INTERVIEW: Leyya

INTERVIEW:

Leyya

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THE unpredictable nature of music means each day…

brings something new and unexpected. Leyya are a case in point, for sure! They are a brilliant duo based out of Vienna – Austria is not a nation I spent a lot of time investigating! Marco and Sophie tell me about their fantastic new single, Drumsolo – and the video behind it. I ask about the scene in Austria and details about their new track; how Leyya came to be – and the sort of sounds they are both into.

I learn about their future plans and whether we can expect to see them come to the U.K.; whether they have any aims for 2018; what they have planned for Christmas – and the albums that mean the most to them.

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

Hello. We are fine, thank you. We thought, that after finishing the album, we’re having a little time for other things but, apparently, that is not the case: we’re still very busy preparing the tour and the release.

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

Hey. We are Marco and Sophie from Vienna, Austria - and we are a duo who write and produce Pop music in different variations.

Tell me about the new track, Drumsolo. What is the story behind the song?

Drumsolo is probably our favourite track of all the tracks we have ever written as Leyya. On the one hand it’s kind of ‘complex’ music-theoretically but, on the other hand, the vocal-melody is very catchy and simple - so, you don’t even notice the track’s quirkiness and that‘s the unique point of the song.

It has a very upbeat and sun-kissed sound – but some darker undertones. Was it quite an easy song to get together?! Synth pads, saxophones and bass mixes with Marco Kleebauer’s drumming. How integral was the percussion to the spirit of the song?!

Marco: As always; we started out with a rather silly idea, just for fun. Sophie and I were like: ‘Music on the radio right now sounds always the same - hooks all over the place and the vocal melody is always reduced to one or two notes‘. Don’t get us wrong here; that’s just a matter of fact, even though we do like quite a lot of that kind of music. So; we thought: ‘Let’s do something nobody does right now; even if it’s not a good idea...like a drum-solo or something hilarious like that‘.

So; we recorded a two-bar drum-solo which, unintentionally, gave the rhythmic foundation of the whole track. After laughing about the fact that we just recorded a drum-solo, we worked on a vocal melody and realised, that it actually works.

So we kept it...

What do you hope people get out of it?

We want our songs to have different layers so that everyone can find their ‘space’ in that song. You can listen to it as a ‘simple’ Pop-song...but you can also dive a little deeper and realise that there is more to that. It is always important to us that a song doesn‘t lose its magic after hearing it two or three times - and that there is always something to discover every time you hear it.

Is there going to be more material coming next year? What do you guys have planned?

We‘re releasing our new album, Sauna, on January 26th.

We have worked very hard the last two years on that. We knew exactly what we wanted the album to sound like and made hundreds of sketches - we deleted afterwards - just to translate the exact ideas we had in our heads into these final songs. We are extremely happy with the result - and we can't wait for the people to finally hear it and to play them live.

How did you guys get together and form Leyya? Is there significance behind that name, too?

Sophie: Marco and I come from the same little town in Upper-Austria - where it is quite hard to find someone with the same musical interests. We always made music together and, at one point, where we finally found our sound, we decided to convert into a project. The name ‘Leyya‘ was originally the name of my singer-songwriter project that we just kept.

What sort of music were you both raised on? Did you discover music at a very young age?

In our village, we have a small music school that we both attended at an early age but, instead of joining traditional marching bands later - which was common in our village - we both concentrated more on ‘modern‘ music. I started writing songs (in English, although I almost didn‘t know a word) when I was eleven - just with an acoustic guitar and my voice. Marco played the drums and started to produce his own ‘Electronic’ tracks. We formed a Rock band together when we were around thirteen/fourteen and, when we grew older, our music grew with us.

We learned a lot just by experimenting with recording.

Vienna is where you are based. What is the city like in terms of music and opportunities?

