rock rebel, it seems! In North Greenwich; he was on his best behaviour – albeit, complete with that reliable wit, acid tongue and peculiarity. It was, as Homme insistently proclaimed, Saturday night (in the sense that it was time to party) and he was keen the crowd disobey the safety and calm of the O2 and get dancing – No One Knows gained the biggest cheer of the night as those lucky enough to be within screaming-distance of the band were sent into chaos. It was odd seeing the mass of people below – from that distance, they appeared as crops in a field; tiny figures who, with their phone lights providing coordinates, their own city and community. As the band ripped through No One Knows; the ardent and impassioned fans were chanting and singing with smiles wide – Homme stunned and touched by the incredible rapture and reception. I have mentioned Homme’s pondering and deep thinking – the lead musing issues around death and desire between songs. We are, as Homme stated, all our own bosses. There is no cat or dog food – embarrassing for me as I came in my bespoke Pedigree Chum suit of armour (which drew smirks and derision from the crowds) – and we are not domesticated animals - you can tell which song came after that... On-stage conversation switched between mortality and the need to get the crowd riled and dancing. Asking whether London was having a good time – they/we were, it seemed! – there was no direct political reference; one felt the danger of President Trump was heavy on Homme’s mind. If anything, it was …Like Clockwork’s selections that drew the biggest reactions. Smooth Sailing was a muscular and impressive take; My God Is the Sun one of the most engaging and well-recovered performances on the night – the band’s interpretation of If I Had a Tail and I Appear Missing compelling and fantastic.

PHOTO CREDIT: Getty

If Queens of the Stone Age's harder and more spiked performances proved popular with fans: their elongated and slower performances gained equal acclaim. Make It with Chu saw Homme in seductive and lounge-lizard mood; a luscious and smooth performance that drew the crowd in and allowed the band chance to improvise and calm. The build-up was inventive whilst the song’s chorus saw the assembled faithful chiming along with every note. Queens of the Stone Age are not a band who turns in predictable sets and diminishing returns! Jon Theodore’s percussion was a particular standout. Allowed to indulge in some monolithic, primal solo-work; the crowd were staggered and hooked by his multi-limbed chops and boundless talent – Homme was moved and affected by the power coming from the back. The biggest enemy of the night was my bladder - which seemed reluctant to quiet down and rest throughout the performance. It wondered whether I wouldn’t mind emptying it when Queens of the Stone Age ripped through You Think I Ain't Worth a Dollar, But I Feel Like a Millionaire; it was curious when they gave Little Sister a rare appearance; it was twinging when The Lost Art of Keeping a Secret was delivered with faultless desire – by Villains of Circumstance, it was getting pretty tetchy (I was not moving!). By the time Go with the Flow was announced – Songs for the Deaf’s two biggest songs got the loudest cheers of the night – I was, ironically, unwilling to refute my bladder any longer. Aside from a few drawbacks – it was would have been nice to hear one or two more from Villains; a few inconsiderate punters blocked the view for a few with their dancing – one could not fault Queens of the Stone Age. From the animal bite of Sick, Sick, Sick to the brood of Villains of Circumstance: the set was proof they are among the finest live acts on the planet. The sheer noise and physicality coming from the stage was enough to blow the likes of me away – all the way up there in the squinting seats! It was, perhaps, Homme’s polemics that made the biggest impression.

The Fonz of the music world; he was getting the crowd pumped, dancing and moving – on this ‘Saturday’ night; the F-words tossed out got laughs and approval. On the other hand, when not getting the party started, the forty-four-year-old was reflective and cautious. If some felt he had taken a few drags of the peace-pipe before coming on stage – oddly calm and relaxed given the occasion and energy raining from every ember and corner of the venue – he made points that struck the crowd. Looking at death, leadership and surveillance (we are all being watched, as he was keen to note); it was a perfect mix of rebellious, cool-as-fu*k ‘Classic Homme’ and the older, wiser frontman. What could not be denied was his love for London – he was at ease and delighted to be among such a loyal and loud crowd; they/we, in turn, provided plenty of love and respect. It was a night that delivered the classic hits and Villains’ new cuts; the career-spanning set was a huge treat for the thousands who poured into the O2 Arena. The band head to Edinburgh’s Usher Hall tomorrow; Dublin’s 3Arena will complete the U.K.-leg of the tour – the reviews and reaction so far have been hugely positive. No wonder when you witness the magic for yourself! A night in with Queens of the Stone Age is an experience few will ever forget. Peerless musicianship, insane energy and a crowd willing to give their all to every sinew, note and movement…

I think Josh Homme approved!

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

FEATURE:

 

“Who Runs the World…?”

IN THIS PHOTO: The Seamonsters  

Incredible Female Artists to Watch in 2018 (Part V)

___________

THIS is the final piece of the pie that…

IN THIS PHOTO: Aristophanes/PHOTO CREDIT: Puzzleman Leung

celebrates the female artists primed for big things in 2018. So far, I have collated artists from all over the world. This final instalment is British-heavy but there are musicians from South African, Tawain and the U.S. – Canada and Australia is in there, too! If that wasn’t enough; I have spanned genres and mixed together a playlist that every music-loving human should approve of!

It is a feature that showcases the strong female talent there is in music; the artists who will be better-known in 2018 – we will all become more aware of the sensational music they are producing…

___________

Liz Lokre

Location: Toronto, Canada

Genre: Soul

Official: https://www.lizlokre.com/

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

Lauran Hibberd

Location: Isle of Wight, U.K.

Genre: Singer-Songwriter

Official: http://www.lauranhibberd.com/

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

Sian Cross

Location: London, U.K.

Genres: Alternative; Pop; Folk

Official: https://www.siancross.co.uk/

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

Me for Queen

Location: Porto, Portugal

Genre: Soul-Folk

Official: http://www.meforqueen.com/

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

Siobhan Wilson

Location: Glasgow, U.K.

Genre: Alterative-Folk

Official: https://www.siobhan-wilson.com/

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

Tilda Allie

PHOTO CREDIT: @Sam Shaw 

Location: Brighton, U.K.

Genres: Electropop; Jazz, Soul

Official: https://soundcloud.com/tildaallie

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

The Seamonsters

Location: Sheffield, U.K.

Genre: Indie

Twitter: https://twitter.com/cmonstersmusic

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

Dalal

Location: Los Angeles, U.S.A.

Genre: Pop

Official: http://www.dalal-music.com/

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

Ina Reni

Location: London, U.K.

Genre: Pop

Official: http://inareninow.com/

Follow: https://www.facebook.com/ina.reni/

Lucie Barât

Location: Brighton, U.K.

Genres: Synth; Pop; Garage; Beat Poetry

Twitter: https://twitter.com/Lucie_Barat

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

Delaire

Location: London, U.K.

Genres: Electro-Pop

Twitter: https://twitter.com/Delairemusic

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

Starling

Location: London, U.K.

Genres: Pop; Alternative

Official: http://www.starlingsworld.com/

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

ILL

Location: Manchester, U.K.

Genre: Post-Punk

Official: http://www.weareill.com/

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

Emily Magpie

Location: Bristol, U.K.

Genres: Folk; Dream-Pop

Twitter: https://twitter.com/EmilySpetch

Follow: https://www.facebook.com/EmilyMagpie1/

Anna Straker

Location: London, U.K.

Genre: Alternative

Twitter: https://twitter.com/Anna_Straker

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

ZoZo

 PHOTO CREDIT: Timothy Ward

Location: London, U.K.

Genres: Mystical-Synth; Pop

Official: https://www.zozoofficial.com/

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

Ella Grace

Location: London, U.K.

Genres: Pop; Folk

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

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

Gurr

Location: Berlin, Germany

Genres: Punk; Alternative

Twitter: https://twitter.com/gurrband

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

Aristophanes

PHOTO CREDIT: Puzzleman Leung

Location: Taipei, Taiwan

Genre: Space-Disco

Twitter: https://twitter.com/aristophanesTW

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

s a r a s a r a

Location: Europe

Genre: Alternative

Official: http://sarasaramusic.com/

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

Elliphant

Location: Stockholm, Sweden

Genres: Pop; Electro

Official: http://elliphant.com/

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

Caiti Baker

 PHOTO CREDIT: Rush Photography

Location: Australia

Genre: Soul; Rhythm and Blues and Beats

Official: http://caitibaker.com/

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

Tusks

 PHOTO CREDIT: Harvey Pearson 

Location: London, U.K.

Genres: Electronic; Experimental; Ambient; Indie; Pop

Official: http://www.tusks.eu/

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

FIELDED

Location: Brooklyn, U.S.A.

Genre: Future-Pop

Twitter: https://twitter.com/DangerousPusssy

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

Skott

Location: U.K./Europe

Genre: Pop

Twitter: https://twitter.com/skottmusic

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

Janie Bay

Location: Pretoria, South Africa

Genre: Folk-Pop

Official: http://www.janiebay.com/

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

INTERVIEW: Phalcons

INTERVIEW:

Phalcons

________

ONE imagines there are few artists based…

in rural Wales! You’d probably be right but one treasure you’ll find there is Phalcons. I speak to the band about their new single, Idle Ways, and how that came together. Ben from the band talks about the formation of Phalcons and where the guys go from here. I find out about his/the band’s tastes and the music they vibe to; what they have planned in terms of touring – some advice for new artists coming through.

Ben talks about the music scene in their part of Wales and how it feels knowing their music is striking a chord; how each member’s experiences in other bands has helped Phalcons – what they have planned for the coming year…

________

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

Ben: Hi there!  We’re good, thanks. It’s been a productive week! 

Loads of radio-play, promoting the single; doing the whole social media thing. Sorting out some gigs for the next couple of months.  

Exciting stuff!

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

My name is Ben: I sing and play guitar.

I’m Tom: I play bass and sing backing vocals.

I’m Alex: I play drums and back them vocals!

Hi, I’m Naomi - and I play synthesisers and also sing backing.

What can you tell me about the new song, Idle Ways? What’s the story behind it?

Ben: It’s quite a personal song. I wrote it after moving back from Cardiff towards the end of 2015. At the time, I was living a party lifestyle: sleep all day, up all night. I’d work part-time at a nightclub to keep me in money but, overall, 2015 was a bit of a blur. 

I was living with my then-girlfriend, who also enjoyed living fast-and-loose but, unlike me; she was also trying to complete a university course - and I was a terrible influence. So; it’s a song about two people slowly drifting apart, emotionally and physically - because of one’s ‘idle ways’.

Is there going to be more material from you guys next year? Are you working on an E.P.?

