INTERVIEW: Ina Reni

INTERVIEW:

 Ina Reni

________

THE incredible songwriter Ina Reni…

is not a new name to me. I have been following her music a while - and am excited there is a new track/video out. She talks to me about her current track, Tiffany, and what comes next in terms of music. I ask about her previous song, I Thought You Were Gay, and how her music embraces the humorous and original. She tells me about her Christmas plans and the music she followed growing up – and working with producer King Kanobby on Tiffany.

Ina Reni lets me into her plans and past; some of the new artists worth our time; details about her her forthcoming E.P., Down to Mars – and what advice she would give to new songwriters.

________

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

My week has been very good!

I came back to London on Tuesday and, since then, I’ve had a few meeting; did two interviews and some other music video promotion stuff.

Overall, it was a calm week: one of the first calm weeks in a very long time. 

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

I am a London-based singer-songwriter - and I make Pop music with some Alternative influences.  

Tiffany is your second single – it was released in October. What is it about? Is it based on personal experience?

Tiffany is about a situation in which you don’t feel appreciated enough by your partner - and then kind of go the extra mile just to make sure he knows what’s going to happen if he doesn’t step up his game. But it’s more of an easy, light-hearted song. I wanted to explore the idea in a kind of funny, exaggerated manner; therefore, I added all the luxury lifestyle references (“Tiffany deliveries”).  

The song wasn’t really based on a specific situation or person - but I do know the feeling.

It seems like your songs look at relationships and put a humorous spin on them. I Thought You Were Gay had its tongue in cheek – it seems like Tiffany has a similar approach. Do you think most artists write about relationships in a very literal and predictable fashion?

Well. I’m not sure about ‘most artists’ but there are definitely a lot of songs out there that are written in a very predictable way...especially when the love/relationship topic is involved.

I have been in sessions with songwriters that had quite successful careers and, after we finished the melody-line, they would say: “Okay…and now let’s just write the typical love blah-blah like “Baby I want you, tell me that you want me too”… and then ended up putting something together that had no soul in it/no cleverness/nothing. Don’t get me wrong: there can be a lot of value in simplicity and I can think of a lot of examples where songs have a very strong emotional impact on you - even though the lyrics are by definition quite generic.

But, as a listener; you can just feel when there is nothing behind it…and I’m not a fan of that. 

How and where was Tiffany written? What was the process like? Did the record come together quickly?

Tiffany was written in Inglewood, Los Angeles. Me and the producer wrote the song in about twelve hours - because we were scheduled to write one song a day, and, so that’s what we did. My producer has a great passion for weed (which is legal in California) so I recorded the song surrounded by marijuana clouds…

Unfortunately, I’m unable to get high - so it just made me cough all the time! It was a fun session though; one of my best days in L.A.

Who produced the song? What qualities are you looking for in a producer?

The song was produced by King Kanobby; who currently works a lot with the A$AP Mob collective (A$AP Rocky, A$AP Ferg etc.). He is usually more involved with Hip-Hop records but, to me, he seemed appreciative of any kind of genre - as long as it’s a great piece of music.

What I am generally looking for in a producer, apart from the obvious, is a high degree of musicality; the absence of ego-related issues and, also, a certain amount of courage to do things differently. I think it’s very important that everyone involved feels like they have the space to try things out - to make sure the song becomes its best possible version.

I believe your E.P., Down to Mars, is out next year. What kind of themes/stories will you be addressing? Can you give us any details about the meaning of the E.P. title?

Down to Mars is a record that deals with the question: What do I really value in life and what standard am I prepared to settle for? In the songs; I raise those questions in a career-context, but also in a relationship context. To be honest, I have very high standards in both and - especially with regards to my career ambitions - I know a lot of people would rather have me set the bar a bit lower; be realistic etc. That’s where the title ‘Down to Mars’ comes into play. I consider myself quite an unpretentious, ‘down-to-earth’ person - but I made a conscious decision not to limit myself to the boundaries of what society considers normal/ordinary/'the right thing to do in my position'. Not because I’m trying to make a point, but because it’s me who has to live this life I’m building.

So; I want to make sure I’m happy with it…

Can you tell me about your childhood and music? Did you grow up in a musical household?

I did not, per se, grow up in a musical household - but my mother was always exposing me to Classical music. Apart from that; I played the accordion as a child and even had some little concerts with it…for example; in one of Berlin’s most important revue theatres called Friedrichsstadtpalast.

As a music consumer; I have always loved a wide range of genres; especially Pop, Jazz; Classic, Hip-Hop and Funk. 

Who are the artists you were fascinated by when you were growing up?

To be hones; I often detached music/songs from the artist. I was fascinated with specific songs - but not so much with artists. Also, you have to remember, I didn’t speak English back in the day but most songs in the German charts were in English - so it was hard to build up a real connection with someone’s artistry.

But, to still answer the question: I guess, as a child, I was mostly fascinated by artists like Britney Spears and their perfect Popstar life.

On a similar note; who are the new artists you recommend we check out?

I think Billie Eilish is a really cool new artist. I like her song, Bellyache, and, funnily enough, she also has a song called I Wish You Were Gay - which has a really interesting concept.

Other than that; I can recommend a Swedish artist called foreverandever. He’s got a song called so guud that I listen to on repeat. 

IN THIS PHOTO: Billie Eilish

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

I am not an album-person; that’s why I’m gonna name the three songs that mean the most to me. 

Astrud Gilberto - The Crickets Sing for Anamaria

When I was thirteen-years-old; I had to spend quite some time in hospital because of a severe virus infection. I listened to that record about fifty times every single day - and it made it all much easier.

Jill Scott - Love Rain

The way that song lyrically explores the dynamics of a relationship has always really moved me.  

Sufjan Stevens - For the Widows in Paradise

I think this is a religious song at its core and, though I am not religious myself, I find a lot of comfort in it; especially when I need to come to terms with difficult situations. The line “I did anything for you” at the end is a good example for a, by definition, generic lyric that becomes very powerful through its lyrical and melodic context (referring back to what I talked about in the first question…).

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

Release music. Put yourself out there and don’t put all your eggs in one basket.

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

I think I will do a show in January - when I put out my next single - and one in March for my E.P. launch. I don’t have specific dates yet. If you want to make sure you don’t miss any upcoming gigs, I recommend signing up to my newsletter.

Otherwise; as soon as gig dates are officially announced, you will find them on my website.

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

Yes. I will go home to Germany and spend Christmas with my family - like every year. I have never worked as hard as I did this year and Christmas is the time when I will finally take a break from all that. 

I know you have a make-up/beauty-related YouTube channel. What was the reason for starting out? Will you be releasing a lot more videos in 2018?

I started my YouTube channel in the end of January (2017) because at the time I felt really anxious about the progress of my music career - and I just wanted a side-project that could, maybe, one day help support me, financially. Ironically, this project became way more successful than anything I ever did with music.

I’m usually posting one video a week - and I intend to keep it like that in 2018... 

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).

The Virgins – Rich Girls

________

Follow Ina Reni

Official:

http://inareninow.com/

Facebook:

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

Twitter:

https://twitter.com/inareni

Instagram:

https://www.instagram.com/inareni/

YouTube:

https://www.youtube.com/inareni

SoundCloud:

https://soundcloud.com/inareni

INTERVIEW: Rosko

INTERVIEW:

Rosko

________

I have cranked the Geez-ometer up to eleven…

to accommodate Rosko! We are getting a bit Spinal Tap here but it is unlikely you will find the red-hot band getting lost on their way to the stage! They are a focused and funny crew that bring laughs and character to this interview. Bruce (the man with long blonde locks) from the band talks about their new banger, Snifter, and its martial arts-themed video; what themes compelled their new E.P., White Stilettos – and whether there are any gigs or plans for the remainder of this year.

I find out what is making Bruce lose his nuts; how the boys all came together; the various music tastes of the members – the lads select an album that means most to them; a choice song they feel will make our day a bit brighter.

________

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

Bruce: This past week's been quality.

We had our E.P. launch - which went down a treat. Everyone's in a really good place.

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

We're Rosko. Bruce on the mic; Simon on the guitar; Perry on the bass and Snake on the drums. We make the sound of the R&Geez - a blend of Punk, Hip-Hop and Ska...often accompanied by very beautiful dance moves. 

Where did that band-name, ‘Rosko’, come from? Is it a Dizzee Rascal nod – or does it come from somewhere else?

Epxcs, from Mini Kingz, said the same thing about the Dizzee reference - but it actually comes from a character in a book I read (when I was in Benidorm) called The Choirboys. The geezer is called Roscoe Rules; which I thought sounded cool...and it has other connotations in my head, too - like that American chicken shop, Roscoes…or when they used to call a gun 'the rosko' in old movies. We dropped the 'rules' and changed the spelling to make it sound a bit more European - like our very own Simonas from Lithuania.

Snifter is hot-off-the-blocks! What is the story behind the single?

The story of the song and the video are actually quite different.

The song is about a night out we had a while back where we ended up getting ourselves in a bit of a moody situation with these blokes...one of those ones where you sit down and the songs done in ten minutes.

For the video; we wanted to do something more interesting, though. Our boy, Sej, came up with the Kung-Fu movie theme; then Simon sorted out the storyboard. 

The video was directed by Victor Kovachev. It looks like a blast to film – almost like a modern-day Beastie Boys track! What was the shoot like?

Shout out Victor: he's a G; he made the vision happen.

The shoot was quite ambitious as we had to do everything in one day but, once Snake transformed into Dean-Claude-Can-Damme; it was smooth sailing. We got quite a lot of strange looks walking around East London - but no one wants it with a group of boys with plastic weapons.

What are the themes and origins that kick-started the E.P., White Stilettos?

The main theme of the E.P. is about doing exactly what you want to do; being who you want to be - and not listening to what other people tell you. It didn't come about in some Genesis concept album-way: it just sort of happened that the theme ran throughout every song. We wanted to flip the whole 'white stilettos' thing from a bit of a stereotype/mug-off to something more relevant to today because, as far as I can tell, not even many Essex girls wear those shoes anymore...

Let's put on our classics and we'll have a little dance, shall we?!

The E.P. was launched in Hackney (on 16th). What was that gig like? 

That gig was a proper tear-up. Loads of our people came down and got involved - which we love them for. The fact we put on our own night off our own backs and actually made it work is pretty crazy.

Luckily, we have a lot of talented pals who helped us out massively.

How did you guys all get together? What was it that attracted you to one another? 

We all just met through mates…

I think the best thing about us as a band is that we're all similar in some ways like we're working-class boys: like going for a drink, going to the chippy but, also, we're very much our own people - and that's what makes us work. We all come at things from very different angles and end up meeting in the middle, somehow.

You have been compared to the likes of The Streets. Is Mike Skinner an influence? How do you feel about him doing more touring?!

Mike Skinner is my idol, mate.

I've got his lyrics on my skin. I said in a conversation, if I could see anyone perform dead or alive, it would be The Streets – but, from reading his book, I thought it would never happen. So, when I heard he was touring again, I lost my nut! Hold tight, Hazza for copping us the tickets - as none of my boys managed to get one! But this reiterates my earlier point about us being different: none of the other boys are as into him as me. Perry loves the Arctic Monkeys: without The Streets, you wouldn't have them…

It all meets in the middle.

It seems few bands project humour and reality. Apart from Jamie T, The Streets; Sleaford Mods, perhaps – has music got too serious and predictable?! 

Music is definitely serious right now...

People are too focused on being cool and moody in their leather jackets and that; so you don't see any of their genuine character - it's just all grey. I hate hearing a song that sounds like it's been written because you think you should be writing a certain style or sound. It gets on my nerves - if I have no idea where you're from as well. If you're from Bolton: why are you singing like you're from Boston?!

I didn't realise how much this actually got on my nerves until answering this question…

It seems like classic British music, and the sounds of the 1990s, compel you most. Would that be fair to say?!

We are 1990s kids from England (other than Simon – but, obviously he's a cockney geezer now, too) so the whole Oasis/Blur era is definitely a massive influence - as well as older stuff like the Clash and Madness. But, we have a lot of different influences, too. Snake loves his Funk and Dance; so he often goes a lot more groovy and skippy with the drums - than you might expect when we start writing a new song. Simon might shuffle from Action Bronson to Leonard Cohen

It’s a big old melting-pot.