We moved to Vienna a few years ago because, at home, we couldn’t really find an audience or someone to work with - and that kind of limits your creative output. Although Austria is very small in general; Vienna does have a little community and it is easier to reach certain people. But, still, most Austrian musicians concentrate on ‘expanding‘ a little bit and try to bring their music out of Austria as well...

We have loads of good musicians in Austria - but it seems as if the rest of the world fails to see that.

Who are the new artists you recommend we check out?

An Austrian band, who has just released an album that is amazing, is 5K HD.

IN THIS PHOTO: 5K HD/PHOTO CREDIT: Astrid Knie Photography

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

Marco: I‘d probably choose Dark Side of the Moon by Pink Floyd

Because my parents used to play the album in the house back then, when I was a child. Actually, there is no ‘best album’ - but there‘s just a lot of memories attached to that specific record.

Sophie: Alabama Shakes’ Sound & Colour

This record has such a feeling to it without getting cheesy. Every instrument is on-point and Brittany‘s vocals always drive through my spine. It has inspired me a lot the last few years.

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

I think it is very important to focus and stick to the music you believe in. There will always be people trying to change your sound or the way you make music just to fit in a certain scheme. Or people who say, you can‘t have success, because you‘re not mainstream enough.

It‘s important to believe in what you‘re doing and to withstand the pressure others give you and you maybe even give yourself.

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

We‘re doing a small tour around Europe in February: Germany, Austria; Netherlands, Belgium etc. In March, we‘re playing in North America, Texas and Mexico.

We‘ll continue touring in April and May with some more dates in Europe (that we‘ll announce on our website).

Do you think you will come and perform in the U.K.? What do you think of the music we make over here?

We have already played a few times in the U.K. - only a month ago, actually. But, we‘re coming back, for sure.

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

We both are celebrating the holidays with our families but, until then, we‘ll be working towards the release - and try to start a few new things as well to keep ourselves and our creativity fresh.

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).

Marco: Curtis Mayfield – Hard Times

Sophie: 5K HD - Gimme

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Follow Leyya

Official:

http://leyya-music.com/

Facebook:

https://www.facebook.com/Leyya.Music

Twitter:

https://twitter.com/LeyyaLeyya

Instagram:

https://www.instagram.com/leyyamusic/

SoundCloud:

https://soundcloud.com/leyyamusic/

INTERVIEW: Megan Dixon Hood

INTERVIEW:

Megan Dixon Hood

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THE scarcity of female artists I am sent for consideration…

makes people like Megan Dixon Hood very precious. I am excited by a voice filled with soul and power. I speak with the young songwriter about her music and the new track, Alias Grace. She discusses future plans and whether there is an E.P. coming up. I find out what it is like being supported by a legend such as Sir Terry Wogan; being backed by BBC Radio 2 – and playing some up-and-coming, prestigious festivals.

I ask Megan Dixon Hood whether her new material, in her own opinion, is a progression from older work; the musicians/sounds she was raised on; how important it is getting her music out to the people – and how she will end a busy 2017.

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

I'm very well, thank you. I've just celebrated my birthday - so it's been a great week!

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

As a singer-songwriter, my writing tends to lean to a darker movement; with a focus on strong lyrical content wrapped in an ethereal sound.

Alias Grace is your latest track. Can you tell me about the song and the story behind it?

My songwriting is often influenced by literature and folklore - and this specific song was inspired by the novel Alias Grace by Margaret Atwood.

The song is written from the perspective of Grace Marks - who is accused of murder as a young woman and is imprisoned most of her life. It’s suggested that she did not actually commit the murder, yet rumours spread quickly and she is soon aware that she is seen as some kind of beast - despite her natural beauty and mild manners. The nation is torn as to whether she really did commit the crime. The tone of the song is actually quite sarcastic in the way that she invites the listener to ‘step into’ her skin to see for themselves what her life is really like and then make judgements.

I suppose it makes you think about judging someone without really knowing the truth.

You have played Rock the Farm and gained support from BBC Radio 2. Has that been a real support and drive for you?