Yes, definitely! We’re always writing new material. We have another single coming out in the New Year - maybe a couple. That will eventually lead up to a bigger release for the summer - but we’ll see what happens once we have more material out there.

The band is from North Wales - but I am interested how you all got together. How did ‘Phalcons’ come to be?

I think it was around the start of 2016…

We were all in a bit of a quiet period - or had just left our previous bands. I had a few songs that needed some instrumentation; so I got in touch with Alex and Tom and started jamming. We were tight, but we needed another layer, so we got in touch with Naomi; threw her into the mix…and here we are!  

We’ve all known each other for years, though. We’ve played in each other’s bands, toured together in separate bands; lived together and worked together. As friends go; we’re a pretty close-knit group: it’s just a bonus that we all like the same music and can play instruments!

Tom: I met the guys separately over the years…

I first spoke to Alex after watching him play guitar at a festival in Bethesda; I met Naims through a mutual friend - when we were both in school - and met Ben, properly, when I was living down in Cardiff.

Fun fact: before we knew each other; Ben referred to me as ‘Mullet Guy’.

What is the music scene like where you are? Are there opportunities available?

Ben: We all live in rural North Wales; so there isn’t a lot going on here, really - especially at this time of the year.  There are regular gigs, local festivals and seasonal events - but not a lot of opportunities to expand your horizons. The Welsh music scene is a very small one. 

After a few years; you end up playing to the same faces, which is great, because you eventually get a very loyal fan base. But, if you limit yourself to one language, you tend to limit yourself to one country. It’s why we sing in English, rather than our native Welsh - as there are so many more opportunities and it’s easier to branch out.

I know you all come from different bands? Have you all learned a lot from those experiences – and do you think your skills and at their peak as part of Phalcons?

Yes, of course! As musicians, we’re always learning. 

Playing different music with other people always helps. But, as far as reaching our peak, I hope not!  Reaching your peak means you’ve done the best you’ll ever do right?! We have a long way to go before that! 

Watch this space!

Who are the artists you all grew up listening to?

My family has a pretty good music taste, actually! Fleetwood Mac, Van Morrison; Norah Jones, Tom Waits; Willie Nelson and Bert Jansch. My dad got me into Country music, Bluegrass and Folk early on; loads of traditional Irish music and Americana Grassroots. My mum is more into the 1970s and 1980s anthems: Prince, George Michael; Brian Adams…that kind of thing.   

My parents took me to a lot of festivals as a kid, too; so I listened to a lot of World music from quite a young age. 

It seems you are already getting attention and fans! Is it important to have that support? Does that give you direction and drive?

Absolutely! As a band; you rely on the support of the listeners to grow as musicians. The aim is to just keep writing, keep playing; keep promoting until you get where you want to be. 

Without the fans, that would be impossible. 

IN THIS PHOTO: Serol Serol

Who are the new artists you recommend we check out?

I’ve been listening to a lot of music that’s close to home recently... 

Serol Serol is a band to look out for in the coming months! Dreamy, psychedelic; synth-driven Space-Pop.

We’ve played a few gigs with the ARGRPH guys, too - they’re also signed to Libertino Records. I managed to see them play in Cardiff not long ago and they were f*cking amazing. Twangy, bluesy; Psyche-Rock - with a heavy dose of Shoegaze thrown in.

IN THIS PHOTO: ARGRPH

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

Crosby, Stills and Nash – Crosby, Stills and Nash

That album was my first real experience of original 1960s Psychedelia. I was sixteen-years-old; had just joined a band and was finding my feet, musically. A close friend recommended it to me. So; I sat down and listened to it in its entirety. Then, when it finished, I listened to it again. It absolutely blew my mind. Every single track on that album is genius. The harmonies are on point and the musicianship is next level. 

It makes me want to make music...

Can we see you perform anywhere soon? Where can we catch you play?

We have a gig in Clwb Ifor Bach in Cardiff on 8th December. We’ve also got a gig on 28th December in Llanrwst - a town in our neck of the woods up in Snowdonia. We’re working on getting some gigs together for the New Year too…so, keep yer eyes peeled!

How have you found performing so far? Has it been quite natural performing together – is the stage somewhere you all feel at home?

We’ve all been playing in bands for years now; so being on stage feels natural these days. It’s always good to play with new people too: keeps the energy fresh on and off stage.

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

Make the music you want to hear. Get an online presence. Promote yourselves shamelessly.

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

Probably working in the days around Christmas: Christmas Day is off limits. That’s family-time. I’m going to drink lots of alcohol; eat lots of turkey - and listen to Christmas songs until my ears bleed. 

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).

Ben: Andy Shauf – The Magician

Tom: Forth Wanderers – Slop

Alex: The Only Ones – Another Girl, Another Planet

Naomi:  Alvvays – Dreams Tonight

_________

Follow Phalcons

Facebook:

https://www.facebook.com/phalcons.music/

Twitter:

https://twitter.com/PhalconsBand

Instagram:

http://piknu.me/PhalconsBand

YouTube:

https://www.youtube.com/channel/UChu9MOiwtL9xGg1NxaK0PKA

SoundCloud:

https://soundcloud.com/phalconsounds

INTERVIEW: Monti

INTERVIEW:

Monti

________

THERE are few who have the background…

and life of Monti. She speaks to me about her transition from the streets - and how she has turned that experience into something positive. I find out about her new track, Echo, and the story behind that; what she has planned in terms of new material; the music scene where she is in L.A. – and some of the projects she has been involved in.

Monti discusses the artists who have influenced her; the albums that have affected her (as a human and musician) and what she has planned regards touring – and whether we can see her in the U.K. anytime.

________

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

Hi! It has been incredible! Thank you!

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

Hey, everyone! My name is Monti. I’m a recording artist, songwriter and philanthropist.

I am interested in the single, Echo. What is the tale behind the song?

Thank you! I wanted to create something deeper with my music…

I really wanted to tell my own story and the stories of the youth that I am around daily and mentor. I wanted to talk about the struggles I had, and that they still have with growing up - and are dealing with various unfortunate circumstances, including homelessness; being in foster care, abuse; addictions etc. I wanted to speak out to them and for them and, to next generation in general, let them know that I've been there - and I made it out...and so can they. 

The single, Echo, refers to our voices and the next generation’s voices - and the need to be heard. I found that I not only wanted the voices and message to be ‘heard’; but to be a heard loudly as a declaration and ‘echo’ - so it may continue on to be heard by the next person as well; so they can, hopefully, be inspired (and so on)... 

You wrote the track with Josh Stevens. What was that experience like? Did you know each other before working on the song?

I met Josh Stevens through another project.

I was brought in the studio to work with him on that project and, later, approached him regarding my vision for my next solo artist project. He saw the potential and believed in it. This started my incredible musical relationship with him and his company, Stadium Music Enterprise - where we worked on bringing this vision to life.

When we went in for the first writing session, we were definitely in-sync. As the song progressed over time, he also found his own voice in the single, as he did the feature on it - that was also an experience shared from his own story. He’s become one of my favorites to co-write with, for sure - and I can’t wait to see what we do next!

Do you think there will be more material coming next year?

Oh yes...

I am continuing to work with Josh Stevens and Stadium Music Enterprise on an E.P. - which we are planning to release by early-2018!

Whoop whoop!

Your lyrics address harder subjects and provoke thought. Is it quite tough being so revealing and open in your music?!

Not at all: I feel like it’s the opposite, actually.

It’s easy for me to be so open because it’s part of my purpose (of) being a music artist - in spreading my message – therefore, it comes naturally. I’ve found it’s actually tougher writing songs that have no depth or real message.

How did you manage to go from a runaway – dodging foster care systems – to a young woman releasing music? How hard has it been transitioning from that situation?

I like to say I have had guardian angels here on Earth.

During the time, I was still on and off the streets and hanging out in gang life; I ended up singing hooks for several rappers in home recording studios - and that lead me to meet artist/producer, Lamar Lacañgan. He and his family took me under their wings and mentored me. Soon enough, he started his Independent record label, O.Y.I.E. Records, and offered me a record deal; where we immediately started working on my first album - where I wrote my first songs ever. That was the start of my career as a recording artist but, more importantly, that was the start of my transformation.

I got so much more than just a record deal - but a sense of unconditional love, community and new possibilities. Lamar and his team clearly had a heart for inner city/at-risk youth - and, so, they later started the non-profit, O.Y.I.E. Music - where I became their first success story.

I always say that they and that whole experience saved my life. It definitely was not an easy transition but, for the first time, I was introduced to the power of choice and to a whole new world; one that I could be in and could accomplish greatness in - if I chose to - and, since then, I continuously keep striving, persevering and working to become better as a human being - for myself and for others to make a difference (like it was for me).

Do you feel more settled and safe at the moment? Are there plans afoot for 2018?

Yes, absolutely.

I have been so blessed surrounded by amazing people and continue to create my world with my choices one moment at a time. 2018 is going to be incredible! So many great things in the works.

We are planning to release an E.P by the middle of next year.

What was your music upbringing life like? Which artists stood out to you when you were younger?

My mom had a very eclectic vinyl collection; made up of a wide variety of music of the roaring 1920s; Broadway show-tunes, Pop tunes from different eras - ranging from the 1960s – 1980s. As a child, I listened to all of it and then some - but mainly her Whitney Houston, Michael Jackson; Lionel Richie and Motown records (the most). Throughout my troubled childhood, I remember music becoming a bit of a refuge for me as a way to escape, I think. I always gravitated to the kind of music that had soul, passion; depth; told stories and/or just felt good to listen to.

As a teenager, specifically, I listened to a lot of Hip-Hop, R&B and Soul - mainly 2Pac, Ice Cube; Too Short, Fugees; Lauryn Hill, R Kelly; Brian McKnight, Dru Hill; Lil' Kim - and then there was Nirvana, too, of course (smiles).

How important is Los Angeles and its people to your stability and music inspiration?

I love living in L.A.!

Being around the variety of different cultures, food and art really helps build my creativity - and gives me new ideas daily. The fast lifestyle and constant drive of the people here also keep me inspired - to keep moving and creating. I only surround myself with people who motivate me to become better - and are the ‘doers’ of the world. This also plays an important role in my overall balance. I definitely need the quiet and slower times as well, which I've also found here through other activities that L.A. provides - with the beach and hikes and beautiful scenery.

So; I mostly love how L.A. can provide me with that balance as well.

Who are the new artists you recommend we check out?

They’re not really new - as they’ve been doing this a while - but definitely check out Damien Horne and John Splithoff; then Clay Campania - who’s also one of the baddest guitar players of our generation.