IN THIS PHOTO: Oscar #worldpeace

Who are the new artists you recommend we check out?

Definitely Oscar #worldpeace; slowthai and Epxcs. I've been listening to a lot of Mist - and Hak Baker is cool, too.

IN THIS PHOTO: Epxcs

Our boy, Murkage Dave, has got some new stuff bubbling - but he's, obviously, not a new kid on the block. 

Anyone really (just) doing their own thing gets my vote...

IN THIS PHOTO: Murkage Dave/PHOTO CREDIT: Kevin Jordan

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

N.E.R.D - In Search of... (Mixes)

So many different styles - and it still manages to sound cohesive and well influential. 

Simon: The Libertines - Up the Bracket

Rowdy mosh-pit-music at its best - but with really poetic lyrics. 

Perry: Arctic Monkeys - Suck It and See

Old-school-vibes-made-modern.

Snake: Michael Jackson - Thriller

The best album ever made. Fact.

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

Bruce: Don't take advice from idiots: just do your thing and have fun with it.

What is your touring schedule looking like? Where can we see you play?

Our next gig is 21st December at The Monarch in Camden. Everybody get-down let's get loose.

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

Christmas is family time, mate. I dunno about the other boys - but I'm gonna be seeing mine and eating all the gravy dinners I can.

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).

Kano - Brown Eyes

 

Simon: Tricky (ft. Martina Topley-Bird) - When We Die 

Perry: Nirvana - Serve the Servants

Snake: Wham! - Club Tropicana

________

Follow Rosko

Facebook:

https://www.facebook.com/roskotheband/

Twitter:

https://twitter.com/roskoband

Instagram:

https://www.instagram.com/roskoband/

YouTube:

https://www.youtube.com/watch?v=J20WTQzodXk

Spotify:

https://open.spotify.com/artist/7LJPBptX5zk8P6g1BVIGZX

TRACK REVIEW: Swine Tax - Feels Like

TRACK REVIEW:

 

Swine Tax

Feels Like

9.5/10

GENRE:

Indie

ORIGIN:

Newcastle-upon-Tyne, U.K.

RELEASE DATE:

6th October, 2017

Feels Like is available via:

https://www.youtube.com/watch?v=HlYeh37oLn0

__________

IT is back to the world of the band…

PHOTO CREDIT: Chris Crowder

and a fantastic northern force that has potential to do some big things in 2018. I might tread on some worn ground now but, when speaking about Swine Tax, I will look at the North and why more eyes need to come that way; embracing sounds of the 1990s and the U.S. guitar revolution that occurred; D.I.Y. and making sounds that are accessible and widescreen; pushing into new grounds with every release; bands that perform huge sets in the live arena; why next year will be a pivotal year for bands – and young bands who are afforded honours and privilege early in their career. I am new to the wonders of Swine Tax but, looking at their name alone, I am compelled to look closer and see what they are all about. Yesterday, I published a feature that revealed my album of the year: it was Lorde’s second record, Melodrama. It is no shock that album came top of my list. It is a masterful work from a young artist who fits into the modern Pop mainstream but provides music far richer and more eclectic than her peers. I was amazed by the sheer vitality, imagination and intelligence of Melodrama. I looked at the rest of my top-ten (greatest albums of 2017) and, aside from Queens of the Stone Age, the majority of records made were from solo artists. I love IDLES – although they did not make the list – there have been few band-made efforts that come to mind. I wonder why that is. I have been thinking and, aside from the solo market getting the most attention, I find many mainstream bands are not pushing their sound between albums. I have been disappointed by the likes of Foo Fighters and Royal Blood this year – although the latter can be seen as a duo, strictly. Apart from them; it is hard to think of any bands (four-piece or higher) who have crafted an exceptional album.

It is a bit worrying but I feel the new breed are making steps to rectify this issue. I mentioned IDLES – who are making their way to the mainstream – but there are others trying to make their mark on music. I have been listening to Swine Tax and it has been giving me food for thought. I feel sticking with the current Indie/Alternative sounds – aimed at stadiums and composed of generic riffs and little originality – is all good and well if you want to fill seats. If you want to inspire the new generation and push music forward, you need to go further and stop copying everyone else. The likes of Foo Fighters are showing a little fatigue at the moment – even if their latest, Concrete and Gold has been reviewed positively – and there are too many bands mimicking their sound and assuming that is the way forward. I am slagging Foo Fighters off a lot but it is not their fault: a lot of bands are going for arena sell-out rather than creative wonder and brilliance. I have just seen Queens of the Stone Age play in London and was amazed by their set – a tough, muscular and tight performance that enthralled the crowd. They have endured and continue to amaze because they can push their sounds and evolve. Not only that, but their personalities and mannerisms retain the flair and rebellion of Rock. I find there are too few personalities and great figures leading bands at the moment. That will change when we allow the likes of Swine Tax to come to the forefront. Not only does each member have their own identity and explode from each song: their music gets stronger with each release and takes in new elements. It is early days for them but, on their fourth single, they have broken new ground and taking in new strands. One of the reasons they are turning heads is because of the decades/genres they build into their own work.

When reviewers have come to their work; the likes of Pavement and The National have been mentioned. They might not seem like easy bedfellows but both bands have released stunning records and created music you cannot compare to anyone else – I forgot to mention The National when highlighting great band-made albums from this year! I find Pavement are a much more relevant and worthy name one should link with Swine Tax. I will move onto new themes but, before I do, a chat about U.S. guitar-bands and why we should look back at the 1990s. I know I mention the 1990s a lot but, when thinking about the best music around at the moment, I am finding previous decades being brought in. The most fantastic and inventive Pop looks back at the 1990s; some of the newcomers in Hip-Hop and taking from the 1980s and 1990s – when it comes to guitar-bands and the most immediate sounds; I can hear the 1990s come out. Pavement are a band who, ironically, helped to kick-start Blur back in the 1990s. They were going through a creative lull after they brought out The Great Escape in 1995. Riding a high after Parklife: the Britpop battle swung to Oasis after the Manchester act released the peerless (What’s the Story) Morning Glory? Both bands were even and matched in 1994:  Blur with Parklife; Oasis with their debut, Definitely Maybe. Oasis gained the crown in 1995 but that would all change two years later. Oasis brought out the much-hyped and overrated Be Here Now: Blur brought their eponymous album to the buffet. Blur is an album many see as a high-point and defining moment of 1997 – a record that revitalised Blur and got them back into the critical bosom. Blur, around this time, were on the point of splitting and needed fresh impetus. Graham Coxon (their guitarist) suggested employing shades of U.S. bands like Pavement – you can hear it all over Blur’s self-titled smash. This might sound like a lengthy detour but Swine Tax, in the way they bring bands like Pavement in, have the potential to add a kick and new life to the guitar sounds of today.

There are great Punk bands in the underground but few who manage to summon the majesty and magic of Pavement; combine that with modern relevance and retains some unique edge. Parquet Courts are another band Swine Tax have been compared with. All of this is very strong and impressive but I guess we cannot get too hung up on comparisons and sound-alikes. The northern trio are making their own way and forging their path. What amazes me is how Swine Tax they push themselves with each single. Many bands start rigid and never really unearth anything new with each release. They strike some sort of gold and feel no need to offer changes further down the line. It can get rather formulaic and it is hard to get out of that mindset. Mainstream artists, to an extent, can afford to take that approach these days. Many listeners are looking for something familiar and relatable when it comes to their favourite band. I wonder whether there is a risk doing something new with each album – will critics judge harshly or turn elsewhere?! I am tough on modern bands but know there is critical expectation and many are quite tough to read. That can make it difficult for newcomers to judge what is favoured and how they should make their music. Swine Tax are playing in the local scene but will want to get their music out to the national audiences. They are looking at the mainstream and wondering how they will fit in. Do they follow the course of stadium bands like Foo Fighters or go with something raw and different like IDLES? I feel the underground and unsigned are the most promising when it comes to great band music of the future. I know there are some terrific bands coming through the mainstream but their best days are a few years down the line. The likes of PINS and The Big Moon are terrific examples of where music is heading; what we can expect to see in years to come.

Even though a lot of the best albums of this year have been from solo acts – duos and trios – I have faith there will be a revival. Swine Tax are one of those bands who can join the best before too long. Most of the bands I assess have the ammunition to go a long way and make genuine changes. Not only do Swine Tax have a fantastic combination of 1990s U.S. guitar and modern-day Indie; they have a fantastic D.I.Y. aesthetic to their material. They do not rely on the modernity and techniques of the modern studio; the guys have that raw aspect and manage to make something recorded sound like a live performance. Not that the boys are putting everything onto four-track and sound like Daniel Johnston: they are not the gaudy, polished bands whose days are numbered and rather dull, either. What we get is an independent spirit with the promise of making a genuine impression in the mainstream. Feels Like is a cut that builds off their foundations and finds them stronger, more focused and inventive than ever before. Most great bands tend to make big leaps after a couple of albums or so. The fact Swine Tax are making big leaps this early is really exciting. I feel one of the reasons they are making these improvements and steps is because they refute the shine of the modern studio and are crafting songs carefully. They have democracy in the band and are keeping their ears to the ground. There is a great local scene where they are and, when they play their songs live, they are getting that feedback and reaction – know what works and how the audiences are responding. I feel another reason why Swine Tax will do well in the future is as they come from the North. The Newcastle-upon-Tyne band is in an area of the U.K. that produces exceptional music but is being overlooked by the media. We all know there is that dependency on London and sounds coming from the South.

I have always been worried the North is neglected and living in poverty. It is rather ironic the North-South divide regards wages and living conditions seem to reflect in music, too. There are so many fantastic artists coming from the North and we need to be more aware of what is arriving and music further north than London. The Animals and Lindisfarne are from the same neck of the woods as Swine Tax but, these days; there is a lot more diversity and possibility in areas like Newcastle-upon-Tyne. Fantastic local venues like Think Tank? are providing space for new artists to cut their teeth and get some experience. I have never been as far north as Newcastle but I am listening to stations like BBC Radio 6 Music and hearing newcomers from the area giving airtime and applause. There is less money in the economy of the North and fewer media bodies getting themselves up there. One feels this privation and negligence is forcing many acts (from there) to come down South and move to cities like London. We cannot have an environment where artists are being neglected and all the focus is trained on London. Not only are a lot of international artists moving to the capital; we are seeing acts from other U.K. cities migrate and find new impetus in London. This is disappointing but I hope Swine Tax remain where they are. The guys have great music flowing and they live in a part of the nation with some top venues and exceptional peers. I shall not labour the point of divisions but want to compel people to spend more time looking at northern bands like Swine Tax. I recently ran a piece celebrating the great acts coming from Sheffield: Yorkshire is a county who have always produced epic music and diversity in spades. One cannot ignore the North and how many world-class bands are coming from there. Swine Tax might have their eyes on London but I know, right now, they are busy making music and trying to get their name out there.

Before I come to look at Swine Tax’s latest song; I want to look at live performances and bands who get some honour early in their career. I know there is a danger for northern artists and the fact the media is too obsessed with London and southern acts. There is a much more severe risk circulating through music: the cessation of small venues and people going to gigs. Festivals are more popular than ever but I wonder whether that has something to do with families and treats. People save up for a festival and make it a highlight of their year – few people go to lots of festivals and have the cash to go to lots of gigs. Many festivals are now set up for families: as more people are settling down; they do not have the time to go out and leave their children – family-friendly festivals are a solution for them. How feasible are the regular gigs and going out every week? A lot of small venues are suffering because people are staying in and have little cash to see great acts played. Those who can get out to gigs are benefiting and supporting artists. I mentioned how festivals are getting bigger but is there a real risk we are going to have to close a lot of great music venues in 2018? This year has seen some closures and other venues put under threat. I feel northern areas are at bigger risk than any other at the moment. One way we can counteract this threat is realising how good bands like Swine Tax are in the live setting. Their shows are legendary for energy and impact: crowds go away smiling, sweating and talking. The small venues are paramount for bands who want to make a go of their career. Swine Tax have played some great spots and are building a real reputation as future stars. Their exciting and memorable sets have got the locals buzzing. I feel more eyes from the south need to be aware of bands like Swine Tax. I understand few are unlikely, regardless of how good a band is, to go that far to see them play live – the cost of travelling is expensive and putting many off.