Any radio support is a recognition of the sound I'm creating - and it’s a real encouragement for new artists like me to get that support and it’s something I'm very grateful for. Its similar to festivals such as Rock the Farm. Having these opportunities helps me reach a wider audience - which is something I always appreciate.

Early Morning Riser, released in 2014, was your debut single. Looking back at that time; how do you think you have developed as an artist? Is it quite scary seeing how far you have come?

I've developed massively, I think - mostly in confidence, both from a performance point of view (getting on stage can be nerve-wracking) but also in my ability to write. I want to keep experimenting further, lyrically and also sonically - and I'm lucky that the band I have surrounding me enable exploring sound so much fun. It is scary, in some ways, seeing how quickly time has passed. Seeing how I've developed excites me and a belief to push musical boundaries even further gives me inspiration for future projects.

That song was praised by (the late) Sir Terry Wogan! Is that a career highlight?

Definitely! To have listened to him on the radio as a young child, and all the people that admired him - especially for me as he was someone who often supported new musicians - it was a privilege to have him play my song. Bit of a surreal moment!

Another highlight, too, was when I was asked to support Rag'n'Bone Man in Manchester a couple of years ago. Definitely another magical experience.

Can we expect some new material next year? Is there going to be an E.P. or album?

You certainly can! There will be an E.P. following Alias Grace in the New Year - and I'm really excited to share what we've been working on.

Cheshire is where you were born; you are a Manchester graduate and have gained popularity from local crowds. Is the North of England one of the best places to make music? What is the scene like there?

I personally think it is.

I feel like my music properly began whilst I was in Manchester and I think the city really helped with that. There are some fantastic venues, big and small, and there's a lot of hardworking and creative people surrounding that. It's an inspiring place to be. Stoke-on-Trent also has a really good up-and-coming music scene with a wonderful community who really put the effort in to support local music. I live right in the middle of these cities so I essentially have the best of both worlds!

Can you tell me the artists and music you fell for at a young age? Which artists did you take to heart?

It's quite funny. I remember, as a young child, my sister and I were really into Avril Lavigne and Destiny's Child! But my dad always had music playing like Neil Young, Joni Mitchell; David Bowie, Pink Floyd - so I was always hearing a variety of music. In my early teens though I remember quite clearly falling in love with Laura Marling and she changed how I listened to music.

She's still an inspiration today...

I know you have a new track out but are looking ahead to 2018? Do you have ambitions unfiled? Any venues you’d particularly like to play?

As I mentioned earlier; I have the new E.P. coming out in early-2018; so that's something I'll be really focusing on. I'd also really like to put a bit of a tour together and go out on the road with the band - as we always have so much fun at shows. Venue-wise; I'd love to play the Royal Albert Hall and, of course, like every musician...I'd love to play Glastonbury!

Maybe 2018 is a little early for that but, either way, they're definitely on my bucket-list!

 IN THIS PHOTO: RUNAH

Who are the new artists you recommend we check out?

Oooh, good question! If you want to be enticed by something magical and mystical I would recommend RUNAH. She has some really beautiful songs and poetry. Also, a local band near me: Nixon Tate & the Honey Club have some cracking songs! Both Runah and Nixon (and the band) are lovely people, too.

I also came across a band online recently called MarthaGunn. I think they're Brighton-based - and I really like what they're doing at the moment.

 IN THIS PHOTO: MarthaGunn/PHOTO CREDIT: Steve Glashier

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

This is really hard to answer! Laura Marling’s I Speak Because I Can is definitely on there. As I said; she was really the first songwriter I connected with - and I would sit and listen to that album and read the lyrics alongside. She probably was the reason I started songwriting.

Angus and Julia Stone are a brother-sister duo from Australia. I don’t know what it is about them but I love every album they’ve released: there's something really hypnotic about their sound. I saw them play recently in Manchester and it was a brilliant show. I left feeling really inspired. They also remind me of my sister as we're both massive fans - so we always go and watch them together. Their recent album, Snow, is really chilled. I love it!