IN THIS PHOTO: Damien Horne

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

During my younger childhood; I would say Janet Jackson’s Control (on cassette-tape!)

HAHA. This stands out for sure because this music inspired me to put on dance concerts in my neighborhood with my best friend - which gave me happiness and a positive outlet to escape the chaotic home environment I was surrounded in at the time.

Growing up in adolescent years; I would say HIStory: Past, Present and Future, Book I (double-disc) by Michael Jackson. I remember when this first came out; I became glued to it because it spoke to a lot of my life that had already happened - and helped me get through a lot of trauma in my life up to that point.

Then, later in early adult years, it was Lauryn Hill’s MTV Unplugged (double-disc). This changed my life, because it was the first time I had heard an artist be so raw and vulnerable and then, from that moment on, I knew I always needed to just be authentic with everything - as a person; by telling my life stories and sharing them with the world.

Can we see you perform anywhere soon? Will you be coming to the U.K. next year?

Yes! I’ll be performing at L.A.’s historical venue, Dresden, on November 20th at 9 P.M.! You can find out more on my website.

I definitely hope to be coming to the U.K. next year - if I get booked out there!

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

Find and focus on what it is you really want to say; be known as and stay committed to that - as you can only do what you do...

Also, to think about ‘legacy’; as we're only here for a short time - and have been given a gift that has the power to impact people and the world immensely. So; make sure you're really doing what you want to be doing - as you're the only one who can do what you do.

No matter where you come from, or what you've been through, you can make it; if you choose to...

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

I will definitely be busy working and getting ready for 2018.

We have lots of great things in-the-works! I will also be spending the holiday month with my family in Hawaii.

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 Try by Clay Campania

________

Follow Monti

Official:

https://www.montitheartist.com/

Facebook:

https://www.facebook.com/LaurenSilva30

Twitter:

https://twitter.com/MONTItheartist

Instagram:

https://www.instagram.com/montitheartist/

YouTube:

https://www.youtube.com/channel/UChu9MOiwtL9xGg1NxaK0PKA 

INTERVIEW: Dark Horses

INTERVIEW:

Dark Horses

________

A new track from Dark Horses is always a good thing…

in a music world where quality and consistency are not interlinked or reliable. XIII is out and, with that numerical indicator; is bad luck and superstition at its base?! Dark Horses have an album on the way and have, in their career, supported Beck. I talk to them about their latest work and its spark; what we can expect in the coming months; how they came together in the first place – and what they will be doing with the remainder of this year.

They are heading out to support Black Rebel Motorcycle so I quiz them about their gig plans and what we can expect; any new artists we should keep our eyes open for – and the music that means the most to them.

________

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

Hi. It’s been a week of Black Rebel (Motorcycle Club) at Brixton, blind dates; losing house keys and releasing our single

All-in-all…not too bad, thanks.

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

We are Dark Horses: a five-piece band of talented chancers; a soulfully obstinate sonic family

XIII is your new single. What is the story behind it? What is the significance of the number thirteen?

13…

Some believe it to be unlucky - but we consider it to be a karmic number. It is the number of upheaval...so that new ground can be broken. We were also challenging ourselves, musically - you should have seen the concentrated looks on our faces while writing this song; trying to stay in the same time signature!

It seems, as you look at people being broken into numbers, there is a fear around the modern ways – and the digitisation of humanity. Is it conflicting having these feelings whilst having to rely on social media/streaming services for publicity?

We are not against digitalization: it is interesting, scary and exciting to witness the evolving marriage between humanity and technology.

We have faith in the warmth and unpredictability of human nature - let’s see how that all plays out! (if we live that long!)

I believe an album will follow. Can you reveal any songs that will appear? In terms of themes; what will you be investigating on the record?

Yes. Themes include:

Collective attitudes, runaways; authenticity at the risk of ridicule, hype machines; personal space and identity, fluid perspectives; learning from history, mathematics and silliness.

How did the band get together at the very beginning?

As a band, we had an exceptional beginning...

Everything was done upside-down, so maybe what is important now is to recognise and value the most simple aspects of being in a band together; having fun making a racket!

In some respects, I think we can be overawed by our own history….

You have, already, supported Beck and been backed by big sources/radio stations. Is it quite hard to take in all you have achieved so far?! What have been your favourite memories from your music careers so far?

I recall checking myself out of the hospital after suspected appendicitis - in order to perform at the Royal Albert Hall for Teenage Cancer Trust…standing on that stage to honour all those brave young people and their families and friends was an emotional moment I shall never forget. The hall is built in such a way that I did not have to make any effort to project my voice and, with limited physical strength, that was definitely a bonus.

I felt at ease and very lucky to be part of such a magical evening.

Which musicians did you all grow up listening to? What might we have heard in your childhood homes?

The Beatles, Pink Floyd; Swedish Folk music, Janis Joplin; Carole King, The Who; Prince - and plenty of Classical and Jazz.

IN THIS PHOTO: Baby in Vain

Who are the new artists you recommend we check out?

Baby in Vain - a Danish group we saw not long ago. Really great.... 

Spring King. HAAi-

IN THIS PHOTO: Spring King/PHOTO CREDIT: Henry Muller

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

Gosh. Not an easy question:

Anastasia: Carole King - Tapestry

I recall really connecting with her lyrics. She seemed to be singing to me.

Lisa Elle: Björk- Debut

When I heard this for the first time as a kid; I remember thinking: ‘That's what I want to do… sing and write stories like that.

David: Radiohead - OK Computer

What melodies! Got me really hooked on my Telecaster.

Bobby: ABBA - Greatest Hits

Not cool - but I used to love it as a child.

Stevie: Bob Marley and the Wailers – Legend

What can I say - it sounded extra-good when I was stoned.

I believe you are heading out with Black Rebel Motorcycle Club. You guys pumped about that? What other dates do you have approaching?

We have opened for them when we first formed so it’s going to be fun to do it again now.

We are also doing a headline show on our way back in Budapest - a city we have fond memories of playing in before. We have another release lined up for the end of Jan and we shall return to the stage in the spring.

I know Milan is part of the tour. Have the band ever been to Italy? Have you boned up on your Italian for the trip?!

Well; Anastasia, on bass, is from Molise - in the centre-south of Italy! We performed at Zanne Festival, in Catania, which was great; especially as the line-up was comprised of some of our favourite artists: Toy, Blond Red-Head; Clinic and B.R.M.C.!

Needless to say; we are most excited about returning - not least, for the food (smiles).

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

Just make music that you enjoy and excites you and, as much as you can, find a way to share it on your own terms. A lot can be done D.I.Y. nowadays: if you can create a scene for yourself and your music, it will only be more appealing to an industry who might want to work with you down the line.

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

Hibernating and generally warming up after gallivanting across Europe, in a van, on tour!

As you are called ‘Dark Horses’, I have to ask: is there a member of the band with a secret – something nobody knows? Who is the biggest dark horse in the band?!

Ahh…good question! Probably, Bobby. It involves a Tinder date - and no more can be said about that!

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).

Anastasia: Mass Datura - Fantasy Friction

David: PINS (ft. Iggy Pop) - Aggrophobe

Bobby: Donny Hathaway - Jealous Guy

Stevie: Camera – Synchron

Lisa Elle: Ariel Pink - Put Your Number in My Phone

_________

Follow Dark Horses

Official:

https://www.darkhorsesmusic.com/

Facebook:

https://www.facebook.com/darkhorsesmusic

Twitter:

https://twitter.com/darkhorsesmusic

Instagram:

https://www.instagram.com/darkhorsesmusic/

Spotify:

https://open.spotify.com/artist/2UvHbtpwQIHcuwdzgVIn55

YouTube:

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

INTERVIEW: Natali Felicia

INTERVIEW:

Natali Felicia

________

THE excited and physical sounds of Natali Felicia are all over…

her latest single, Say It. I ask the artist about the song and the story behind it. I discover more about Natali Felicia’s songwriting process and the artists who inspire her; the music she was raised on and why she moved from Sweden to the U.K. – she has recently relocated here and spending more time in Britain.

Natali Felicia talks about working with Andreas Grube and the albums that mean most to her; whether there is going to be new music approaching; how the rest of this year will pan out – and why this week has been a particularly good one for her.

________

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

Hey! I’m alright, thanks! It’s been a quite good week.

The peak of the week was seeing Father John Misty’s show at Hammersmith Apollo in London. The first time I have seen him live. Wow; what a show and what a man!

So brilliant! Loved it. 

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

I’m Nat; a twenty-three-year-old Dark-Pop singer-songwriter from Sthlm, Sweden. I release music under my name ‘Natali Felicia’. I’ve released some songs so far and will be releasing my debut album in the New Year - which I’m very excited about!

Say It is the new single. What is the story behind it?

Me and my producer/writer companion, Andreas Grube, wanted to paint a vision of the beautiful act of people joining forces to be stronger together; to speak up and fight together for their rights. How cliché it might sound: we are and will always be stronger TOGETHER. I think that’s worth reminding people of every now and then. It speaks strongly about not silencing oneself; to dare to speak up and make your voice heard - especially as a woman - which is something I need to learn more… 

There is that need to fight repression and sing loud. Have you faced these issues in your career/life? How much of your personal life do you take?

It’s a bit funny actually thinking about it…continuing on the point I started on in the last question...

In private, I’m actually a quite a quiet person and afraid of conflict. I’m a big observer and thinker and I’ve got a lot of reflection going on in my head. I’m quite of a drama-queen on the inside and I guess it comes out in my music. Yes, I have - and, yes, I do - take inspiration from personal life but, also, a lot from what’s going on around us in the world.

I think I tend to write about things that revolve around challenging myself and facing my fears...if that makes sense…

Is there going to be an E.P. coming next year? What are you working on?

There’s an album coming out in the spring (next year!) It’s finally complete - after some years of hard work.

I’m very excited to finally share it. 

You have produced music alongside Andreas Grube. Will he be co-producing your future work?

Yes! Andreas is my partner-in-crime.

We started building the world of Natali Felicia in 2011 together - and we’ve written my upcoming album together.

Kjell Bergqvist, arguably Sweden's most famous actor, and the fashionista and T.V. personality Yvonne Ryding - who as Miss Sweden won the Miss Universe crown in 1984 – are your parents. How artistic and creative was your household when you were growing up?!

Not so creative and artistic as you might think, really. Haha.

Both my parents have been quite good at leaving work outside of the household growing up. However; I did spend quite a lot of time with my dad at the theatre growing up. I grew (very fascinated) about that world and I’ve always been quite of a theatre buff - and I love performing.