PHOTO CREDIT: Chris Crowder

My main point is there is a healthy and boisterous live scene; many great new acts who are captivating locals and establishing themselves as ones to watch. Swine Tax are in a fertile area and taking advantage of the fantastic circuit where they are. As their career develops, and they think about a full-length record, they will get demand from other parts of the nation. For all my talk about London and getting away from the capital: the guys will want to play here and venture around the U.K. I feel the band are going to make some big strides in 2018. Feels Like was largely written during the band’s August residency at the iconic Sage Gateshead venue – after they were chosen from artists of the North-East to compose new music there. It is small wonder their latest single has that live-sounding magic – considering where they were recording and the setting they were in. That honour was due to the band’s talent and determination. I can only imagine how compelling and exciting it was recording a venue like that; the sort of inspiration that would have given them – and how important that was with regards the overall sound and quality. I know the band always want to create something bare and live-themed. Their latest single is, in my view, their finest offering. I wonder how important recording at Sage Gateshead was with regards the sound of Feels Like. This important opportunity shows there is a lot of faith and excitement when it comes to the music of Swine Tax. They have gained love and support from local sources so it can only be a matter of time before they get attention from national stations/media. The northern band have made big strides during their time together. Getting that chance to record at Sage Gateshead seems to have provided them fresh impetus and new direction. Not that their previous singles were less effecting: they are all fantastic but they have upped a gear on their fourth cut. I am sure the guys will continue to make steps and developments as we head into 2018.

Shades of Noel Gallagher’s High Flying Birds come out in the opening notes of Feels Like. The elder Gallagher has changed things up for his latest album, Who Built the Moon? He has employed more Electronic sounds and spacey synths; big choruses and French elements. Swine Tax, in their introduction, have a slight intergalactic sensation. There is twinkle and eeriness; there’s echo and strangeness. It is a fantastic and tense beginning that makes the body tighten and the mind wander off. One imagines all sort of scenes and possibilities as the song begins the play. When the electricity and echo ends; the vocal comes in and things become a lot lighter. The hero steps to the microphone and instantly gives the song focus and composure. “How did you ever find me hiding?” asks our man – he has been sleeping for a year and those words really intrigue. I do not think the band literally mean it (that would be an epic lie-in); there is something of the romantic pacificity and neutrality. Maybe the hero has been slumbered and extinct in the dating scene. This girl has come along and reawakened something in him – maybe he felt lost and as though he would never find passion again. That is my interpretation but one could easily hear those early lines and assume something more depressive and reserved. The vocal has charm and energy so it is harder sticking to that assumption – the track kicks and chimes with alacrity and meaning. The composition has that light touch that reminds me of early-Pavement. There are fewer snarled notes and angular riffs but the general tone and flavour summons the U.S. legends. Also, when hearing the song, one gets a breezy and satisfied grin from the vocals. All manner of sounds and possibilities flood the mind as the trio unite and produce a soul-searching, heart-opening song. The opening verse finds the hero coming out of the coma and being found, at last. The chorus is a series of “Do you wanna?” questions and some terrific riffs.

PHOTO CREDIT: Chris Crowder

It gets harder and more intense as the fuzz and vibrations add teeth and passion to the track. From the balanced and settled beginnings – following that experimental introduction – we get a proper kick of guitars and strut. The mantra builds and it seems like a daze of happiness and realisation. There is something juvenile and school-aged about the song. The hero repeats the question and, in the way it is delivered and does not move on, it has that infantile and cute nature to it. As the next verse comes into view; the hero talks about this soft embrace and the girl in front of him. She seems too good to be true and he is lost in this feeling. Again; the vocal returns to that calmer exterior but the composition remains firm and energised. The guitars and rums spiral whilst the production, remaining lo-fi and under-fed, gives the song a great flair of the 1990s. One can envisage the song fitting well into the scene in the latter part of the decade. As the hero talks about getting high – here, you feel it is literal – the girl would take a bite of his chocolate. Again; one hears the child-like innocence but that is mixed with something more herbal and grown-up. It is a modern slacker song and you can imagine the lovers in a smoky bedroom, chatting and carelessly entangled. There is sex and sweat but most of the song is about that new and exciting love; a bit mismatched and nervous. The two are quite different but they seem quite comfortable in their own skins. The hero has not felt this way for a while and seems relieved to have found someone who brings out new joy and challenged him. It is the overall sound and rawness of the track that amazes me. All the purity, elements and layers of the song seem more natural and real – if they were in a big studio; it would be glossy and lack that genuine nature. I love the song and am instantly transported back to the 1990s. Feels Like is a classic slice of guitar music that will see the band transcend from the local leagues and get them into the hearts of the national media.

PHOTO CREDIT: Chris Crowder

The guys are preparing to play at O2 Academy Newcastle with Japanese TV Club on 30th. In December, they play Jumpin’ Jack’s (3rd) and head to Little Buildings Rehearsal Rooms a week later. That is a broad mix of venues and some great local destinations – they are enthralling those of Newcastle-upon-Tyne and have just put out the video for Feels Like. Their touring schedule has been busy the last few months – the final gig of the year will be somewhere they feel a huge and deep connection with. Once they have wrapped things up in December; they will be looking for some quiet and relaxation before Christmas. I know they are already planning 2018 and where they might head. This year; they have played some great venues in the north and are happy inspiring the local crowds. I expect the boys to continue that into the New Year but, as their material gains new exposure, they will get some heat and affection from areas further south. I wonder whether they will plan a sojourn down here and take their music even further – maybe international dates are waiting. Can they get into the minds of audiences of the U.S.? Will there be big dates in London and plays on national radio? This is all possible so it is good the boys are completing a great year with some local gigs. I am not shocked they are playing great venues and getting a lot of respect from their folks. The music is among the freshest and finest out there right now. I have compared them with the likes of Pavement and Parquet Courts but, in truth, it is quite hard to compare Swine Tax with anyone too strongly. The reason the trio are so solid and innovative is the amount of time they get on stage. The audiences are reacting and the boys are learning new skills and disciplines from their performances.

I will end this by talking about Feels Like and what can come next for the trio. They have recorded and performed a lot this year so must be thinking about taking their music to the next stage. Maybe they are thinking about an album or E.P. in 2018. I know there is demand and a good way of getting into the national consciousness would be to bring out an E.P./album. I feel there are going to be loads of gigs but I feel 2018 will be the time they move from local heroes and start getting a lot more focus from the rest of the nation. I am happy the trio are making waves and finding rewards. Swine Tax should act as a guide to any band out there who are looking to make an impact and detach from the rather uninspired sounds of the mainstream. I know there are a few terrific acts in the mainstream but the best coming out are from the underground. There is too little invention and nuance from bands in the upper positions of music. The fresh breed emerging is showing promise and will change the dynamic: fewer solo artists getting all the praise; bands coming back to the fore and gaining ground. Swine Tax’s regency might be a few years away but they are showing positive signs. I have every faith Swine Tax will get to the mainstream and, when they do, there is a chance to make a real difference. For now – not getting ahead of ourselves! – Feels Like is out there and already getting a lot of praise. It is another sturdy and stunning track from a band who…

PHOTO CREDIT: Jason Hayles

END a terrific 2017 with a bang.

_______

Follow Swine Tax

PHOTO CREDIT: Jason Hayles

Facebook:

https://www.facebook.com/swinetax

Twitter:

https://twitter.com/swinetax

SoundCloud:

https://soundcloud.com/swinetax

YouTube:

https://www.youtube.com/channel/UCtl0eWaxSaCcFCWm0MA5few/videos

BandCamp:

https://swinetax.bandcamp.com/

FEATURE: Album of the Year: Lorde - Melodrama

FEATURE:

 

Album of the Year:

Lorde - Melodrama

___________

IT was a pretty close-run thing but, in a list with heavy…

PHOTO CREDIT: Andrew Whitton

learning toward males artists: it was a very special album from Lorde that made the biggest impact this year. I will talk more about Melodrama but, when it comes my favourite records of 2017; there is an interesting and varied blend to be found. Lorde beat out Kendrick Lamar’s DAMN. and Benjamin Clementine’s I Tell a Fly; Wolf Alice’s Vision of a Life and St. Vincent’s Masseduction; Baxter Dury’s Prince of Tears and Dizzee Rascal’s Raskit; Lucy Rose’s Something’s Changing and Robert Plant’s Carry Fire – Queens of the Stone Age’s Villains making its way into the high spots! Those albums are in no particular order, either: I would actually put Queens’, Benjamin Clementine and Wolf Alice in the next three spots; Raskit would be challenging in the top-five. It’s not a huge male majority but there are bands in there – the overall body-count tips in favour of the guys. It is, therefore, quite pleasing to see the youngest female in the top-ten get the honours. That sounds condescending but it is not meant to be: Melodrama is a stunning album that has already been dubbed NME’s favourite L.P. of the year. It is not often I side with the ailing publication but, on this occasion, they were right on the money – even if the remainder of their top-ten contained a couple of duds...

New Zealand-born Lorde caused an enormous wave of excitement where Melodrama was released back in June. The weather was hot but few could have predicted something as intense and bright as Melodrama. Lorde’s debut album, Pure Heroine, was released in 2013 and was a smash with critics. They noted its maturity and unique lyrical personality; the striking vocals and incredibly memorable tracks. There were some who were less-than-positive but the majority of critics threw their weight behind the record and marked Lorde out as an icon to watch – the then-teenager was lauded and lifted above the musical crowd! It was not a surprise to see the talented songwriter take a bit of time to craft her sophomore album: the fact it was a four-year wait created some nerves and doubts.

When Royal Blood and London Grammar returned this year with their sophomore albums; there was a real concern from both – each act repeating what they put onto their debut without adding anything new; each record weaker than their debuts. Maybe that problem arose from the fact they have very defined sounds and it would have been a risky venture adding too many new genres and sides to their music – the long gaps between records, one feels, would have afforded the chance for originality and innovation. Both British acts were busy touring after their debut and that fatigue/lack of studio time meant weaker second albums than we all expected. Lorde might have fallen into the same trap. She was elevated from an unknown musician to a global megastar when her debut album hit the shelves. She embarked on international touring and was on the cover of magazines; featured on radio stations around the world and under the spotlight. Considering her music, that appeared on the debut, was unique and personal meant a rapid follow-up was not likely. She needed time to craft songs and let inspiration find her – some time to write between gigs and find moments to put her thoughts on the page. I sighed a bit when the years went by and we entered 2017 – and still no sign of a new Lorde album!

Maybe the pressure had got to the young songwriter; the expectation too fierce – perhaps Pure Heroine was a strange and beautiful one-off....The first signs of new Lorde life – aside from some marketing hype and teasers – was the incredible lead-off single, Green Light. Anyone who feared Lorde was not match-fit had to eat their words when that song arrived. Its video saw the heroine dancing through the streets and casting her spell wherever she stepped. I am not usually predisposed to embrace a Pop album: even if it is a sophisticated and deep one. Last year, my favourite album was Billie Marten’s Writing of Blues and Yellows: this year, I was expecting Kendrick Lamar to stay in my mind; maybe a late effort from Björk could prize the award from Lorde’s grasp?! I am still letting Utopia settle and Noel Gallagher’s High Flying Birds made a noble charge with Who Built the Moon? Neither album could shift the passion I have for Melodrama.

It won me around because it is unconventional and unexpected. There are nods to the 1980s in terms of the big sounds and incredible sense of fun – even if the production values keep it in 2017. There are swathes of 1990s and early-2000s Pop, too – she spanned the decades and managed to inject so many different sounds and ideas into one record! Some have described the album as a concept, of sorts. Lorde struggled with some of the writing. False-stars and fruitless detours were not helped by a break-up from her long-term boyfriend, James Lowe (in 2015). It is hard to see past that split and how it infused and inspired some of Melodrama’s most potent and personal poetry. The album explores solitude but there is that location of a house-party: the heroine letting loose one moment; playing the acid-lipped vixen in another room; moving to contemplative and mournful in another – aware and awakened the next moment. Written and produced alongside Jack Antonoff; there are contributions from Frank Dukes, Malay; Andrew Wyatt and others. I read interviews where Lorde provided insight into her creative process and the artists who inspired Melodrama.