Dry the River's first album, Shallow Beds, really inspires me with the lyrical content; clever harmonies and unique melodies. I find I often revisit this album when I need some songwriting motivation. I'm really gutted the band are no longer together.

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

Ah. That's a tough one, as I still feel like I'm learning so much myself but maybe that's part of the advice: to soak up and learn as much as possible about the industry; get networking and into the creative side of it. I've found making friends with people in the industry is good, too, as it’s a great community to be part of.

Music really does bring people together. I think staying true to your own sound and style is imperative to your progression and own success.

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

I have nothing confirmed yet - but I will be back to playing shows in the New Year. Hopefully, a tour, too. So…keep your eyes and ears peeled!

How important is it getting your music out to the people? Is the stage somewhere you feel free and at your very best?

I think most musicians and writers would agree it's important to get your music out to people - as the feedback and response can definitely encourage and inspire you to keep going and write better music for yourself and listeners. The stage was once a place that terrified me, but now, I have created a whole world up on stage for myself - and it's become the best feeling ever!

I hope that, when people come to see us play, they feel the energy and excitement we have onstage.

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

I know. I can't believe how quickly it's come around! I'm hoping to find a bit of time to do some more writing over the festive period. I always try and spend time with the family so, hopefully, it'll be a relaxing and cosy break!

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).

Mykonos by Fleet Foxes.

I saw them live recently and I fell in love with them even more - especially this song. I love it.

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Follow Megan Dixon Hood

 Official:

http://www.megandixonhood.com/

Facebook:

https://www.facebook.com/megandixonhood/

Twitter:

https://twitter.com/MegDHmusic

Instagram:

https://www.instagram.com/megdixonhood/

SoundCloud:

https://soundcloud.com/megan-dixon-hood

INTERVIEW: Rookes

INTERVIEW:

Rookes

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ITS video, once watched, really gets into the head!

It was only right I spoke with Rookes about the new single, The Heel of My Hand, and that awesome video. She chats about her transition into music and the evolution of her sound; the artists that have been instrumental in her growth; what new music will arrive – some cool new artists that are worthy of more time.

Rookes lets me know about the music scene in Birmingham and why she relocated; whether she will get time to wind-down this Christmas; a few albums that have been especially impactful – and whether there is an interesting story behind the name, ‘Rookes’.

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

Hello! I’m well, thanks

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

Yes. My name is Rookes (A.K.A., Jenny Bulcraig) and I am an Indie-Pop artist from Birmingham - currently living in London.

Is there a particular inspiration behind that name, ‘Rookes’?

I’ve always been fascinated by dark birds – they would pop up in my work as a visual artist back in the day. A lot of my music has a darker edge to it, so it seemed fitting...

Putting the ‘e’ in the word just makes it feel more like a name.  

The Heel of My Hand is your current single. Can you tell me about its story and origins?

That makes it sound a bit like an X-Men Origins story (which I enjoy)! The Heel of My Hand threads quite tightly in with the rest of my songs on my upcoming E.P.; which all circle around the pivotal experience of falling love with a woman for the first time and then losing her. It was a very difficult period - and making this record allowed me to process the pain, plus my burgeoning queer identity.

T.H.o.M.H. is the track that channels most of the deep frustration I felt about the whole situation - as well as the residue of my suppressed sexuality.

The video is out there. What is it like to shoot music videos? Is it something you enjoy doing?

It is out there, indeed!

It wasn’t the first shoot I’ve been involved with, or even the first one I’ve organised and directed, so I did have some idea of what to expect. Having a good team is absolutely key; so we got the team set up, the venue booked and then shot the whole thing in twelve hours. My director of photography (Marshall Mowbray) and myself have an ongoing creative partnership - which was a helpful element to keep things running smoothly on what is otherwise a very long, hectic day. Practically, things will always go wrong but you have to keep moving forward. Marshall is brilliant at facilitating my ideas without steamrolling them - that makes the process much more enjoyable.