Did your parents pass on any of their traits and talents? Did they expose you to a lot of great music? 

They are not at all musical my parents, actually...

My beloved grandmother and my sister are very musical, though. If anything, I believe I got that bit from them. Not really. Haha. My strongest memory is my dad always playing Mungo Jerry’s In The Summertime pretty much on-repeat in the car. 

What is the music scene like in Sweden, where you are based? Is it quite contemporary and inspiring?

It’s cool!

The past six years, I’ve been based on Södermalm in Sthlm. It is a very artistic and creative part of town. It’s been very inspiring, indeed. But, I needed a change of scene and recently moved to London, actually - where I’m now building my new base.

Who are the new artists you recommend we check out?

You should check out my friend, Nadia Nair’s, music. She’s an amazing songwriter and artist. She’s got a beautiful album out called Beautiful Poetry - and I believe more music is coming from her soon.

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

Horses - Patti Smith

She’s was a huge inspiration to me when I started writing songs.

Hounds of Love - Kate Bush

THIS WOMAN. What an artist. Also; a huge inspiration to me. One of the best albums ever, if you ask me.

For Emma, Forever Ago - Bon Iver

I never get tired of this album. Such a beautiful collection of songs. 

Can we see you perform anywhere soon? Where can we catch you play?

I’m putting a band together in London right now. You will definitely see me perform - early next year - in the U.K.

Will you be coming to the U.K.? Have you been here before?

I've been coming to London a lot the past two years (for writing) and kinda been on my way over here for a while. Very excited to now live here full-time and work with my music. I love this city - in a love-hate kinda way.

Very inspiring. Haha…

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

Hold on to YOUR personality: it’s the strongest thing you have as an artist. Always surround yourself/work with people who love what you’re doing and supports you 100%.

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

I’m going back to Sthlm for Christmas to spend time with my family. It’s been a very hectic year for me - so I’m going to try and have a much needed quite Xmas.

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).

In the Summertime by Mungo Jerry!

_________

Follow Natali Felicia

Facebook:

https://www.facebook.com/natalifelicia/

Twitter:

https://twitter.com/natali_felicia

Instagram:

https://www.instagram.com/natalifelicia/

SoundCloud:

https://soundcloud.com/natalifelicia

FEATURE: There’s Steel in the Blood: Fifty Years of BBC Radio Sheffield and the City’s Rich Music Scene

FEATURE:

 

There’s Steel in the Blood:

 PHOTO CREDIT: BBC Radio Sheffield 

Fifty Years of BBC Radio Sheffield and the City’s Rich Music Scene

___________

ONE might look at a city like Sheffield and associate it…

with the steel-making industry and manual labour. There is that ostensive working-class mentality and ideal we have. Sheffield, as it is a Yorkshire city, is quite ordinary and predictable, right?! That might have been the impression of the area long ago by there is more than quality steel and an awesome accent to Sheffield. Two things that strike me about the city is the music and sense of community. I shall come to the latter later, but, right now, the reason behind this piece. BBC Radio Sheffield has marked its fiftieth anniversary with a rather special video. Common People is, perhaps, the most famous song from a Sheffield band – the mighty and peerless Pulp. I have been looking on the BBC website and, when it comes to the project and its make-up; they assess it in these terms:

“To mark the occasion of their 50th birthday, BBC Radio Sheffield has remade a South Yorkshire anthem - Pulp's Common People. A community choir, made up of singers from across the region, recorded a specially arranged version of the 1990's classic.

BBC Radio Sheffield presenters including Toby Foster and Paulette Edwards were joined by around 300 members of the public to film their own version of the music video.

 PHOTO CREDIT: BBC Radio Sheffield

Katrina Bunker, Managing Editor of BBC Radio Sheffield, says the film is all about bringing people together and capturing a sense of local pride: "It was really important to us that this film focused on local people, and that it reflected the unique spirit and attitude that we share in this part of the world.

"Pulp are a Sheffield band and the song Common People was one we felt people around here identify with. And the fact that so many people - hundreds of them, helped us make the film shows the whole idea really captured people's imagination.

"Now we get to share the joy and sense of community captured in the film with the many thousands of people who will watch it online.

Making the film

Filming took place at various locations across South Yorkshire and North Derbyshire including Barnsley Town Hall, Doncaster Market, a sweet shop in Rotherham and a Sheffield supertram. Lots of local people were keen to get involved in the project including the Lord Mayor of Barnsley, former MP, Jeff Ennis and a knife maker from Portland Works in Sheffield, Michael May.

The finale to the video was a large crowd scene filmed at the iconic Leadmill nightclub in Sheffield city centre - the place where coincidentally the band Pulp played their very first gig in 1980.

The finale features hundreds of BBC Radio Sheffield listeners from all walks of life from an 8 week old baby to a group of scouts and cubs to a retired bus driver and a 7 year old British bulldog called Horace who almost steals the show.

About BBC Radio Sheffield

On November 15 1967, BBC Radio Sheffield made its first broadcast to listeners across South Yorkshire and North Derbyshire. They were the second BBC local radio station to launch following BBC Radio Leicester on Wednesday 8 November.

  PHOTO CREDIT: BBC Radio Sheffield

Katrina says: "BBC Radio Sheffield is the people's radio station. We've been reflecting local life in South Yorkshire and North Derbyshire since 1967 and have been with communities through many highs and lows over the years.

"Ultimately this film is a celebration of localness. We, along with our audiences, are proud of where we live."

It seems axiomatic to say Sheffield – and Yorkshire – is defined by its character, pride and community. There is more of a sense of belonging and comfort living somewhere like Sheffield. I remember the days of Pulp and when they ruled the scene. Albums like His ‘n’ Hers (1994) and Different Class (1995) were released in the same year as the best two albums by another northern working-class band of heroes, Oasis.

Their ascension to the top of the Britpop tree was cemented with the incredible one-two, Definitely Maybe and (What’s the Story) Morning Glory? Maybe Pulp took a few albums to reach the same heights but many could claim they have had a more acclaimed, focused and consistent career – not falling apart after their sophomore album and limping to extinction. Pulp were the, to me, leaders of Britpop in the sense they were outside the circle. It is not a surprise their popular smash has been taken to heart and endures. It looks at the working-class and a life one does not hear about in music anymore. Maybe BBC Radio Sheffield is the definition of a radio station that preserves the values laid down by bands like Pulp. You can watch the video via BBC Radio Sheffield’s page - and see why the song has captivated the locals of the city.

IN THIS PHOTO: FloodHounds/PHOTO CREDIT: Mal Whichelow

I feel Sheffield is among many northern cities that do not get the recognition it warrants. The fine work done on Sheffield’s best radio station makes sure local acts get a voice but one need only look at the history books to realise what a cannon the city has produced. FloodHounds are a modern band working out of Sheffield who follows acts like The Hosts, Baba Naga and Anytown; Lonely Boy; Gilmore Trail and Blood Sport. Throw into the list Liberty Ship, The Seamonsters and Matic Mouth and there is enough to get your chops around! Black Mamba Fever, Solanas’ Son and The Hot Soles; Vultures and Deadset Dream could all got into the music and make a fantastic playlist of new Sheffield bands.

IN THIS PHOTO: The Seamonsters

Dig deeper and you will unearth a bustling scene that is promising wonderful things. I wonder why there is such a hesitation for the mainstream media to shine a light on the Sheffield music economy. It is not like there is an absence of venues for other artists to play in – cut their teeth in Sheffield and get a taste of what it is all about! Joe Cocker and Robert Palmer both played the legendary stage at The Boardwalk. The Grapes has played host to the likes of Arctic Monkeys – more on them later! – whilst The Casbah, The Leadmill and New Barrack Tavern give ambitious musicians a wealth of possibilities. Those are just a few venues one could frequent if they travel to Sheffield.

If one looks back at historic Sheffield acts, they are really in for a treat. The Human League and Def Leppard; Reverend and the Makers, ABC; Bring Me the Horizon, Heaven 17 and Moloko; Slow Club and Cabaret Voltaire. It is a packed and vibrant area of the U.K. that has provided some of the strongest bands from all of music. Maybe a lot of those acts have ended but, as I have shown, there is a new breed willing to take their place. It seems Arctic Monkeys are among a rare breed of Sheffield bands courting mainstream attention and fame. The boys might not all base themselves in the city but they have not forgotten where they came from. I have compiled two lists below: one of the new class of Sheffield acts putting their names on the map; the other puts together the classic and legendary music we associate with the city. I am glad there is such an active scene but hope, in 2018, the popular press realises places like Sheffield are being overlooked. It seems anywhere north of London is seen as ‘international’ or alien. That naivety is causing a split between the North and the South. I hear so many great groups from Manchester and Leeds; fantastic acts from Glasgow and Liverpool – that could challenge the finest London has to offer! Dispense with the divisions and judgement and realise what a heritage and fertile foundation there is in the city.

IN THIS PHOTO: Arctic Monkeys/PHOTO CREDIT: Press

The reimagined video for Common People proves there is humour, togetherness and fortitude in Sheffield. BBC Radio Sheffield has been on air fifty years – let’s hope it lasts decades longer! I know the station prides itself on eclecticism and mixing its national and local outlook – not neglecting an artist because of where they come from or the genre they play. That is an attitude that is reflected in the people of the city. Make sure you tune into BBC Radio Sheffield and the great work they do on a daily basis. It is one of the finest BBC stations and has remained that way for five decades. Long may that remain: continuing to provide incredible music and exceptional entertainment. More than that; have a listen and investigation of the music coming from Sheffield. We all know the artists who have come before but many of us are unaware of the wonderful newbies that are making Sheffield an essential point of study. An incredible people and rich boiling pot where fine music and quality sounds bounce off every wall in the city. Here’s to the artists there and a bedrock station that shows there is plenty of life and wonder in the Yorkshire city. Sheffield will always be a vital fountain of music and quality radio. The sooner we remember that, the stronger…

IN THIS PHOTO: Sheffield's The Leadmill

THE music industry will be!

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

FEATURE:

 

“Who Runs the World…?”

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

Incredible Female Artists to Watch in 2018 (Part IV)

___________

I may have to do a final piece that rounds up…

IN THIS PHOTO: Bonzai

all the best and most talented females in new music – those who will make waves in 2018. I have been looking around music and sourced talent from Europe, North America and beyond. The final instalment will dig deeper and take acts from Australia and Africa; get to grips with the freshest musicians who will define next year. This selection offers some great artists who cover a range of genres.