Paul Simon and Joni Mitchell were named as guides. It is easy to see aspects of Graceland and albums like Blue/Both Sides Now on Melodrama. A lot of contemporary Pop/mainstream stars do not cast their mind back or have a huge knowledge of older music – taking impetus from their peers and producing music somewhat one-dimensional and plastic. There is soul and intelligence running through Melodrama; immense nuance and songs that have their own identity and nature – no two songs alike; each one engrossing and captivating. Green Light is the racing opener and first track written for Melodrama. When speaking with Pitchfork; she explained the song’s birth and formation:

“The song is really about those moments kind of immediately after your life changes and about all the silly little things that you gravitate towards. I say, 'She thinks you love the beach, you're such a liar.' What the fuck, she thinks you like the beach?! You don't like the beach! It's those little stupid things. It sounds so happy and then the lyrics are so intense obviously. And I realized I was like, 'how come this thing is coming out so joyous sounding?' And I realized this is that drunk girl at the party dancing around crying about her ex-boyfriend who everyone thinks is a mess. That's her tonight and tomorrow she starts to rebuild. And that's the song for me”.

 PHOTO CREDIT: Mark Mahaney for TIME

There is a bit of Florence + the Machine’s jangling, big piano work; there are cheerier big moments but the mood is one of reflection and heartbreak. Compelled by her first heartbreak; Green Light is that acceptance of longing – moving on and trying to make sense of things. The first-written song for the album was going to be a natural opener and debut single – it is the core and heart of the record; it contains all Lorde’s much-loved D.N.A. and incredible songwriting. One can hear Lorde taking control and having more say in the production; ensuring the song was just as she wanted it to sound. Sober and The Louvre paint pictures – quite appropriate given the title of the latter! Sober is a more emotional and revealing song whereas The Louvre more scenic and descriptive – one could imagine standing alongside the heroine and following the story. Liability and Writer in the Dark are two of the strongest songs Lorde has ever come up with! Writer in the Dark is about deceit and leading someone astray; the dangers of trusting her and playing folly with emotions – telling the boy never to trust someone like her. Liability shows the sort of emotions and pains deep in Lorde’s heart: a raw and revealing diary-note that could have been ripped from the pages of any young woman’s thoughts – expressing the same sort of romantic pains and inner-reflections many experience.

Super Cut and Perfect Places incredibly striking and gripping. The latter, in a way, is the reward after the reveals: in the middle of the party and listening to her own voice; not following muses and anyone else – returning to the same place you were in to start with. That is what makes the finale so intriguing and unique: a young artist who is immersed in parties and chaos; looking for somewhere better before realising she is in the same state she always was. The entire record is a look at the break-up and wreckage of love and the way it has affected her; growing out of her teenager skin and trying to start a new phase – Melodrama is, perhaps, not a bad title considering the times and tribulations documented throughout.

I feel it is the perfect record for 2017: an artist who took time to create something special and not rush-release an album; managing to top her debut and break new ground. Nobody this year has crafted anything as mesmeric and populist as Lorde. Critics were fast to add their words and praise. AllMusic was filled with love (…”Instead, Lorde is embracing all the possibilities the world has to offer but then retreating to the confines of home, so she can process everything she's experienced. This balance between discovery and reflection gives Melodrama a tension, but the addition of genuine, giddy pleasure -- evident on the neon pulse of "Homemade Dynamite" and "Supercut" -- isn't merely a progression for Lorde, it's what gives the album multiple dimensions”); The Telegraph was hardly ambivalent with their assessment (“Her distinctive melodic style and hip hop rhythmic flow actually risks getting a bit dully repetitive if the content was not so strong and the arrangements so carefully fashioned and consistently surprising. What is truly fantastic about Lorde is that here is an original, emotional, intellectual, imaginatively audacious singer-songwriter operating at the highest artistic level yet putting it across as easy-access modern mainstream pop. Melodrama deserves to be a blockbuster”)...

NME, a little smitten, too (“It’s a rudely excellent album, introspective without ever being indulgent, OTT in all the right ways, honest and brave, full of brilliant songs with lyrics to chew over for months. The message might be that Lorde considers herself wild and flawed and bruised (“I’ll love you till you call the cops on me,” she sings, on the deliciously bitter ‘Writer In The Dark’), but we all do sometimes. That’s the neatest trick the album pulls off – universal connection, in spite of the squad and the praise and the superstardom and the pressure. Humanity intact. Artistry assured. Brilliance confirmed”). The latter named it their favourite album of 2017: I expect many other big-name publications to follow suit!

I think it will be a two-horse-race when it comes to that ‘Album of 2017’ leadership: Kendrick Lamar’s DAMN. is natural competition. Two more different albums/humans could you meet – I think Lorde has the edge over the phenomenal Lamar. Whoever is the critical winner come the end of this year; I am going to remain with Lorde and keep the album in my number-one position. It is a fantastic work that deserves to be heard for years to come. One wonders what the next step is for the New Zealander. The gap between albums number-one and two was due to a romance split and some half-formed sketches – songs not forming quickly and Lorde having to deal with a lot of upset. I am not sure whether she is in a relationship now but one assumes/hopes the period between now and her third album will not have the same turmoil and upset – she is in her twenties and has learned how capricious love can be. Whether she ponders increased fame and a new phase of life on her third record, I am not sure... 

 PHOTO CREDIT: Mark Mahaney for TIME

When that will come, again, is down to her – let’s hope there is a shorter wait than we had for Melodrama! I am still listening to Melodrama five months after its release. It is a record that provides new life and interest every time you put it on; there are no limits to its potential and the feelings it provokes. That is an amazing feat from someone so young and fresh in the music world! Lorde is not your average artist, mind. You never know what to expect from her, when it comes to themes and songs, but we have come to rely on that unimpeachable quality and wonder. Lorde has so many years ahead and I cannot wait to see what she comes up with next. Melodrama is a peerless record from a musical treasure; a unique songwriter and…

PHOTO CREDIT: Garth Badger

A truly special artist.

FEATURE: I Guess That’s Why They Call It True: Fifty Years of Elton John and Bernie Taupin

FEATURE:

 

I Guess That’s Why They Call It True:

 PHOTO CREDIT: Michael Ochs Archives/Getty Images 

Fifty Years of Elton John and Bernie Taupin

___________

A week is a long time in politics…

 PHOTO CREDIT: Getty Images  

it was once said: fifty years is a fuc*ing long time in music! There are few today who will forge a fifty-year career – I don’t think anyone will, in fact! For every artist like Robert Plant, Paul McCartney, Bob Dylan and Mick Jagger: there are endless parades of half-formed acts that are not really equipped for longevity and innovation. Times have changed and are not as conducive to the sort of epic careers that began in the 1950s/1960s. The Internet and near-bursting-point of modern music mean it is really difficult maintaining a career of such extreme years. That is not a bad thing but one thing made me look at another aspect of music: the songwriting partnership. You don’t really get them anymore, do you?! Paul McCartney and John Lennon; Mick Jagger and Keith Richards; the theatrical greats and less-than-modern Pop writers like Paul Heaton and Dave Rotheray – it seems their days were a long time ago. Modern music, normally, is done by sole writers or groups: it is rare to find a solid and enduring partnership that remains over multiple albums and decades. Then again, they do not make them like Sir Elton John and Bernie Taupin anymore! A few days ago; the partnership celebrated fifty years of collaboration – Elton John marked seventy years on Earth, too. That milestone (the former) amazed me and compelled me to revisit the back-catalogue of one of music’s finest-ever duos. Even though Elton John’s debut album, Empty Sky, was released in 1969: the songwriting duo of John and Taupin started a couple of years previous. It is debatable when they started writing together – whether it was earlier in 1967 or November; later that month or earlier in the year. BBC Radio 2 put out a show (last week) that spoke with the men behind the music:

The interview is an illuminating and fascinating insight into that makes the friends tick and bond. Even though the duo has been writing together for fifty years; they were not exactly slow off the mark when it came to quality songs and albums. In fact; the second Elton John record, Elton John, was a big commercial success and favourite. Released in 1970; tracks like Your Song and Take Me to the Pilot showed Elton John’s gift for melody/music; Taupin’s unique lyrical style. Tumbleweed Connection (1970) and Madman Across the Water (1971) strengthened that bond and saw the songwriters hailed as modern innovators. If it was Elton John’s voice that was heard on the radio; few could ignore the impact Bernie Taupin made then – and still does to this very day. Madman Across the Water features Tiny Dancer: one of the first big hits for Elton John; one of the best songs from the early-1970s. Maybe the biggest early smash for the duo was 1973’s Goodbye Yellow Brick Road. For that record; Taupin wrote the lyrics in under three weeks; John composing the music in three days as he stayed at the Pink Flamingo Hotel in Jamaica – the reason for that location was because The Rolling Stones recorded Goats Head Soup there! It shows how easily and natural Taupin and John worked alongside one another – in any location, it seemed!

Whereas one envisages the early days of Lennon and McCartney being two chaps sitting around a piano swapping lines and choruses: I imagine the structure and dynamic of John and Taupin as a bit more distance and compartmentalised. It is clear they had an incredible respect and understanding from the start – how much of the complete process was recorded together, in the same room is unclear. With huge and eclectic hits like Goodbye Yellow Brick Road, Candle in the Wind and Bernie and the Jets – and Saturday Night’s Alright for Fighting – making 1973 a sensational year – that was not the end of it! 1974’s Grammy-nominated Caribou contained The Bitch Is Back; 1975’s Captain Fantastic and the Brown Dirt Cowboy had Someone Saved My Life Tonight; Blue Moves was lucky enough to include Sorry Seems to Be the Hardest Word! I have included a playlist at the bottom of this feature: the authoritative and comprehensive list of Taupin/John hits. It shows how incredibly varied and inventive the music was. Whether you are a fan of John’s incredible instinct and musicianship or Taupin’s storytelling and standout lines – there wasn’t another duo like them around! If Mick Jagger and Keith Richards are the only songwriting duo who can match Taupin/John – they have been around longer but it is a close call! – they don’t, in my view, have the same width and consistency.

There was a period – between Blue Moves in 1976 and 1983’s Too Low for Zero – when the quality dipped. John worked with a couple of other songwriters and there was a slight loss of momentum. Too Low for Zero roared back with I’m Still Standing (an appropriate title if ever there was!) and, in my humble opinion, the duo’s defining moment: I Guess That’s Why They Call It the Blues (I know Davey Johnstone co-wrote the music but let’s not split hairs!). The partnership was reformed and John agreed to work full-time with Taupin again – the details of their separation and experimentation should not go into a feature that celebrates their unity. The fact of the matter remains: it is no coincident the poorer albums of that time (1976-1983) broke the solid and tested John/Taupin unit. It’s true some of the later albums of the 1980s were not the finest from the duo – 1986’s Leather Jackets is retched; Reg Strikes Back was not as solid and redemptive as its title suggested – but they were back on a more even keel come the 1990s. Many have argued the duo’s 2000s songwriting was as sharp and solid as their 1970s cannon. Although there were fewer big hits and radio smashes: the quality and depth explored by Taupin and John continued to stagger and confound critics. 2016’s Wonderful Crazy Night is the most recent offering from the songwriting geniuses. One knows they will continue to write together until they both run out of breath – let us hope that is not for another couple of decades!

Before I wrap up – and underline why Bernie Taupin and Elton John are invaluable and pioneering – I wanted to source from Elton John’s official website. This year, when talking about his partnership with Taupin - he explained why it worked and has remained to this very day:

“It’s the same excitement now as when we first started. That this year marks the 50th anniversary of my partnership with Bernie Taupin is mind boggling for me because it seems like only yesterday that I met him. It’s an amazing achievement to stay with one person for 50 years on a creative basis, in an industry where that doesn’t really happen very much.”

When it came to the, potentially prickly, subject of reaching his seventieth birthday; John had this to say:

“I’m interested in moving forward all the time, with what I create, my collaborations, and also with discovering the work of other people. I think age is immaterial, provided we keep our minds alive by being open to new things. I can be as excited by a new artist who plays me their demo as I am by a new record of one of my musical heroes. I can be excited by playing a new city I’ve never played before, or revisiting somewhere I know well and seeing how it’s changed. Life is a constant state of flux for us all, and I like to embrace that. I also feel very happy to use my position to bring attention to injustice in the world and to try to help where I can. At this time in my life, I’m the happiest I have ever been.”