It’s always wonderful to see something you have planned with meticulous care come to life.

The Game & the River is your forthcoming E.P. Can you tell me about the stories and themes you will explore throughout it?

It’s a love-and-loss record, but I do try to write as innovatively as I can; it’s good to try to write about such an old, familiar topic in a new way. I draw on a few different themes to illustrate the arc of the story although, admittedly, the track listing does not follow that sequence. The title of the E.P. - and one of the tracks - connect the game and gambling imagery that pops up, lyrically, in every single song – because, of course, falling in love is a massive gamble.

It’s going to be fun watching people spotting those metaphors...

Birmingham is where you are from. I know there is a productive and impressive music scene there. Is it somewhere you recommend people check out?

I would. You might have to dig for the good stuff - but it’s there. Birmingham has a wonderful history: Reggae, Ska; Britpop, Folk – it’s just so diverse. The folk music scene, in particular, is very well-established. I would recommend checking out the Moseley Folk events and festivals and the Ukulele Orchestra Moselele.

Plus; there are a few stand-out bands that have emerged from Birmingham who I really love – like Kioko and the Electric Swing Circus.

What drove the decision to relocate from Birmingham? Did you feel there were too few opportunities there?!

Actually, it was completely unrelated to music. I was in a band in the Midlands at the time - but we weren’t making enough money and I couldn’t get a job. Then, I was offered a job in London and, financially, I didn’t really have a B-Plan…so I had to take it. The band broke up about six months later and then becoming a solo artist just sort-of happened by itself - because I didn’t know any other musicians in London. Well, actually…I knew one. We made friends on Twitter and he ended up becoming one of my collaborative production team.

I’m actually talking to you from the studio - where I’m working with him right now.

Can you tell me the music you grew up on? Who are the artists you admired from a young age?

I promise you; there is not room to list them all here. I have always been around music. I actually just wrote a blurb about Annie Lennox - who has always been a constant source of inspiration - for Julie Hough (of the excellent band, HAWK); for an illustration project she’s doing. My parents gave me a lot of strong, melodic songwriters to listen to: Peter Gabriel, Bob Dylan; Beverly Craven, Paul Simon; Joni Mitchell, Phil Collins; Paul McCartney, Chris Rea; Queen… and they made me watch Top of The Pops 2 and Later….with Jools Holland on the regular.

I got access to Michael Jackson at my best friend’s house, and later came Arcade Fire, Alanis Morissette and Elbow. I discovered David Bowie and Prince horribly late!

I know you have your own blog. Can you tell me what that is about and how it came to be? What other projects are you involved with?

It’s called AKA ROOKES. The blog came about because I worked, for a while bit, in academia - and I missed stretching that intellect.

I’ve always loved cultural analysis and I’ve dabbled in music journalism; so I set up the blog as an avenue for those skills – I then expanded it to a podcast as I started to meet more and more interesting people I wanted to dialogue with. I’m actually a Patreon artist (www.patreon.com/iamrookes) which allows my fans to sponsor my work. This covers the music - live performing, recording and everything in-between; the blog, the podcast; a collaborative songwriting project and the writing of a Folk-Opera. Some of the money I raised from my fans on Patreon actually enabled me to afford to make the music video for The Heel of My Hand – it paid for about 50% of it, in the end.

The more fans I can get to sponsor me, the more creative stuff I can afford to generate – and I just give it straight back to them.

 IN THIS PHOTO: Tash Sultana/PHOTO CREDIT: @samgehrkephotography

Who are the new artists you recommend we check out?

There is a swarm of female artists that I currently love: Zeina, Tash Sultana; Tei Shi, Chagall; Art School Girlfriend, Kimberly Anne and Princess Nokia. Plus; my brilliant label-mates (Seahorse Music) Bryde, Little Rêd; Mere Child and Me for Queen - and DIDI; who’ll be supporting me live in the West Malvern Social Club this coming month.