Get your ears invested in some stunning female artists already doing great work – who will carry that into 2018 and make their mark on the music scene.

PHOTOS (unless stated otherwise): Getty

___________

Annie Hart

Location: New York, U.S.A.

Genre: Indie

Official: http://www.anniehart.nyc/

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

RIDER

Location: London, U.K.

Genre: Dream-Pop

Official: http://www.sapienrecords.com/rider

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

Bonzai

Location: Dublin, E.I.R.E.

Genres: Indie; Alternative; R&B

Official: http://www.bonzaibonzaibonzai.com/

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

Brooke Bentham

Location: New Cross, U.K.

Genres: Pop; Alternative

Official: https://www.brookebentham.co.uk/

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

Sasha Brown

Location: London, U.K.

Genre: Pop

Official: https://sashabrownmusicofficial.com/

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

Dagny

Location: Tromsø, Norway

Genre: Alt-Pop

Official: http://www.dagnymusic.com/

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

Emily Mac

Location: Toronto, Canada

Genre: Blues-Rock

Official: http://www.emilymacmusic.com/

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

Sereda

Location: Toronto, Canada

Genre: Alternative

Twitter: https://twitter.com/allysereda

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

Ghost Caravan

 PHOTO CREDIT: Jason Cee

Location: Toronto, Canada

Genres: Orchestral; Electronic; Soul

SoundCloud: https://soundcloud.com/ghostcaravan

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

Alice Avery

Location: New York, U.S.A.

Genres: Pop; Rock

Official: http://www.thealiceavery.com/

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

Eivør 

PHOTO CREDIT: Annfrid Nejst Hansen

Location: Syðrugøta, Faroe Islands

Genre: Alternative

Official: http://www.eivor.com/

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

Shenna

Location: Woodbridge, U.S.A.

Genres: Indie-Pop; R&B

Official: https://www.shennamusic.com/

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

Gitta de Ridder

PHOTO CREDIT: Martin Abtman Photography

Location: London, U.K.

Genre: Singer-Songwriter

Official: https://www.gittaderidder.com/

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

Iskwé

 PHOTO CREDIT: Lisa MacIntosh

Location: Canada

Genre: Alternative

Official: http://www.iskwe.com/

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

Katherine Gazda

Location: Toronto, Canada

Genre: Pop

Twitter: https://twitter.com/katherinegazda

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

 

LIA LIA

Location: Berlin, Germany

Genre: Pop

SoundCloud: https://soundcloud.com/liavslia

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

Mahalia

Location: Leicester, U.K.

Genre: Acoustic-Soul

Official: http://mahaliamusic.co.uk/

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

Sera EKE

Location: London, U.K.

Genre: Electronic

Twitter: https://twitter.com/seraeke

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

NINA

Location: London, U.K.

Genre: Synth-Wave

Official: http://www.ninasounduk.com/

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

Joelle James

Location: California, U.S.A.

Genres: R&B; Pop

Twitter: https://twitter.com/JoelleJames

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

Nat Reed

 PHOTO CREDIT: Ariff Danial

Location: Boston, U.S.A.

Genre: Pop

Official: https://natreedmusic.com/

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

Bee

Location: London, U.K.

Genres: Indie; Folk; Pop

Twitter: https://twitter.com/musicbybee

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

Camilla North

Location: Bergen, Norway

Genres: Singer-Songwriter; Pop; EDM.

Official: http://www.camillanorth.no/

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

Nina Schofield

 PHOTO CREDIT: Lauren Marsh Photography

Location: London, U.K.

Genres: Pop; Alternative; Electro-Pop

Official: http://ninaschofield.com/

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

FEATURE: Raise It Up! Why Music Needs Florence + the Machine Right Now

FEATURE:

 

Raise It Up!

 PHOTO CREDIT: Getty

Why Music Needs Florence + the Machine Right Now

___________

THIS was the news story that got me…

PHOTO CREDIT: HANDOUT

quite excited about a few days ago.! The article/news in questions comes from NME - and it seems like Florence + the Machine are returning. I say ‘returning’ but, to be honest, Florence Welch has not left us – simply getting on with life and living as normally as possible. NME have their faults, but they are good at presenting these interesting little news stories. Here are some lines I will borrow from them:

“Florence + The Machine look set to return next year, having been announced to headline Melt Festival 2018.

Having dropped their acclaimed third album ‘How Big, How Blue, How Beautiful’ in 2015 before stepping in to headline Glastonbury in place of Foo Fighters, Florence Welch and co’s last major shows were at festivals in 2016 – including British Summer Time where she was supported by Kendrick Lamar”.

The dates are set up and it seems Welch will have a busy 2018! There have been whispers of new music but, with touring and festivals starting to form, you know there has to be something coming very soon – otherwise, it would seem odd to book an act promoting their latest album. That previous record, How Big, How Blue, How Beautiful, was released back in 2015 and scored big reviews.

The third album by Welch explored vulnerability and a difficult time for the star. It was a simpler beast (then her previous two albums) and was a stripped-back and soulful recording. The powerful vocals and drama were there but, unlike 2011’s Ceremonials, there was more calm and contemplation. The sensitive lyrics and commanding songwriting was a step forward from her older work – critics noting how she had assimilated new layers and gaining fresh confidence. If the first two albums were bombastic and declarations of liberation, growth and love: How Big, How Blue, How Beautiful was the more mature songwriting addressing new concerns and problems. I have written about another act faced with pressure and spotlight: the incredible London Grammar. The success Ceremonials gained – and the acclaim her debut album, Lungs, accrued – meant Welch was in-demand and a popular artist. Relentless promotion and touring meant her face was all over the place; everyone wanted a piece of her – balancing that with everyday life and the demands that come with it. Welch spoke with D.J. Zane Lowe back in 2015 and explained how, prior to writing the album, she had a sort of nervous breakdown. Oddly, it was a conversation with Taylor Swift that gave Welch some perspective and gravity. There is another star that has faced turbulence and an endless workload – the conversation and companionship was invaluable to Welch.

PHOTO CREDIT: Getty

When putting the bones for her third album together; the stresses and complexities of her life were laid bare. Listening to it now and one can hear how personal and meaningful the music is. Welch has always mixed fantasy and personal emotion together but, on How Big, How Blue, How Beautiful; things were much more direct and less oblique – the title seems like the heroine looking down at the big world – or the expanse of the ocean – and feeling helpless. In a recent interview with The Telegraph – couldn’t read the entire thing as it asked me to register (not a chance!) – Welch discusses her anxieties and battles with alcohol. She started the interview by explaining how nervous she gets and the need to cry is always there – although, she is not sure why. Her home, as was explained, is a small Georgian cottage with browns, greens and yellows; artworks and antiques; books packed onto shelves – not what one might expect from a mainstream star in her young-prime. I have followed her career since the beginnings and seeing her enter a new phase of her life – on the third album – was a brave mood. Rather than flirt with death and stand distant to issues: Welch embraced the need to detach from water-based songs and ground her feet onto the floor. Many would take a sharp breath were they presented with an album that differed from Lungs and Ceremonials – two big and bold records that had plenty of escapism and relief.

PHOTO CREDIT: Samir Hussein/Getty

Not that How Big, How Blue, How Beautiful is a heavy and pathos-ridden experience: it is an album that explores maturity and new challenges in life. Welch, now, is only thirty-one and, since her 2009 debut, has taken in a lot. It is not just the flame-haired goddess who shoulders the entire spotlight – her players and musicians are there with her, too. It is, however, all about Florence Welch and her life. One of the reasons the announcement of new material – what shape that will take, we are not sure – is so thrilling is the fact Welch has managed to record and make sense of her troubles. I can empathise with her anxieties and revelations. She is very honest in interviews and, listening to her speak, she is a very normal and relatable woman. I have included two rather revealing interviews; both are in a ‘showbiz’ setting and there is nowhere to hide. One wonders how Welch camouflages and evolves in a more intimate setting – sitting with a newspaper in her home; safe in her own surroundings. I watch her speak and can see the flicker in her eyes. There are nerves but there is that need to be honest and not hide anything away. The palpable emotion in her voice contrast between heart-breaking and merry-making. Welch is a woman who has sensitivity and fragility: music is a way for her to channel this and project a more confident persona.

There are so many new artists out there but few have the same sense of allure, intrigue and beguile as Welch. Many have compared her to Kate Bush and, in musical terms, there is an aspect of that. I guess we can draw comparisons between them when it comes to conversation and personality. Bush is less troubled – and has not faced alcohol demons and as much stress – but times are different now. Back when Bush starts (1977/1978); there wasn’t the openness of the Internet and the same sort of mainstream/media expectations. Bush is an artist who records in her home-studio and is comfortable in her own skin – that was not always the way; she would have felt the same problems and pressures. Florence Welch is someone who was flung into the limelight and struck a special chord. I can see the comparisons between Bush and Welch. In terms of that bond with nature and the mystical; the intelligent bent and original lyrics – tackling love and self-assessment with great wisdom than their peers. Maybe Welch’s voice is more strident and fulsome – Bush only really started to add that sheer boom to her voice a few albums in – but there are similarities hard to avoid. Both project a curious and sensual figure; both are down-to-Earth and honest; you feel their hearts beat every second they are singing. There is something immersive and entrancing about Florence Welch that makes me think of Kate Bush.

If Lungs was Florence + the Machine’s Never for Ever then Ceremonials might be – in terms of scope and subject, rather than quality – their Hounds of Love. How Big, How Blue, How Beautiful has elements of The Dreaming and The Sensual World. Roughly, you can join dots and lines between the records and see how Welch has progressed as a songwriter. One wonders how her fourth album will sound. You can dispose of the Kate Bush links as, on this record, there is going to be more revelation and honesty than ever – has a Kate Bush album ever been that raw?! I am not sure what subjects Welch is exploring but I would imagine her troubles with anxiety and alcohol will be there. Maybe there will be a slight return to the fantasy and flight of Lungs. Welch has said she is keen to disassociate from water-based themes and the same arcs – not wanting to repeat herself and be that same person. There are few personalities and figures like Florence Welch in modern music. I have seen a few new songwriters I am interested in but rarely do they leap off the page and get into the heart. Maybe that is the sign of the modern age: music is more digital; it allows less time and chance to connect as human beings. Welch is someone who gets under the skin and you feel real affection for.