PHOTO CREDIT: @eltonofficial

Bernie said of Elton:

“It’s been an unconventional partnership and while we pretty much patented the two-rooms technique I’d venture to say you’d be hard pressed to find a couple of songwriters more in sync with each other and their craft.”

As Taupin said himself: they mastered that two-room working environment but remained in-sync and completely connected from the very start. The fact they are friends and colleagues fifty years after their first song means they are doing something right! I worry modern songwriting is defined by isolation or too many cooks – the biggest stars of today having their music penned by an array of hired-guns and producers! Maybe things have changed to the extent we will never see a partnership quite like Elton John and Bernie Taupin. That is sad in itself but we are very lucky to have the epic and incredible legends in our midst – this country is masterful when it comes to those world-class songwriting duos! Let’s hope the partnership remains for another couple of decades (Elton will be kicking arse and causing havoc when he is in his nineties, for sure!). I will lend this by bringing in a recent interview - the duo conducted with Cameron Crowe – who has been a fan of the two for years.

The interview is illuminating and filled with affection – there were two questions that stood out. The first one drilled back to those first few days:

“Cameron Crowe: You two met in ’67, when Bernie answered an ad in the New Musical Express newspaper for a writing job at Liberty Records. Elton answered the same ad. Neither passed the audition, but you came together as collaborators, just about 50 years ago. Knowing what you now know about each other, would you go back and repeat this same relationship again?

Bernie Taupin: Undoubtedly. I think one of the things that kept us together for so long is the vast differences in our personalities; anybody who’s followed our careers would see that pretty easily. If we had been at all the same make-up in our characteristics, it probably wouldn’t have lasted.

Elton John: I love Bernie more than I’ve ever done and I think he feels the same way about me, because we’ve led separate lives. We don’t live in each other’s back pockets. We are totally different. He is the Brown Dirt Cowboy, and I am Captain Fantastic. That’s how it turned out and I wouldn’t have it any other way”.

The second question was a simpler one: how they went about writing a hit:

“BT I’ve always maintained that if you can play an instrument, you have the potential to write a song.

EJ Writing has changed so much these days. Eleven people wrote “Uptown Funk”. If you’re an artist, or if you want to be an artist, you go and play – you get a band together or you go and play live. Ed Sheeran, who is signed to our management company, started out playing in people’s living rooms and busking. You cannot buy experience. Go out if you’ve got a guitar or piano; play in a bar, in a hotel. If I’m in a hotel, I always go up to the piano player and say: “How are you doing?” Because there, but for the grace of God, go I.

BT It’s like Bruce Springsteen said: I learned more from a three-minute record than I ever learned in school”.

PHOTO CREDIT: Getty Images  

If the early incarnation of Bernie Taupin and Elton John spawned those big hits – that continued into the 1970s – their modern work is not exactly shoddy and meagre. They have love and affection for one another; there is that determination to keep exploring and pushing. Fifty years down the line and the partnership shows no signs of breaking. Bernie Taupin and Elton John act as guidelines and mentors for modern duos who want to have the same legacy and respect as them. At a time when there are whores of committee-written songs and talented solo artists: what place for the classic songwriting duo?! Maybe they are a product of past decades but I’d like to think, somewhere in the world, there is a potential John and Taupin waiting to meet one another! What form they take – and what music they write – there is a desperate need for their bond and survival. Keith Richards and Mick Jagger and not really writing together at the moment: it means John and Taupin are a rare and special force. As we crave and search for a duo that could replace Elton John and Bernie Taupin – the established and inimitable duo are not going anywhere soon! As the music world celebrates the icons and congratulates fifty superb years of memorable music; things are clear and obvious:

PHOTO CREDIT: Kevin Mazur/WireImage

THE bitch is not going anywhere!

FEATURE: Let’s NOT Talk About Sex: The Dating Life of the Modern Musician

FEATURE:

 

Let’s NOT Talk About Sex:

PHOTO CREDIT: Getty 

The Dating Life of the Modern Musician

___________

IN a piece tomorrow…

PHOTO CREDIT: Getty

I will look at the idea of net neutrality: there are plans to ban it and, with that, it would take power from independent musicians and eliminate free-speech. I am concerned there are higher-ups who are trying to take powers and expression way from people. It is a subject that will rage on and will reach its peak next month – protests will be held on 7th to stop the FCC killing the Internet as we know it. I will talk about the effect this will have on musicians – and the ramifications of possible changes – but it got me thinking about the safety and rights of musicians. I wanted to raise a subject, now, that has been put to the front of my mind the last couple of days. I know many female musicians and quite a few of them are single. The demands of the industry means the day is spent working (at a regular job) or promoting your sounds: the nights, often involve social media time and more promotion. If the weekends, to most, offer a chance to run into the wild and neglect the need to obsesses over work we hate: for musicians; there is no such relief and downtime. I am in that boat, too. I spend most of my available time, away from work, writing.

PHOTO CREDIT: Unsplash

Sat at a laptop – with a wall for a view – is, perhaps, not the best way to spend my time on Earth but the rewards I get (seeing musicians get their work to new audiences) provides satisfaction. At the end of it all; I have the desire to make this thing a full-time career and give up the daily drudge. The female artists I know have this desire and hunger – there are men who fall into this argument, too. We all need to relax and kick back: dating and love is a good way of doing that. Even if you’re in an industry as hectic and demanding as music; you need to think about relationships and yourself – it cannot always be about work and stress. The modern way of working means artists/music creatives have to rely on the Internet to find love. There is an array of dating websites that cover all tastes and demands. Whether you pay for a subscription – or have a free trial – it means you have access to thousands of available singletons. I think men are at risk of this but it mainly applies to women: the dangers of the Internet and the type of ‘catch’ you will find there. It seems odd mentioning it on a music blog but I feel musicians are among the busiest around. Their lives are packed and it can often be hard to schedule any time for sex – let alone love or anything long-term.

PHOTO CREDIT: Getty

It might seem sexist saying females are more vulnerable but is the opposite: it is men who create the danger and have raised alarm.  I have heard stories, over the past few weeks, of female musicians taking to dating sites in the hope of finding a companion – the horror stories and testimonies that have come back go beyond the comical or peculiar. I know one or two women who, after trial-and-error and a marathon, have found someone who isn’t a complete degenerate. There are, however, so many who are either being bombarded by lurid comments and innuendo; sent explicit pictures and asked to perform pornographic acts – all before they have even met or spoken to one another! Maybe this is the way the modern world is changing: the Internet means there are more people out there; more ways people can get in touch; fewer barriers and vast opportunities to commit crimes and behave appallingly. The fact the Internet creates great access around the world is a bittersweet blessing/curse – it can be great for music and promotion but not so reliable when it comes to human relationships! I am not talking about some harmless misunderstandings and ill-advised comments: there are actual offences and perversities committed! That may not seem shocking or unusual in this age. That, in itself, says a lot about our generation and the way they abuse technology/others. I was affected by a recent story – she will remain anonymous – where a female musician set up a date with a man and came away having to report a crime.

PHOTO CREDIT: Getty

The details were not disclosed but it left her shocked, appalled and scarred. That is something nobody wants to see and it makes me wonder how many women are at-risk and vulnerable. I mention this in the context of musicians because they have so little time free – the Internet can be the easiest option and a way of connecting with others. Even if the interaction (online) is agreeable and pleasant; that does not mean the person you will meet during that date acts the same way. I guess that is the risk with any blind dates but one can find a lot more seediness and unseemly men on the Internet than via the conventional blind date channels. I have heard similar stories from someone who is a successful beauty blogger – she has been on a string of dates and, with each man, has found things that have turned her stomach (not so much to turn her head!). Maybe this is a problem consistent with other industry but it seems creatives, musicians especially, are falling prey to some horrible deplorable characters. Maybe songwriters/musicians go for a particular type but I am concerned the industry itself is becoming less sociable. My proposed solutions are a little contradictory: having a bespoke, and safe, dating website; making sure there are more social outlets for musicians who are busy with work. If one has to go down the Internet route – the cost of endless dating and commuting means electronic contact is more practical – that does not mean they have to subject themselves to a torrent of smut, creepiness and, at times, assault.

PHOTO CREDIT: Getty

I have mentioned a couple of women but, when talking about their experiences, there has been actual abuse and criminality. I cannot guarantee that any new dating website will keep the creeps out; nor will it guarantee those who join are dependable and decent – there needs to be something done that protects women. I know there has been some specialised music dating websites. I do not think any of them are that successful or discussed. Certainly, from my experience, websites like Match.com, Plenty of Fish and eHarmony UK are the big boys. If you have the need - and feel like you need something more highbrow – then you can join websites where they are more thorough with their schematics and algorithms. All of these sites have their pitfalls and traps – Tinder, actually, seems to be the worst of them. I cannot say whether there is a psychological correlation between the type of man that frequents Tinder – and those who go on to make women feel uncomfortable. If there was a website that was reserved to musical personnel – D.J.s, musicians and D.J.s; producers, directors and the like – then that would erase so many potential misfits; mean there was a common thread and the users would instantly have more in common with one another. The name is not easy to get – one feels the word ‘strings’ would have to come in; No-Strings-Attached might suggest something casual and sex-based – but that would come in time. We need something that provides this safe haven and is properly invigilated. Moderators and ‘Internet police’ can keep an eye on comments and make sure there is more thorough vetting when people subscribe. It should be charged but not so artists/musicians are priced-out and feel pinched.

PHOTO CREDIT: ZoneCreative

One could, quite easily, create an online portal/website that was a community for music-lovers and musicians. It need not be anything as defined as a dating website: a lot of artists, who are single, are looking for friendship and company as much as love. There is that option where one could easily communicate with someone who shares the same passions – those passions are kept pure (until appropriate) in an environment that is warm and friendly. Anyone caught contravening and contradicting the codes of the site would be swiftly and permanently ejected. I have been speculating and playing with the idea of a music website for a few years now – maybe that is an incorporation I could make! What we do need (myself included) is a site where the artist/creative can go and chat if they want to; they can agree to meet for a chat; they can organise a date – without fear of discrimination, attack or abuse. That might sound simple but, in reality, most of the dating sites around will feature the worse elements. The new site – whatever it will be named – would be a lot firmer with regards those who perpetrate false morals; provide greater surveillance and ensure any women (or man) who is being spoken to in degrading terms would be protected. I, for one, would welcome a dating/friendship site that was reserved for people like me; where I could get quality and familiarity – getting that convenience and conviviality into the bargain!

PHOTO CREDIT: Unsplash

Whilst is paramount we purify Internet dating and make sure female musicians – and anyone who uses them – do not feel threatened and unsafe; there is a school of thought that argues getting out into the ‘real world’ is a better option. I have said how many artists/writers do not have a bag of time to go out meeting potential mates. If we were to combine music/work into a more sociable environment then that, one would hope, gets rid of the issue?! I know there are gigs and bars but they can often be crowded and reserved for those who want to watch artists – rather than chat and flirt. Coffee shops are an option but is there something especially for a musician? Whether it is as extensive as creating bars/cafes that tailor to the dating/work-life demands of musicians/artists, I am not sure. It would be good to turn existing venues/spaces into places those harried and stressed can go and relax. Maybe having a dating/socialising night would be a solution. There would be music but the atmosphere would be curating to promote fun and a degree of peace–keeping the sworded types out of the door and making the environment sociable and secure. There are dating nights and special events for people to meet others but so much of the time people have to use the Internet for their dating needs. There is, as I have outlaid, ways of making a site that erases (most of) the dangers and is a spot where similarly-minded folks can chat (and more).

PHOTO CREDIT: CheapMadness

How does one replicate that for the real-world streets?! One need only walk through a city like London and realise how busy and sociable it is. A lot of this ‘socialising’ can involve a lot of alcohol and the liaisons born from this can be rather brief and forgettable – where one picks up their underwear with a sore head and regrets everything. The focus is not on sex and instant gratification: ensuring musicians/artists can find love/companions that last a long time. Not only will that strip away the degradation experienced when navigating the likes of Tinder: it means they have stressed relieved and get to experience love. I am seeing too many people – mainly females, to be honest – who are meeting dodgy men and bemoaning the lack of quality out there. Their time is precious and the strike-rate on dating sites is not always that high. I would welcome a new website but feel one could easily utilise somewhere like a café and host dating nights. Maybe it does not need to have that pretence: organise a sociable gig/gathering and singles, if they choose, can go there and mingle in a space they feel comfortable in. The Internet provides a place where those shyer and more nervous can project confidence and not have to feel intimidated. I know many balk at the concept of chatting to the opposite sex in intimate terms. The Internet prevents instant nerves but, in the long-run, it makes bonding a lot harder.

PHOTO CREDIT: Pinterest

I agree modern dating and socialising is expensive; we do not all have time of an evening to go out and meet people – or go to bars in the hope somewhere, someone will be spark a fuse. The problem with relying on the traditional dating sites is there are too many bad experiences. Some of these might be amusing but, when you put them all together, what effect is this having on confidence and emotional well-being? A man/woman might be lovely and attractive but, given the way others treat them, be fooled into thinking they are the problem. The immeasurable psychological impact means many will stop dating and trying to find someone. That can then lead to severe emotional issues and depression – they might never feel safe and confident meeting anyone. Music demands attention and passion but there are so many out there who have passion and time left to give to someone else. Creating nights/spaces where people can dance, chat and meet – like a club/pub but better music/people there – would be a good idea. With so many venues closing; one wonders how people are spending their nights. Maybe the cost of licenses is an issue: maybe people are going out less because they find it cheaper staying in. I know there are artists, musicians and talent out there who are being hurt by Internet dating and want to connect with a nice, decent human being. I am concerned the Internet is not protecting people and, for those women who are victims of predators and the perverse, the penalties are either non-existent or not strict enough.

PHOTO CREDIT: Getty

Let’s create – either a dating website or bespoke nights/locations – where we can feel comfortable in and, one hopes, discover people a lot nicer and more attractive (than what lurks on dating sites). If we can do that, and allow musicians a better and more sociable balance, that will not only impact on their wellbeing and happiness – it will result in better music and an industry where those looking for love are not frustrated and depressed to the extent of serious emotional damage. It is another concern that needs addressing but it can be done. In it 2017 and single people should not have to feel bad about their status: they should not, if they choose to change it, have to struggle so hard to avoid catfishes. The world is getting darker and more stressful: the need for love and togetherness is at the forefront of everyone’s minds. Dating and love is not reserved to a particular class or human…

PHOTO CREDIT: Pinterest

IT is something we all deserve!

INTERVIEW: Richard Hadfield

INTERVIEW:

Richard Hadfield

________

IT is pretty rare for me to step out of my usual remit…

and speak with an artist like Richard Hadfield. That is not a sign of lacking talent: he is one of the strongest Jazz artists coming through right now. I mean I do not usually pursue artists who have appeared on talent shows – I avoid them and do not find them beneficial to modern music. Luckily; Hadfield has broken away from those days and establishing himself as a fine young artist – even though he has fond memories of the time he spent on Britain's Got Talent. He talks to me about his former band, Callabro; details about his current song, Shape of You/Fever (a mash-up of the two tracks); the gigs he has coming – and the music, past and present, he adores.

Hadfield talks about his upcoming plans and new material; where we can catch him perform; how his music career has developed and changed – his views on the current market and the mainstream.

________

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

Great thanks. Lots of gigs - so, can’t complain! 

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

Yes, of course…

Recently, I’ve returned to my true love of Jazz music. Back in 2014; I won Britain’s Got Talent as part of a vocal-harmony group called Collabro. As much as it provided me with incredible accolades - such as a number-one album, world tours and a great fan-base - it became too political and I stopped enjoying singing. It stripped away the reasons why I loved performing.

About a year-and-a-half ago, I decided that regardless of money, fame etc...it was more important to work towards something I truly enjoyed - rather than just cruising by, miserably. It was then I decided to leave the group and go back to a genre I have always been inspired by - and was pursuing before joining Collabro.

Since leaving the band, I’ve been lucky enough to be able to craft my own audience and sound; performing at historic Jazz clubs like Ronnie Scott’s; NYC’s Smalls and the Blue Note Tokyo. It’s been a steep learning-curve, as it’s a totally different music scene, but I’ve thoroughly enjoyed the challenge - and feel like me and my team have made great headway.

Shape of You/Fever is your new mash-up. What is it about those songs that meant you had to tackle them?

Yes. I’ve been performing Shape of You since the song originally came out...but it’s been fantastic to finally visualise the song with my band on YouTube. As we all know: videos are king, these days, for displaying content.

I really enjoyed the song when it initially came out but I immediately heard Fever in the chord-structure and thought the lyrics of the two songs fitted perfectly. With a little reworking, the band and I not only incorporated Fever but managed to squeeze in the bass-line from Hit the Road Jack - and some melody from Just the Two of Us. Nothing beats the old classics - but it’s always great to catch the audience off their guard with something that’s familiar (but in a different setting). 

I always like to bring my own story to a track; whether it is through writing an original or simply changing the phrasing of a song. One song can provoke so many emotions - and I like to explore them deeper rather than listening to just the surface-lyrics. 

What do you think of modern artists like Ed Sheeran? I am a little torn, myself! Do you think his style of music is the way forward?!

I think Ed Sheeran has his place.

There was clearly a gap and he took it. Now, every man and his guitar/loop-pedal is on YouTube - and I’m sure there are just as talented people out as Ed…but he was one who set off the acoustic loop-pedal trend. I don’t think we need more of it right now.

Music is like fashion: things come back around.

Do you think the modern mainstream is in a strong state? What kind of music do you listen to at the moment?

The music industry is forever changing.

I feel like it’s more a numbers-game - since most have access to statistics on almost every platform; be it socials or music players. That’s not necessarily a terrible thing. I think it makes a musician look and be more well-rounded as a businessman/woman, rather than being shrugged off by the corporate world as ‘a creative’. I think there’s plenty wrong with parts of the industry - but when has there not been?! We have to remember that major labels are in the same boat as the little guys at the moment: everyone is trying to grasp what the best scenario is for streaming.

It’s affected how much money is put into instrumentation and production costs. Live performance is currently where the margins are being made - and that’s meant people (equally) have to be able to sing and play live more than ten years ago - and have the social media reach to sell out a gig. I’m interested to see how the industry evolves sound-wise once streaming becomes a more viable source of income…

Is there going to be new material coming from you?

Indeed, there is...

I’m currently working on my first E.P. that will consist of a mixture of Jazz standards and originals. I’ve been out in N.Y.C. working with Jerry Wonda (the producer of Hips Don’t Lie and the Fugees’ Killing Me Softly) on a few tracks - and have been offered a couple of interesting concepts from Don Black (the writer of Diamonds are Forever and Michael Jackson’s Ben).

Do you remember what compelled the decision to come into music? Were you always interested in it?

I’ve always loved singing - but I guess it was being thrown into the spotlight so quickly that’s compelled me to carry on with my music career.

I have a great fan-base - and now I can grow upon that. I feel that’s something that can make musicians disheartened sometimes - as it’s very difficult to get that initial break. I feel very lucky and I’m incredibly grateful for opportunities I’ve been offered. However; I’ve learnt lots more in the last year then I did during my two years in Collabro.

There is no one there to hold your hand in the music industry; I’ve been really lucky to receive incredible support from my creative partner Roxy (of Roxlene Creative). 

What sort of sounds did you grow up listening to? Who are the musicians you idolise? Which artists did you grow up listening to?

I enjoyed a lot of musical theatre when I was younger. I’m not a massive fan of new musicals and that modern M.T. vocal: more interested in the Rodgers and Hammerstein classics. Then; I started to explore the music of Cole Porter. This is when my love of Jazz began to blossom and I started learning Jazz-piano. I didn’t actually learn much of the piano, though, as my teacher and I used to just jam the American Songbook instead. My teacher was an incredible pianist and really enjoyed my voice. From there, I began exploring the vocal qualities of Nat King Cole and Johnny Hartman.

I’m forever finding new Jazz artists though to study and learn from. 

Who are the new artists you recommend we check out?

Rebecca Lauren is a fantastic singer-songwriter who I have recently met; we’re going to get a date in the diary to write something together. Her lyrics relate to everyone who hears them - and her voice is awesome.

IVY MAE is another new artist I’ve been collaborating with. Her voice is ethereal and very versatile.

Philly K supported me on a recent gig in Brighton. When I played her track; I thought her voice was really emotional - and I think that is a quality often lacking (in other in artists). She moved the audience with her break-up songs.

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

Stars - Collabro

I will always feel proud, blessed and humbled by my debut album.

Les Misérables – Original Broadway Cast Recording

 It was my first role on stage as a child and the last before joining Collabro years later - where I got to play the iconic Jean Val Jean. Les Mis is also the soundtrack where Stars is from - and was a large inspiration for Collabro’s sound. So, the musical has been with me at several stages of my career so far.

Louis Prima and Keely Smith – Louis and Keely!

Their chemistry on stage, in early footage, is amazing. They have humour and fun in their characters - and Louis’ sound is influencing the way I’m writing a lot at the moment.

Can we see you perform anywhere soon? 

3rd December: The Cavern Club, Liverpool 

16th December: Holborn Pizza Express, London 

26th January, 2018: Pizza Express Music Room, Maidstone

27th January: Pizza Express Live, Birmingham 

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

Whatever genre you’re working in: find your community...

Go to gigs, make friends and keep peoples memory of you fresh. As a Jazz artist who gigs almost week-in-week-out; I still go to jam sessions all across London. Equally, I go to networking events and parties. You never know who you’ll meet. From a photographer who’s keen to use you in his portfolio (think of the Instagram content) to a potential fan who’ll enjoy your music.

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

I’m currently working on a Christmas YouTube video.

Christmas is a hugely busy time of year for me. I’ll be going back to my hometown of Brighton once everyone’s off work. Being on the road gigging means I don’t often get to return home - but I’m incredibly excited to stick on a bit of Bublé and open some prezzies. 

Do you have anything lined up for next year? What are your plans?

Apart from writing new music and concentrating on the E.P., I’ll be gigging. There’s talk of going out to China early-2018 and I’ll be heading back to New York to do a few performances and write a few songs. 

Finally, and for being a good sport; you can name a song and I’ll play it here.

Death of a Bachelor by Panic! at the Disco

________

Follow Richard Hadfield

 Official:

https://www.richardhadfield.london/

Facebook:

https://www.facebook.com/RichardHadderz/

Twitter:

https://twitter.com/RichardHadderz

Instagram:

https://www.instagram.com/richardhadderz/

YouTube:

https://www.youtube.com/channel/UCBo1lKfqavlWYcfjDJyzd-Q

SoundCloud:

https://soundcloud.com/richard-hadfield-979046914

INTERVIEW: Royal Bravada

INTERVIEW:

Royal Bravada

________

THIS is a busy time for the chaps of Royal Bravada.

Luke and Albi talk to me about their latest track, Lullaby, and what we can expect from a new E.P. I learn more about their Italian roots and the music that inspires the band. They chat about touring plans and all the stuff they have planned for next year; whether there will be some new videos released down the line – and what it was like filming the shoot for Lullaby.

I find out about their start and what they have planned for Christmas; what advice they would give to new songwriters – and how their recent music has altered and shifted from their earliest days.

________

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

Albi: Hey! We’re pumped up. This is quite of a special week for us: we release our first-ever UK video premiere for our new single, Lullaby - from the Peace E.P., which will be released song-by-song in the next few months.

SO, yeah; it’s going pretty fuc*ing well.

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

We’re Royal Bravada. We are four Italians, walking a thin line between being badass vicious rascals and gentle lovers. We do what we love most which is music. One of our favourite bands would probably say that we “ain’t nothing to fuck with”…

But we can also be very sweet at times.

Luke: I am Luke. Where’s the bar?

Lullaby is the new track from the band. What is the tale behind it?

Albi: When you first listen to the song; it’s a love song. But is it really?! Truth is; it’s an emotional ode to happiness in the small things. No matter what happens to you, what really matters is living the moment; right here and now.