PHOTO CREDIT: Eric Ryan Anderson

She is a human being who has had to overcome dark days and obstacles: her new music will assess where she is in life and try and move forward. I think Welch has also experienced a break-up fairly recently. Broken relationships have been part of her music since the start but, taking on board everything that has been happening in her life; a dislocated and fractious relationship added extra strain and weight. There are so few like her in music: those humans that can attract you with their incredible music but compel you to investigate who they are as people. Maybe the glare and hound from the press contributed to Welch’s anxieties. Touring demands hardly helped and the fact she was unable to detach from work meant the post-Ceremonials period would have a profound effect on her follow-up record. It has been a couple of years since her third album and, in that time, there has been a lot of touring and press. Maybe the songwriter has afforded herself some time off but one imagines there has been that constant pressure, personal and commercial, to get a new record out. It seems like Welch’s home is a relaxing and personal space where she can dive into books and feel relaxed among the antiques, rural décor and captivating colours of home.

The world outside her home is less predictable and safe. The woman of ‘Florence + the Machine’ is different from ‘Florence Welch’. I worry the young woman might find herself thrust heavily back into the heat of the media very soon. With a new album; the announcement comes and the inevitable barrage of interviews starts. I feel the spoon-feeding nature of modern music means from now and the album’s release will find Welch busy and unable to rest. Rather than release a record, put it out there and tour it; artists are expected to do teaser videos and make announcements; release endless singles and ensure the record is almost bled dry by the time it comes out. It is designed to get streams and downloads; to get ahead of the competition and succeed. It is a lot of pressure on the artist and I feel that kind of stress is something Florence Welch can do without. What is positive is the fact she has a new album coming out – where she can discuss her experiences and show the music world what it is missing. Every Florence + the Machine record is a wonderful and tantalising thing. Whether the fourth record will return to the grace and foundations of Lungs or continue where How Big, How Blue, How Beautiful left off – it is going to be hard to tell. Whatever form this record takes it is going to be a huge and much-needed thing. I know Welch has had to deal with a lot of anxiety the past couple of years and it is a transformative time for her. She has tried the partying and drink; she has done the celebrity thing. These, as she has said, are temporary things and phases: the focus needed to record music and continue to grow is what’s important. This will come to the fore in the new record. It is a time where we need to support the finest and most promising songwriters around and, in Florence + the Machine, we have one of the…

PHOTO CREDIT: Claire Morris/NME

FINEST acts in music.

INTERVIEW: The Blackheart Orchestra

INTERVIEW:

The Blackheart Orchestra

________

THE award-winning songwriters, composers and multi-instrumentalists…

Chrissy Mostyn and Rick Pilkington are The Blackheart Orchestra. The guys are currently touring in Germany and have a load more dates coming - as we, slowly, head into 2018. They talk about their upcoming dates and what we can expect from them next year. I ask about their latest single, Born to Live, and how they manage to fuse Classical elements with sounds of the 1980s. The guys explain how they manage to create a fulsome sound on stage; the music they grew up listening to – and whether they have time to rest this Christmas!

I discover the magic and sound that goes into The Blackheart Orchestra’s immense and symphonic sound; how they got together; how their home-city, Manchester, affects their drive and creativity – a few new artists we need to investigate.

________

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

Hi, we are great, thanks.

Our week has been great. We are currently on tour in Germany - so every city, every venue and every day is an adventure at the moment.

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

We are a multi-instrumentalist duo from Manchester. People say we are quite unique because we fuse acoustic and electric instrumentation with vintage synth sounds and percussion - and mix 1980s Pop textures with Classical.

Artists that we most often get compared to are Kate Bush, Pink Floyd; Florence and The Machine and the Cocteau Twins.

Born to Live is out now. What can you reveal about the track and its origins?

The track was written after going through a pretty emotional time: it is all about fighting back.

There are Classical influences and a nod to the 1980s. Did you grow up around quite a varied array of music? 

Very much so...

Between the two of us, we have vastly different musical backgrounds and tastes - there probably isn’t one artist or one album that we both share. It could have ended in the biggest crash and the shortest-lived band of all time - but, actually, our diversity has enriched everything we do and, by putting such odd ingredients together, we try to create new never-tasted musical flavours (which people seem to like).

I am interested learning how The Blackheart Orchestra got together. When was that moment the band formed?

We actually met in a rehearsal space in Manchester.

Something just seemed to click instantly and, before we knew it, our first album had written itself - and we had a tour lined up.

You are mistaken for an eight-piece act (when people hear you)! You change instruments and have a range of sounds at your disposal. Is it hard keeping a track and producing such a big sound?!

We both play over six instruments each and really enjoy having so many instruments and sounds at our fingertips on stage. It feels like second-nature to us now but I guess, when you stop and think about what we are doing, our performance is like a huge choreographed dance. Every single sound is played live and we move from one instrument to another mid-song; sometimes with each of us playing two instruments at the same time. 

Louder than War recently reviewed a concert and described our stage as “An Aladdin’s Cave of a laboratory for the evening for them to conduct their sound experimentation” – but, to us, it’s just the norm to chop-and-change throughout the set. It would feel incredibly odd now to just play a guitar or piano throughout a whole set.

Your music has, already, gained plaudit and fond focus. How does that make you feel?!

We are incredibly proud to have so many people all over the world listening to, and writing, great words about what we do.

To have our own musical heroes, who we grew up listening to and are learning from, contact us calling our music “inspiring” is just mind-blowing.

Manchester is where you are based. What is the city like when it comes to fostering new artists?

To be honest; it doesn’t feel like we are based anywhere: we have spent most of our time together touring in many countries. But, Manchester has always been a vibrant city full of music with no shortage of places to play - and new talent blooming everywhere.

Is there going to be some more material coming in 2018? 

We have spent most of 2017 touring to promote our new album, Diving for Roses, which was released back in May - but we find being on the road is our most fertile writing environment. We have somehow managed to write the next album so, as soon as we get some downtime, we plan to get into the studio.

IN THIS PHOTO: This Is the Kit

Which new artists do you recommend we check out?

Oh; there’s just so many - but artists that we are enjoying listening to on tour are This Is the Kit, Eivør, Kiasmos and The Great Park.

 IN THIS PHOTO: Kiasmos

Are there any tour dates coming up?

When we come to the end of our tour of Germany, we are almost done for 2017. We have a few remaining dates in the U.K. in early-December.

Nov 20: BERLIN - Oblomov (Germany)

Nov 23: BERLIN - Culture Container

Nov 24: BERLIN - UnterRock

Nov 25: HOYERSWERDA Speicher No 1

Nov 26: DRESDEN - Wulbert's

Dec 2: SLEAFORD - Pickworth Hall (U.K.)

Dec 7:  MANCHESTER - The Cedar Room

Then, we have a full U.K. tour planned for Feb/March, 2018 dates. So far, the dates are...

Feb 5: HAWICK - String Theory

Feb 15: CAMBRIDGE - CB2

Feb 18: BIRMINGHAM - Kitchen Garden Cafe

Feb 23: WIGAN - The Old Courts

Feb 24: STROUD - Under the Edge Arts Centre

Mar 2: MANCHESTER - 3 Minute Theatre

Mar 17: SOUTHAMPTON - The Art House

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

Chrissy: This is such a difficult question! I think mine would have to be Jagged Little Pill by Alanis Morissette

The album is just so raw with emotion…from rage to fragility; it’s such a perfect depiction of how creating music can be so cathartic.

Rick: Disraeli Gears by Cream

I bought it by accident when I was eleven-years-old (I bought it for the cover I had no idea who Cream were). It started my musical journey and taught me how to play guitar.

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

“Be yourself: everyone else is taken..."

I can’t remember who said that - but it is so true. I guess we can’t help but take influence from everything that we hear/see/experience, but it is expressing your own unique voice or view in your own way that makes it your own personal property (and your Art).

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

Christmas is our downtime - so we plan to be still! 

What is The Blackheart Orchestra planning for 2018? What do you hope to achieve by this time next year?

We seem to have gained a lot of momentum with Diving for Roses so I think the aim is to continue to build and get our music to as many ears and hearts as possible. We hope to have a new record ready next year, too - so it’s all exciting times ahead. 

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).

Chrissy: Petrichor by Keaton Henson

Rick: Silver Blue by JD Souther

_________

Follow The Blackheart Orchestra

Official:

http://www.theblackheartorchestra.com/

Facebook:

https://www.facebook.com/theblackheartorchestra

Twitter:

https://twitter.com/blackheartorch

Instagram:

https://www.instagram.com/theblackheartorchestra/

YouTube:

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

Spotify:

https://open.spotify.com/artist/57xpUKi0FMILTqLtg1k8SR

INTERVIEW: Rachael Yamagata

INTERVIEW:

Rachael Yamagata

________

SINCE unveiling her album, Tightrope Walker, it has been…

pretty hectic and busy for Rachael Yamagata. I speak to the U.S.-based artist about plans for new material and what we can expect. Yamagata is from Virginia but based in Woodstock, New York. She discusses the music scenes there and the artists she is influenced by; what she has planned for next year – and how her music has developed and progressed through the years.

Yamagata is in the U.K. and bringing her music to the British audiences. She played Salford last night and prepares to captivate Edinburgh tonight. If you have the chance to see the incredible American in the flesh – there is time to catch her as she makes her way through the country (hitting the Islington Assembly Hall on Tuesday).

PHOTOS: Laura Crosta

________

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

Hi, there. Very good, thanks.

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

I’m a Woodstock, N.Y.-based artist who has been writing and performing songs for seventeen years. I began my music career in Chicago and have spent time on RCA Records, Warner Bros. Records - and now an independent artist working with Thirty Tigers. 

My songs are heartache and tonic for a weary, yet inspired, soul. I love cats.

Tightrope Walker was released earlier in the year. How has the reaction been? What was it like recording the album?

Folks have been really enjoying this record...

It’s new territory for me: more blatantly optimistic, but with a darker, more radical production sense. It’s the first record I’ve truly produced and we went to town with unique sounds – drumming on metal ladders; tracking rain and Moogs, horns and strings; French spoken-word etc. 

We recorded nearly everything in my house - so the vibe was very organic and experimental.

You worked with a few other artists on the record. Who was the most memorable to record with?

We created a bit of a hive among us and had many nights filled with group dinners and fires in the backyard. Many of the musicians have come out on tour with me previously - so it felt like we were on the road again.

My sound engineer, Pete Hanlon, engineered the record and is a genius with lush soundscapes; Zach Djanikian, Owen Biddle and Kevin Salem are also long-time collaborators that brought unique flavors to the album. John Alagia co-produced with me and we have a long history of working together.

I remember him fondly as wearing his winter hat and overcoat inside when our heat went out. We made it through!

Tightrope Walker followed (2011’s) Chesapeake. How do you think the two albums differ?