If you have that wider view, things will start falling into their right place and your focus will clear up. That feeling of accomplishment (call it love?) will come to you like a sweet lullaby.

Luke: Lullaby talks about a beautiful love - which is also a complete mess. Love can hurt you so bad - but it’s also the only way you can redeem yourself.

Humans are complicated, after all.

The video looks like it was fun to film! What was the experience like?!

I adore when you shoot a video-clip - there’s always that pervasive sense of ‘this is going bananas!’ and ‘We’ll never gonna make it!’ That night, the gods were also sending messages to us in the form of unexpected showers and cold wind. Three times we had to stop; cover all the gear and wait for the storms to pass…

Albi: It was intense. With any low-budget video, you have to make; it work and be ready to improvise or you’re lost! All the fire you see is real: no post-production or digital stuff. Sometimes people don’t realise how much time, planning and effort there is behind video-clips.

When we finished it was past 4 A.M. - and we opened a crate of the best beer. It was actually s*it Italian beer, but it tasted good.

My god, it was good.

Can we expect more material from the band down the line?

Lullaby is the first single extracted from our new E.P., Peace. We have at least three more releases from this E.P. that will crowd our schedule for the next few months. Then we are pretty much constantly producing new songs. At the moment; we are working on two new thunderous tracks - as well as tweaking the acoustic showcase of Peace.

You’ll hear from us, soon.

How did you guys get together? Did you know one another before 2012’s Black Bones E.P.?

Luke: Let’s say we could recognize each other in a crowd. We use to go to the same venues in Milan and Monza (our hometown). We were first-row at the same gigs…stuff like that.

Albi: Yeah - and going after the same girls at times. Then one day we came together in the rehearsal-room and after a couple of hours playing; we knew we were meant to spend a looong time together.

We are like brothers now. We love and hate each other so much.

How has your music changed since the earliest days? Do you think you have grown and strengthened?

Albi: I think that, with Peace and Lullaby, we reached our best so far in terms of composition and sound. We are always open to exploring new stuff but one thing we never did is closing ourselves into one genre.

We go with the flow a lot.

Luke: It’s always been very spontaneous and intuitive. It still is - but the emotions behind the songs are more matured now. Deeper and more complex...

What kind of music did you all grow up surrounded by? Do you all have similar tastes?

Some names are paramount for all of us (Nirvana, David Bowie; Pink Floyd, Queens of the Stone Age, Franz Ferdinand and AM) but, then again, in general; we all have our own taste. I like Biffy Clyro and hearing children’s choirs in songs for example…that’s normal, no?!

Albi: I like Psychedelic music in general but, also, Stoner-Rock; Blues, Hip-Hop; Grime and Techno. The good thing is that we never fight about music genres or influences.

I guess we’re a democracy...

Your music has got a great response from radio and the media. Does that give you drive and the determination to keep rising and aiming high?

I’d like to be high.

Luke: Where’s the bar again?

Who are the new artists you recommend we check out?

At this moment; I am listening to UGO from Dead Pirates. I don’t know them but this track is a bomb.

Albi: The best emerging bands I have seen lately are Swedish Death Candy, BO NINGEN and 10,000 Russos.

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

Luke: Space Oddity by David Bowie

Because that’s the only record you can play and completely detach from the outside world: It’s just you and nothing else.

"Ground Control to Major Tom…"

Albi: The one album that changed my mind is Song for the Deaf by Q.o.t.S.A.

I went to their latest London gig on 21/11 (me too - Sam) and I almost cried when they ended the show with Song for the Dead. Listen to it right now!

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

It will sound cheesy but please don’t try to be cool: just be yourself and be true.

Luke: Just have as much fun as you can!

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

We are planning a U.K. tour and another Italian tour - both for early-2018. Hopefully, we will go and play in Japan again next summer.

Albi: We have put a little bit of Milan/London/Tokyo in every song from the Peace E.P. These are the cities where our hearts hang.

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

You mean: busy eating! Yes; we will be busy…

Luke: …yet busy recording our new pre-productions of two/three new songs. Never stops!

What are your ambitions for the coming year? World domination among

Albi: To be completely frank; we just want to travel the world with our music. We want to do it and do things our way - and, hopefully, work with amazing people for our next record. Then, we will produce and release at least two/three more videos, I reckon.

Luke: Let’s go to the bar, already…!

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).

Luke: Arcade Fire – No Cars Go

Albi: Caught a Ghost: No Sugar in My Coffee

________

Follow Royal Bravada

Official:

https://www.bulbartlabel.com/management-1

Facebook:

https://www.facebook.com/ROYALBRAVADA/

Twitter:

https://twitter.com/RoyalBravada

Instagram:

https://www.instagram.com/royalbravada/

YouTube:

https://www.youtube.com/channel/UCag6tq5cX30VEBdKt9aKbXA

SoundCloud:

https://soundcloud.com/royal-bravada

Spotify:

https://open.spotify.com/album/0FnN9dG2Kuv35Y38pEIfxb

TRACK REVIEW: Moir - The Truth Is

TRACK REVIEW:

 

Moir

The Truth Is

9.6/10

GENRES:

Electronic; Soul; R&B; Pop; Gospel

ORIGIN:

London, U.K.

RELEASE DATE:

1st December, 2017

PHOTOS:

Olivia Weetch

__________

THE remaining reviews of the year…

will feature a range of subjects and sounds. Into the New Year; I am approaching artists directly and reviewing artists that have a lot more images and information. That is not a slight against Moir: her lack of archives is a good place to start, really - and she has provided me ample photos for this review! I will talk about her music and future later but, for now, it is worth addressing a few interesting aspects. Before I come to Electronic sounds and new female artists; I will look at contemporary blends and starting out in a homogenised mainstream; addressing mental-health and making pain visible and open; where a young artist goes after recording such a painful and affecting work; where Moir might, literally, go after this; tips and recommendations when it comes to 2018’s music – ending with a bit about rebuilding social media and foundations. It is a bit of a risky review in the sense that, on paper, I have a lot more substance and information than Moir. That is an unusual situation for a journalist: normally, the musician is the one you are drawn to. As it stands; I have information and lots of detail on my website: Moir has stripped her social media and, until her new track is officially released, it is very scant and hollow. It is interesting seeing this – a lot of new artists do this accidentally. One of my main issues is musicians who have little to say and see on their social media pages. Whether they have poor and illogical excuses – they want the music to speak; the sounds are more important than their images – or are drip-feeding people new images with each release; it is something that really bugs me. I’d say the reason I am going after artists next year – rather than looking for submissions – is how few can meet very simple criteria. It is almost like getting blood out of a stone when you ask an artist for a few images – in a day when people are taking an immense amount of photos; there is no excuse to have such a shoddy and anorexic profile. Moir does not suffer this but, going forward, a bit more about the woman herself would be nice.

I feel there are two reasons why Moir has decided to delete her social media. For one; her next single is a raw and revealing moment that talks about hard subjects. I will come to discuss her E.P. (out in February; called The Truth Is) but the whole experience has been a challenging thing. Maybe this is a sort of rebirth and reinvention. Not that I will compare a social media tactic with something like spiritual cleansing, but there might be something in that – Moir is keen to start afresh and rebuild things. I am not sure the exact details of her last year few years but it seems like it has been a very harrowing and draining time. I will come to that side more, soon, but, as I look forward, Moir’s approach reminds me of two artists that did the same thing: Radiohead and Taylor Swift. Radiohead were the first act I saw take their social media down and turn the lights off. I would freak out a bit because I have accrued so many posts and articles. I would worry they would not come back if I hid them all from the public. Modern music is as much to do with strategy and marketing as it is authenticity and the organic. One must realise the competition is stiff and the public are looking for acts that stand out and offer something interesting. Moir has an empty SoundCloud channel and, when one looks at her Twitter and Facebook, is a new-born and virginal landscape. I mooted the reasoning behind this might be personal and deep – maybe this is a way to get into the consciousness and try something different. The modern musician takes an opposite approach when it comes to their promotion: every release has teasers and slow reveal; endless posts and so much information. It can get exhausting and really drain the senses. If one is subjected to constant data and confusion; it creates a degree of exhaustion and befuddlement. When Radiohead took away all their social media content – when they were promoting the album, A Moon Shaped Pool – there was a lot of excitement and discussion. Some felt it was a move that could backfire; some were a bit put-off; others were delighted by the risk and sense of theatre.

Taylor Swift has done it more recently: before she unveiled the first single from the album, Reputation, everything was taken down and there was the naked social media spread. It is certainly a way of getting people talking and the media stirring. Few unsigned/new artists do this because logic and the market suggest the opposite approach should be taken. I think every new artist should decide their own course and not do as everyone else is doing. The way acts are going to stand out is doing things differently and not following the herd. This might seem counter-intuitive but, if you want to get under the skin; imagination and inventiveness must arrive. I think Moir is doing this – deleting all her previous posts – to announce a new stage of her life. It certainly can’t hurt her sense of mystery and potency but there is an overhaul and reimagining. She has been through a lot of confusion and change so it is only natural the arrival of a new track would inspire a fresh identity. I am interested venturing into Electronic music and how it has changed over the past couple of decades. I am a big fan of the 1990s and the Dance that was around then. Now, the comparable market is a lot less nuanced and enduring: artists are putting out sounds that hit instantly and contain little depth and magic. I feel the 1990s’ Dance/Electronic was king because it remains and inspires to this day. You can say the same about 1980s pop but, today, there is a split between the club-bound Dance/E.D.M. and the mainstream Electronic-Pop option. The latter is more appealing to me because the marriage of Pop and Electronic. You get something harder and tough but it has sweetness and melody. Moir has been compared with the likes of Banks and Tusks but melts in Gospel, R&B and Soul. That is an intriguing blend – one not a lot of artists are tackling. I say that but, when you think of Jessie Ware and Sampha; these artists are putting those genres together and achieving tremendous results.

Both, the latter for sure, can claim to have made one of the best records of the year (Process). Moir doesn’t have the same sound of Sampha – as she is a white girl; he is a statuesque black man – but the way her voice and music affects can be compared to the great man. I realise Electronic/Dance music reached its apex decades ago but the way the form has developed and diversified is terrific. Dance was always eclectic back then but, through the years, the best artists have stepped away from the clubs and dancefloors to stand up tall and move in a different direction. I love the mention of Banks (or ‘BANKS’) and Sampha in the biography of Moir. I can hear both artists in her work and it excites me to her the young Londoner aim high and produce authoritative work. She has a natural command and passion most artists take years to craft. What I get from a song like The Truth Is (is) grace, power and revelation. There are contrasting emotions and dynamics: each line and moment of the song inspires fresh thought and speculation. I understand there is a rather personal and emotional background to the song but there is light and hope – one steps away from the song and realises the young artist is rebuilding and making her way up. Returning to modern Electronic and, I feel, the genre is the most promising around. Pop has its promise but there are so many artists plastic and shallow – not providing anything beyond the commercial and pointless. The cheap and tacky Pop artists we find in the charts are not going anywhere (unfortunately) but there is a competing wave of artists who produce something proper and pure. By this, there is music that sprinkles Electronic, Pop and Soul together with R&B/Gospel.

The mainstream is starting to slump into a bit of a bog at the moment. It is not completely homogenised but there is a lacking tactility and mystique. I feel there are fewer artists standing out and promising long-term returns. A lot of modern promise lasts a year or two but fades into obscurity. Maybe that is a sign of competition and the modern nature but one reason (so few remain) is the sounds being produced. Few are providing amazement and original content but I have been less impressed by this year’s mainstream – last year seemed stronger and more exciting. Moir is someone who realises this and is creating music that blends the best out there at the moment. I have talked about Banks, Sampha and Jessie Ware: perhaps the three most promising and talented solo artists on the scene. It is their seamless tangling of edgy electronics/beats with soothing, smooth layers that have seduced fans and resonated. One hears this with Moir: a young artist who has the potential to match these artists and make her own way. I am hearing a lot of new artists take the same approach as Moir. Maybe they are all looking at the mainstream and finding gaps that need to be filled. That might create another issue in itself: the new breed all thinking the same; how is the individual going to get attention is their peers are doing the same thing?! That is something we need to address but Moir has an extra layer and spark that will see her succeed. I can say this confidently because she exudes so much passion and pride in her work. I cannot include a link to her new track – as it is private at the moment – but, when it does arrive, you will hear all the strands/ingredients come out.