Chesapeake was an emotional release – a spastic celebration really of going independent. It was very collaborative with many of my previous producers involved. We holed up in a house on the Chesapeake Bay during the summer and made our own summer camp. Most songs were tracked together - and it was very in the moment. 

Tightrope Walker had a bit more of a preconceived vision of mine intertwined in it. A lot of the demos I tracked had parts already mapped-out – but, mostly, I had a different idea of sonics that I wanted to integrate into each track.

Is there going to be new material coming up?

Yes.

This winter I plan to do more recording. I’ve written a slew of new songs and am just wrapping up my tours to give myself time to record.

Tell me about the artists you grew up with. How influential were your parents and their tastes?

My parents introduced me to a lot of the singer-songwriters of the 1970s... 

I was really drawn to a great storyteller who could paint a picture and evoke emotion with words and melody. I loved Joni Mitchell, Cat Stevens; Elton John, Ricki Lee Jones and Paul Simon…in college, I sang in a band (Bumpus) and those guys introduced me to Nina Simone, Tom Waits; Sly and the Family Stone…

Later on, I would discover Jeff Buckley, Led Zeppelin and Rufus Wainwright. I think I’m influenced by artists all over the map - but it always comes back to a good story.

Virginia is where you are based. What is the scene like there? What is the music like?

I’m actually based in Woodstock, N.Y. - but I was born in VA. Woodstock is a wealth of great artists with a lot of history to the town of course. It was the home of The Band, Bob Dylan and so many others. I think the community is a great hotspot for creativity and new music. 

A lot of artists recognize the magic of area - and come up and stow away to write and create.

You have Japanese and German roots. How does your heritage and background inspire your music?

I think growing up with a multitude of cultural influences opened me to the connectivity of humans across differences. I’m fascinated by what connects us through our human struggles - and how it defies any preconceived notions of how we are separate.

You are in the U.K. to do a series of gigs. What was the reason for coming here? Have you played in the country before?

Yes. I’ve done several tours of the U.K. before, but they’ve been spread out over many years. I’m trying to return as much as I can to really serve the fans here. Live performance is such a special thing - and it offers a unique connection to the audience that I love.

Do you plan on seeing sights and having a wander when you are travelling around Britain?

I hope so...

A lot of tours involve travel during the day and full schedules - but we fit in as much as we can.

 IN THIS PHOTO: Diane Birch

Who are the new artists you recommend we check out?

I love Emily King, Lucas Nelson; Emily Kimble, Keren Ann; Diane Birch, The Milk Carton Kids…

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

Joni Mitchell – Blue

Her melodies are so expansive that I always think there is some huge production behind her - and am mystified that it’s often only one instrument and her voice. It reminds me how much space can be filled with a great song.

Rufus Wainwright – Poses

Magical chord progressions; insane harmonies (and just) more magic (magic, magic).

Carole King – Classic

To-the-point. Concise, gorgeous simplicity.

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

Think out of the box. Connect. Follow your crazy ideas - and be true to yourself.

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

Family-time, for sure.

I’ve been on the road consistently for three years straight, and it’s time…

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

Ballad of the Sad Young Men – Roberta Flack

It’s insanely long - but will rip the heart to shreds (in a good way).

_________

Follow Rachael Yamagata

Official:

https://rachaelyamagata.com/

Facebook:

https://www.facebook.com/rachaelyamagata/

Twitter:

https://twitter.com/rachaelyamagata

Instagram:

https://www.instagram.com/rachaelyamagata/

YouTube:

https://www.youtube.com/channel/UCWyS_FZNNDqKNLB7NBHEadw

Spotify:

https://open.spotify.com/artist/7w0qj2HiAPIeUcoPogvOZ6

TRACK REVIEW: Gelato - Breaking the Spell

TRACK REVIEW:

 

Gelato

PHOTO CREDIT: @movementartliam  

Breaking the Spell

9.1/10

Breaking the Spell is available via:

https://soundcloud.com/gelatomusic/breaking-the-spell

GENRES:

 Rock; Alternative

ORIGIN:

London, U.K.

RELEASE DATE:

9th January, 2017

The E.P., Weird, is available via:

https://open.spotify.com/album/0hpRvlItxQYCMVcxGkQKjJ

__________

THIS outing marks a bit of a departure…

but it is going to have some consistency. I shall come to talk about the guys of Gelato but, before I move on, some recommendations for the guys. They, as I will address, a modern band that will inspire so many other artists. I want to talk about Rock and the way it is coming back; those artists who have the potential to move beyond London; how important gigging is – and the bands taking advantage of it – how certain modern acts are inspiring the new breed; where Gelato could head in 2018; the way they, like their finest peers, develop between releases; the future of music and the artists that can ensure years from now. Like yesterday’s review – where I was given some explanation as to the brevity of images – I will take the same task up with Gelato. The guys are not the least attractive boys you will see, so it would be nice to see their face out there more. I will drop my endless campaign for visual representation but, once more, it is a subject that almost saw my look elsewhere for reviews. I will not labour the issue too much but it is paramount we disimpact the problem surrounding shyness and rarity. Yesterday, when it came to my review, the reason there were so few current photos was because the label/artists wanted to bring more photos out upon the release of the new E.P. It got me thinking about modern music and how the listener is spoon-fed information. Listeners and fans browse social media and will be looking for artists to follow. For me; I am seeking reviews and will only consider artists that have a collection of modern and older images. It seems baffling music/releases have become such a campaign and meticulous plan. I know the guys of Gelato are not like that: they are less precise and prefer to release their music with less rigidity. They do not have that stringent – and rather egregious – approach to images and exposure.

I will touch more on this issue but, before then, an urging to the boys to spend some cash next year getting some more snaps up there. At the moment, they have a few shots but there are not that many high-quality snaps that one can discover. The reason I said this review was a departure is for two reasons: for one, the music I am reviewing has been out for quite a few months; the second relates the exception I am making for the band. I am, going forward, not reviewing artists I have assessed before – this is the second time I have featured Gelato – and, when it comes to photos; I am being a lot more stringent and hard. The band has a great look and sense of confidence so I would like to see an array of images for the guys next year. It is not a criticism but a way they can get their music to new markets. The guys have had a busy year and there are some great live shots on their pages. I am confident they will have a triumphant year. One of the ways they can get their music/name to international audiences is getting more photos shot. It will be more appealing to journalists and shows they are keen to get themselves promoted and visible. Maybe their endless touring and hard graft has meant there is little time to get in front of the camera and get themselves shot – let’s hope they set aside time to release new images in the New Year. I will move on to all the positives soon but, right now, I want to talk about release schedules, Actually, when looking at Gelato, they are the antithesis of the calculated and marketed artists who have their music released at exact moments – to make the biggest impact. I have alluded to artists – who have come my way – where I am asked to release reviews on precise days (and interviews); there are a few images for each campaign; new images not released until the next release/campaign. 

I am worried there is too much business and marketing in modern music. I understand the need to get the music out there and make sure it hits hard. If every stage and avenue is slowly fed and planned precisely; it means music is too serious and lacks the naturalness one desires. I love musicians – like the artist I featured yesterday – but was annoyed there were only a few photos; the only way new ones were coming would be with a new release. One of the amusing things about this review is the fact the E.P., Weird, is nearly a year old. I can’t remember when the guys approached me to review their new music – it must be a few months ago now. What I admire is they are not with a label/agency that is too concerned when the music is reviewed. There are no strict deadlines and, as you can tell from the dates/review; the music I am featuring has been out there for a while. It would seem rather if a proper-good Rock band were that business-minded and organised. I love the loose approach of Gelato and wonder, as I review their latest material, what they are planning now. The guys have a fantastic sound but I am curious – before I come to my next point – how they can get more fans. Their Twitter numbers are not too bad but, to me, they warrant a lot more attention. Maybe getting involved with Spotify playlists and hooking up with other artists there – making playlists with other bands who will, in turn, reciprocate the gesture. Maybe contacting venues and radio stations and getting their music played. The band have been busy performing and getting their music to the people. Another aim for 2018 will be getting those social media numbers up and putting the feelers out. Gelato have a terrific sound and, like like-minded Londoners such as Duke of Wolves, they are creating music that is pushing Rock forward.

I would like the guys to hit a four-figured Twitter following next year; get more bodies into their Facebook; get their music heard on stations like BBC Radio 1 and BBC Radio 6 Music. Maybe they have been featured here before but, as they aim and dream of 2018, those would be realistic goals. If they combine all of this – and get some more photos up – they will mark themselves as a force to be reckoned with. I shall return to some more backseat-management in the conclusion but the reason I do is because I know how good the band is – I would not bother hectoring an artist if I felt they were unworthy of that energy. I have been a little harsh and cold on Rock this year. The mainstream is the platform for bands/artists and, if the ‘best-of-the-best’ is not up to scratch; that enforces your opinions on everything else. I know there are some stunning bands like IDLES emerging: one of the best bands in the country who are melting Punk and Rock together into something unique and fascinating. The mainstream Rock scene has been a bit patchy this year. On the one hand; there have been fantastic releases from Queens of the Stone Age (Villains) and IDLES (Brutalism). I consider those albums the strongest Rock/Alternative offerings from this year. There has been some much-hyped and potentially promising L.P.s from Foo Fighters, Royal Blood and The Amazons. The latter is a newer band who were tipped for big things – before they unveiled their eponymous debut. Royal Blood took an eternity following up their self-titled debut – the resultant How Did We Get So Dark? impressed some but, for me, failed to move on from their debut; it provided fewer gems and left me feeling aggrieved. The same could be said of Foo Fighters who have endured through the decades but are long past their best. I am seeing some better artists in the underground.

I have mentioned IDLES – lest I compare them to Jesus – but they have resurrected a faith in me. I know there are fantastic newer Rock/Indie bands like Duke of Wolves, REWS and IDLES. The first two are less-heard-of and are making big strides right now. Even if the most-spotlighted and promising Rock bands in the underground are from London: there are plenty further north who will make a big step in 2018 (maybe the media will be slower getting up that way and giving them their dues). Gelato remind me, in a way, of Queens of the Stone Age and Muse. They have the grumble, desert crawl and concrete of Queens’; they have epic strings and the bombast of Muse – perhaps a little more concentrated and concise than Matt Bellamy’s outfit. Weird is an E.P. that moves on from Gelato’s previous material and adds new threads. They have not abandoned their hallmarks and core but have stepped out of the shadow of Queens of the Stone Age and creating more of an identity. I am determined to get Rock put into the forefront next year. I feel there are too many who assume the genre is dead and past its best days. Some of the mainstream examples have not helped this point: the need to get the best of the underground into the fray is essential. Other genres are taking glory so it seems essential Rock is provided oxygen and proper respect. Gelato are one of those bands who is taking steps in the capital and getting their faces out there. They have recently played with Duke of Wolves and getting a lot of buzz from crowds. I feel, when the guys release more material, they will get a lot of demand from other parts of the nation. It is great their new tracks are making impressions in London: making sure they aim for other parts of the U.K. is paramount. I know they will do this because their exciting and electric performances are thrilling London’s eager fans. I feel Gelato are a band who would love to do some international touring and take their music to nations such as the U.S. and Australia. I feel the former is a nation they can succeed in.