Although Moir is not filled with hubris and arrogance: her music is not shy and filled with modesty. There is a woman who tackles mental-health but does not do so in a guarded and vague manner. She is very bold but does not put the listener off. By that, I mean she has a sense of adventure and playfulness with the music but balances that with lyrics that come from the soul – documenting the harder times and moments of clarity that have come to play. I have mentioned mental-health before. This is a subject that is still burdened with stigma but musicians are keen to air it out and make people aware of the true extent. Many are uncomfortable talking about the topic but you cannot hide from it. In this day – when we are less connected with people than ever – many are spending time at laptops and fostering isolation and depression. Anxiety levels are rising and it there is an epidemic forming. Moir has experienced the lash and teeth of depression and, in her new track, brings in some words that some might find tough to take. Not to say The Truth Is will drag you down and seem too heavy: it is a track that will strike a chord with many and shows how open the creator is. I listen to Moir and connecting with her words and personal experiences. The music digs deep and gets into the heart. There is a lot happening on the track; that means one is thinking about it long after it has finished. Her E.P., I will look at in the conclusion, was penned after a traumatic experience. Moir recorded the work in a home-studio and brought in some collaborators. It was a tough time for her but, through music, you can hear that sense of freedom and revelation. I am not sure how cathartic the experience has been but I hope Moir feels less stressed and harrowed than the start of the E.P. Music has the potential to heal and improve – let’s hope it has managed to help Moir and provide perspective.

Moir is based in London. This is a city that can really help an artist and provide so many opportunities. I worry the city is a bit of a mixed blessing for many. It has a lot of music and stages; there are colleagues and like-minded people everywhere – the rush and excitement of the place is electric and intoxicating. I always gravitate towards the city because I love the busy vibe and the range of people. There is always something to do there and the chances of being bored and nil. On the other hand; the crowds and heavy streets can have a negative effect on the mind. I wonder whether artists who suffer anxiety and mental-health issues are aided by a city like London. Moir has a great network of venues and labels around her but, from a personal perceptive, maybe there is a detrimental nature that needs to be deleted. I think the city is the finest on Earth but there are problems and natural downsides that are causing stress and worry. Artists gravitate towards the city and find it a natural home to have their dreams and ambitions realised. Next year will provide a chance for Moir to have a think and see where she wants to head. I think London is a great base but, from a personal and creative standpoint, are there other cities that could provide a greater balance?! I am not suggesting she abandon London: maybe spending a few months in another country would provide some new lease and relaxation. I find L.A. and Berlin are places many new musicians are relocating to. The former has the weather and landscape; it has a rich heritage and seems ideal to many. Maybe Moir would benefit from a few months soaking in the Los Angeles sun. I feel the summer-months would be a perfect time for her to go over there and write some new material. Maybe she is rooted in London but there is inspiration and light to be found somewhere like L.A.

One can argue there is a bustle in L.A. that is comparable to London: I find there is less stress and anxiety to be found in Los Angeles. I feel Berlin is another city that is appealing because of its comparative lack of the busy and strained. Some great bands/acts are settling there: Moir would find plenty of inspiration and fun in the city. I am not saying Moir should permanently relocate to these cities – maybe, the sheer cost and consuming nature of moving might put her off. It might be beneficial if she takes a few weeks out, at least, and recharges the batteries. The cold and wet weather here is going to have a bit of a harsh effect on her mindset and psyche. Balancing the familiar of London with a more exotic and settled city might do wonders for Moir. She has been through a lot of crap the past few months/years. That need to find peace and happiness is going to be top of her mind as we head into 2018. I get a feeling, when writing her new material, there was that sense of loneliness and not being understood. She has been through the mill and felt alone and alienated. Holding onto these emotions creates poison and scars. These are revealed in her latest work – it is one of the most affecting things you can hear. I will look at the new single soon but, before then, a look at where Moir will head next year. There is an E.P. approaching and that will give people the chance to see where the London-based artist is going to go. I feel next year will be the most important for her. Not only will new work be out there; opportunities, gigs and horizons will open up. I feel getting the work-personal balance right will be vital. Maybe going to a new country will provide fresh impetus and a chance to detach. If Moir is thinking of remaining in London next year; I feel she needs to give herself some time to disconnect from music. That seems impossible when launching a career but, given the experiences she has gone through recently, adding to the stress and pressure might have a very damaging result. She will get gigs and interviews but she needs to find some time to think of herself and take her mind out of music.

I think one thing that needs to happen is to rebuild the social media platforms. That might sound like I am contradicting myself – opening up the Internet and giving herself more work – but her career is entering a new stage. I feel there are going to be challenges for her; ample opportunities and good times are ahead of her. The way to get the music to the masses is making her channels as open and revealing as possible. I know why she has taken her content down and made that decision. After the single is out; I hope she brings everything back and really concentrates on getting her name out there. There are some great images – I have, at least – that can be put onto her sites. She has an incredible background so more biography and revelation would make her more accessible and visible. I would like to know about her upbringing and the music that inspires her; where she is heading and hopes to achieve. Moir has a captivating look and sound so I would like to see more of her on social media next year. I know making yourself too open and prolific can cause more strain and seem a bit too eager – many artists prefer to keep things held back and create some mystery. I know London will open its doors to Moir and give her some great love and warmth. Getting her social media built and big means the new music will get out to the people and mean stations/D.J.s will connect with the music. Venues will hear and see an exciting new artist who has a lot to say. There are few who have the same story and sounds as Moir. I want to see her take every chance out there but am aware of what she has gone through. Next year is almost here so, for Moir, there is that opportunity to strike and get her music heard and played. At the same time; she needs to take a few weeks out to relax and find some comfort.

The Truth Is gets into the head from the very first seconds. It seems talking is not really something the heroine wants to do. The truth is: things have changed and times are tough. Maybe conversation is not going to solve anything and taking that approach is not helpful. Finger-clicks and sparse electronics allow the voice to reign and take command. The heroine offers sweet notes and breeze. There is power and strength in the performance but the delivery allows for some relief and light. I think the song talks about a broken relationship but maybe there is something more serious at play. I know a song on her upcoming E.P. stems from a traumatic and harrowing experience Moir had. Perhaps there is a bit of that here. Male, distorted vocals come in and provide a juddering, echoed effect – the likes of the xx have used this kind of sound and effect in their music. It is odd and exciting but provides a different voice and dynamic to the song. The heroine repeats lines about talking and its usefulness. Maybe people have tried to offer support and advice but it rings hollow and insincere. The weight on Moir’s shoulders is heavy and things are quite severe. If talking about a current relationship; things have reached their end and the heroine wants to rebuild. Maybe she needs time to reflect and make her own way forward. People are getting involved; maybe the other party is trying to have their say. Against the shuddered background vocals comes a rolling piano and sense of 1990s Piano-House. The mix of sounds in the song is extraordinary. The vocal remains quite light and contemplative but carries plenty of potency and resonance. It is clear the heroine does not want to be bothered and is looking for a constructive way out of her problems. Whilst drawn to the vocals; one also notices how the composition evolves and shifts. It is like the music matches the emotions behind displayed in the foreground.

The purity of the piano is that distance and getting away from the scenario – our girl moving on and trying to make sense of everything. She is an “expert at holding things in” and that, it seems, is the worst thing to do. Maybe things are so bad revealing it will open floodgates and have a horrible result. She needs to get those words out but feels her natural dispositions means it will be kept in. In a sense; I get little flecks of Kate Nash and Lily Allen in the voice. It is conversational and has a bit of an accent; it shows emotion but never gets too overwrought. The heroine has always kept things inside but, considering the way life is unfolding, the desire to get the truth out is palpable. Perhaps there is so much stress in it is causing damage and depression. Whilst it is not revealed why she is so sad and strained: one feels love and heartache are in her mind at least. We move to cooing vocals and the sort of lush and sensual velvet one hears in Jessie Ware and Sampha’s best works. From there, the percussion tightens and there is a darker, industrial sound. It mixes Dance and Electronic but keeps the mood low and taut. We have shifted from revelation and openness to a sound that is more claustrophobic and edgy. Maybe this signals the way Moir deals with her problems and how she is moving on. Rather than opening to people and becoming vulnerable: hiding away and keeping it all guarded is the way she deals. This is unhealthy but many people cope this way. It is upsetting being that open – you fear you’ll be judged or a torrent will come from you. If she is talking about love and being honest with a lover; it seems things have cracked and the situation is beyond repair. Maybe there is the desire to reveal things to friends and family; discussing something harrowing that is eating her up. The heroine has been plagued by a disease and the need to find a ‘cure’ is paramount. She has tried to contain that ache and, now, it seems there might be hope. I might be misunderstanding but it seems things are improving. Moir might have kept things in before but this realisation – keeping things bottled is not the best way through – means there are going to be changes and catharsis. If she lets out the problems and talks to people; that will mean she is less candid in future. It will get the problems into the air and means they can be addressed. The vocals build up and layer: the chorus gets hotter and fevered; it is both arresting and romantic. I came away from the song will little breath and emotion left. It is a tough song to take but one that shows the heroine has come to a point where she needs to be more honest with people around her. There are beautiful mixes of House, Pop; R&B, Soul and Gospel. The song shifts and goes through different phases and revelations. A stunning and entrancing song from a truly incredible artist.

The dark sounds and juxtapositions one finds in Moir’s work have already got the ear and mind of many. She is a new artist but there are fans who want to hear what she has to offer. Her E.P. was recorded with collaborators she met at the Roundhouse – as part of their Young Creatives programme. The E.P. track, I Said Don’t, was written after a traumatic experience. We can only imagine what happened when you consider the words – let’s not dwell and speculate too much. That sort of courage and fortitude is something that deserves applause and affection. The resultant emotion and anxiety is documenting in the music. Many artists are reserved when it comes to opening up: Moir feels it is important to talk about these times and not hold back. Maybe some will feel the songs are quite stark and bleak but there is ample light and affection that comes through. Moir injects optimism and colour in her music: the contrasts and balances one hears is why she is an artist many more need to get behind. I am keen to see where she heads and what comes next. There will be gigs and new horizons for the young star. She has the chance to make a real impact and get her music to the mainstream. Maybe that will take a little while but I know that will all arrive in time. The Truth Is (is) a brilliant track that puts one in mind of giants like Banks and Jessie Ware. These are artists that connect with Moir; she takes their music to heart and wants to create her own voice. I cannot wait to hear the E.P. and what comes from it. I have mentioned a number that stems from a traumatic time. Maybe the remaining songs are less fraught but one hope there is enough honesty and reveal. Against all of this is tenderness, hope and forward-thinking dreams.

I am also excited thinking where Moir can perform and the gigs that are ahead. I feel she has the chance to play abroad and get some fans there. I have highlighted some cities she might feel would be right for her. Europe is a definite possibility for 2018. The social media channels will be reignited and the talented star will want to get her face to the people. Rebuilding after such a hard time will take steps – she is equipped to deal with the challenges before. The fact she has managed to make music and continue is staggering in itself. Courage and strength are commodities that are not as easy to achieve as one might hope – the desire to hide and close off from the world is a lot more tangible. I will close things off but, looking at the music being produced, and I have no hesitation when it comes to recommending Moir to the people. I miss the days of 1990s music and the incredible sounds that came from the scene. The Dance market was a lot stronger and the mainstream had that diversity and allure – I am less drawn to modern music by comparison. I have high expectations for Moir and know she will craft a successful and happy career. This coming year is a huge one for her. The new track is out in a week and that will give people the chance to see what she has been working on. After that; there is the E.P. and making moves regarding gigs. All of her past goes into the present material. I am proud of what she has achieved and intrigued by the fact she has deleted her social media content. The lights have gone down and Moir is presenting the revelation of her latest track. It is a brave taking this approach to promotion and doing the same as artists like Taylor Swift and Radiohead. Let us hope, when The Truth Is arrives into to the world…

THE songwriter brings the lights back up!

_______

Follow Moir

Facebook:

https://www.facebook.com/thisismoir/

Twitter:

https://twitter.com/thisismoir

Instagram:

@thisismoir

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