I am excited seeing how the guys have moved on. Since their E.P., Daydream, they have incorporated new aspects and become more confident. I can tell the boys have gained a lot of experience from the stage and picked up assets and aspects from other acts. Their music is broader and ventures into fresh territory. It is vital artists get on the road and do not spend too much time on social media. Maybe Gelato need to spend a little time on social media and getting more bodies in but they are having a ball on the road right now. Their live act is exhilarating so it is no surprise they want to keep that going. What amazes me is how the guys are able to keep the energy high but learn from every performance. They do not repeat themselves and, when it comes to lyrics/sound, each E.P. is a fresh revelation. I think the reason their latest E.P. is so strong is because they put the hours in and learn from the stage. They gauge reaction to their previous material and, when the crowd reacts, they are getting ideas and guidelines for future material. I feel too many acts repeat themselves and think the public want the same thing all the time. That is a problem that has blighted bands like Royal Blood and The Amazons – too incredible live acts who have not provided too much variety and depth in their studio material. Royal Blood are one of the best live acts out there but there is something lacking on their albums. Gelato manage to create a strong live show but give a different experience on an E.P. This will inspire new artists and give them guidance. If some of Rock’s ‘best’ have created a bit of a damp smell: there is a lot more hope with the approaching breed. Gelato are among the foundations of new Rock/Alternative that have proper talent and longevity. There is more colour and interest when you hear Gelato – music that gets into all parts of the body.

I am worried the hyped mainstream is not the best examples of the genre. By that; I mean there are too many false idols and acts that are not worth their weight in gold. If we want genres like Rock to survive and inspire; we have to spend more time heightening and discovering the true originators in the underground. Many feel IDLES were overlooked this year and did not get the nods they deserved. I feel the Bristol band will have a lot to say in 2018 and, let’s hope, they are provided adequate reward and kudos. Gelato are another band who will compel and intrigue the bands just starting out. Many bands are picking up their instruments and looking for guidance and ideas. If they are following the mainstream and acts that have created so-so albums; that will mean their career is going to be quite a struggle – unable to craft their own path and produce anything genuinely new. Let’s get out of the mindset that the commercial and mainstream are the way forward. I think the hungry and hard-working newcomers provided greater explosion and potential. I have noted how the band has progressed between E.P.s. I have been following them since 2015 and can see the evolution unfold. It would be primed for a David Attenborough voiceover: a band who have swam through the undergrowth and walked into new lands. Weird is a different beast to anything the London band has done before. I would worry if Gelato repeated themselves on their latest release – that would be a bad approach and mean their popularity would stagnate. At the moment; the guys are picking up fresh ears and getting under the radar. Next year will be a big one for them and I would not be surprised if another E.P. were to arrive. Maybe they are ready for an album because, with every year, they grow in stature and ability. They have conquered the stage and seem determined to hit arenas and big festivals in years to come. That is a possibility and something they should prepare themselves for.

I shall move onto a cut from their latest E.P. but, before then, the way bands like Gelato can progress and sustain. I know they take a very serious approach to live performance and are gaining invaluable life-skills from the stage. I shall allude to photos and social media in the conclusion but I recommend the boys broaden their horizons and take some ideas from other artists. By that, I mean there are inventive ways they can market and promote future music. Cassettes are, oddly, coming back in and many acts are releasing music this way. If they were to think of a single after Christmas – it would be nearly a year since fresh material – they could consider ways to separate themselves from the crowd. Maybe a new way of recording on vinyl; an oldskool cassette release or an original marketing campaign. It would be good to see them continue to play in the capital but get themselves up the country – combining conventional venues with some slightly less obvious stages. Perhaps they could combine with other artists and get a female voice on one song. I know their budget is tight so they could not do anything too ambitious. There are inventive and original ways they can get their music out there. Like Queens of the Stone Age – a band they take guidance from – they could bring new instruments and sounds into the fold. The music Gelato are putting out is fantastic but, in order to get to the top of the game quicker, they need to consider some fresh elements and movements. I keep saying next year will be a big one – it really will be. Too many bands keep the same sound and do not change things up. The industry is cruel and will afford little love to those who do not provide change and promise. I shall move onto a fantastic song but some things for the Gelato guys to ponder, perhaps.

In past days; Gelato would have gone straight into the song with teeth and menace. Here, on Breaking the Spell, there is some irony. They have rebelled and moved fromtheir past instincts and provided greater calm build on this track. The strings lightly twang and hover in the atmosphere. It has a shadow quality and a sense of romance, actually. The listener is hooked and interested by the graceful and teasing sound. It brings you in and makes you wonder whether there is an animal lurking in the shadows. Parping, coughing strings have a bit of fuzz and grumble. It is a perfect pairing with the delicate and straight aspect that introduced the song. The curiosity rises and the percussion joins the fray. Our hero is being turned upside-down and around; he is on a rollercoaster and trying to fight against oppression. One of the issues I have found with Gelato’s recording is the vocal clarity. A lot of times, the words are either buried under the composition or a little drawled. The reason I am reviewing the band is because all the layers and effect come together brilliantly. The lyrics do get a bit distorted but one can extrapolate from context. The band are one of the tightest around so it is no surprising discovering an exceptional composition and gale-force blast. The percussion is sturdy and commanding whilst guitar/bass riffing gives the track some studs and heels. It is a swaggering and chest-out song that will make the body move and get the crowds uniting. The hero switches vocals between Josh Homme-like low notes and some pure falsetto. It is a shift and contrast that gives the song restlessness and energy. Illusions and confusions swim in the mind; there is the need to break away from a life that is causing stress and tangle.

One picks out certain words and phrases but it is the delivery and intensity coming from the front that gets under the skin. The vocal has more in common with U.S. artists than local sounds. Maybe one detects bits of Dave Grohl and Josh Homme but there is a great sense of personality from the vocal. It contains plenty of heart and fortitude; there is the need to find peace and change; some anger and snarl coming from the tongue. The teeth are out but, rather than go on the attacks; our man is making sense of things. Maybe the inspiration comes from relationships and domestic strife. I wonder whether there is a romance breaking down – or the band is addressing something broader and more universal. Few can escape and evade the funk and sass of the song. The chorus is one of the finest the band have created in their career. They have always been fine crafters of the chorus, but here, they have formulated something hypnotic but restrained. There is more composure and reflection. Rather than go for the gut and attack constantly: we get textured strings and brooding contemplation. Secrets are coming out and events have reached breaking-point. However you interpret the song; it will get into the head and compel interpretation. I was imagining the hero struggling with a relationship but trying to make his way in the world. Maybe he has his own way and dreams; society is not letting him fulfil and do things his own way. There is a lo-fi charm to the song that means its raw and granite voice remains intact. It sounds like the song is coming from the stage: too many modern Rock bands give their songs so much polish. By the end of Breaking the Spell; you go back and dig deeper into the song. Even though the words get lost in places; it is a fantastic offering from a band always growing and changing. Their E.P., Weird, is a move forward and departure from their previous work. Not as hook-driven and intense as their previous work: here, there is more maturity and complexity working away.

It is another solid and fiery release from the Gelato crew. I have been following them since the beginning and impressed at how far they have come. A band that is not beholden to trends and the lure of commercialism. They are doing things their own way and, in doing so, inspiring other artists. Weird is a three-track E.P. I recommend you all get involved with. The guys have been playing in the capital recently and will be winding-down for Christmas. I know this year has been very busy for them but they must have plans for 2018. I know they will think of new material and I think they should up their game. That is not a commentary on their quality but it regards their social media and touring aims. They can get some more images shot and think about getting out to new audiences. I think international touring would be a possibility. Maybe getting their music to big radio stations and putting some thought into a marketing strategy. I have said how I dislike the business and over-engineered aspect of new music. Artists who release material and do it in stages are the ones I will rarely get behind. Coordinating photos and promotion is something that music can do without. There is something refreshing and compelling about Gelato. I have come to their new music rather late – their ‘new E.P.’ is quite old, now – but I admire the fact the gang are not too stressed about having reviews released at the moment of release – happy for journalists to approach their music a bit further down the line. I hope this aspect of them continues undented but there is much territory for the guys to claim next year. They have bags of talent and are one of the best new live acts in London. They are proving their worth at the moment and have the promise to get to the mainstream very soon.

PHOTO CREDIT: @movementartliam

I hope they manage to put some new material out next year and keep the momentum hot. There are so many Rocks acts who do not change their sound and copy what is already out there. There are some familiar strands when you hear Gelato but, riding over all of it, is a unique group who are not willing to fit too easily into the conventional. There is an oddity and a strangeness that appeals the darker side of the psyche. Their riffs are meaty and the percussion slams; the strings twang and spike; the vocals have real grit and depth. I am compelled the follow the band and, whilst I will not be reviewing them again, I will ensure I keep my ears trained and eager. As we move into the next year; many will wonder whether Rock can produce the good and get into the head. This year has not been a great one for mainstream Rock. The best results have been from the underground and the newer artists. I hope the balance swings and more attention is provided to the best young hopefuls. I mentioned how IDLES were overlooked a lot: maybe that will all shift in 2018?! What I do hope is people realise there is a lot more appeal and potential in Rock/Alternative than you’d imagine. There is colour and excitement; something different and appealing – plenty to recommend, for sure. I shall wrap this up but have found myself coming back to Gelato and their E.P., Weird. It is a fantastic offering from a young act that want to remain on the scene for a very long time. If they keep releasing songs like Breaking the Spell; they have the potential to do that…

WITH ease.

_______

Follow Gelato

Official:

https://www.gelatomusic.com/

Facebook:

https://www.facebook.com/GelatoMusic/

Twitter:

https://twitter.com/gelatomusicyeah

Instagram:

https://www.instagram.com/gelatomusic/

SoundCloud:

https://soundcloud.com/gelatomusic

YouTube:

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