As for the boys – I’m currently enjoying LEISURE and Paradis.

IN THIS PHOTO: Little Rêd/PHOTO CREDIT: Kirsten McTernan

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

Paul Simon – Graceland

Because it’s existed exactly the same length of time as I have.

Elbow – The Seldom Seen Kid

Because it’s an album my parents and I all agree on.

Grimes – Art Angels

Because it put a rocket up my arse - at a time when I really needed one.

(You can read more elaborations on these and other albums on my blog).

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

1. No-one actually knows what they’re doing - and mistakes are opportunities to learn. Don’t be afraid to try things and make stuff up as you go.
2. Try not to dive straight into being a musician without any actual life-experience to write about. Go and live. Get a normal job; learn how to handle money. Have some adventures. Fall in love a bit. Help some people who need help. Read some poets…
3. Work really hard - be really, really good – but make sure that you’re creating to please yourself rather than somebody else.

PHOTO CREDIT: Curious Rose Photography

What do you have in store for the remainder of 2017? Will you be planning next year’s releases or concentrating on gigs?

I have a lot of plotting to do. I’m playing a gig, booking some more; resting, making a new record; writing another one...

That’s plenty for a month, I think.

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

I’ll be home with the family for Christmas. We’re a tight bunch.

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).

Kate Bush – Hounds of Love, if you please.

Because; if people don’t know who Kate Bush is, then that needs to change…

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Follow Rookes

Facebook:

https://www.facebook.com/iamrookes/

Twitter:

https://twitter.com/iamrookes

Instagram:

https://www.instagram.com/iamrookes/

YouTube:

https://www.youtube.com/channel/UCpbz-QAC5vv5LiYTcg0qkVg

SoundCloud:

https://soundcloud.com/iamrookes

INTERVIEW: Alex Francis

INTERVIEW:

Alex Francis

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WITH an incredible new single out…

it is a great time to speak with the talented singer-songwriter, Alex Francis! The Hitchin-raised artist talks about All I've Got's creation and release. I ask him about the upcoming E.P., A Stronger Love - it is released on 1st December and shows what a strong and promising talent Francis is. He talks about his music tastes and what we can expect going forward.

I ask how his new E.P. differs from These Words (his previous release) and the sounds he was raised on; the three albums that mean the most to him; whether there are gigs before the end of the year – and the advice he would offer new songwriters.

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

Great, thanks! I’ve just returned from a short tour of Europe with Paradisia in Paris; Antwerp, Hamburg and Berlin.

Great times were had!

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

I’m Alex Francis. I’m a singer and songwriter from North London.

All I’ve Got is your new track. What is the story behind the song?

All I’ve Got is quite a (pretty) personal song for me. I’m being honest about the fact that the way I live my life, in a material sense, isn’t how I want it to stay forever but, even for the stresses and strains that might weigh heavy in my day-to-day - it’s clear to me that I already have the most important things that I need.

It is taken from the forthcoming E.P., A Stronger Love. What are the themes and issues you explore on the E.P.?

Each song on A Stronger Love tries to strike a positive mark on some of the emotionally difficult parts of life. Each song deals with this in its own way and I approach this through a variety of different narratives - all of which I’ve experienced to some degree.

How would you say your new work differs from (E.P.) These Words? Do you feel you have strengthened as a songwriter?

I think the body of work on the new E.P. has a little more relativity throughout.

There are a lot of different emotions in These Words. I wanted to delve into several different themes whilst maintaining the same ‘sonic identity’ throughout; whereas, on A Stronger Love, I’ve chosen four compositions of mine that feel like they live together - and we’ve thrown a lot more dynamic into the arrangements.

I’m really happy with as a progression from where I started earlier in the year.

Gus Pirelli produces A Stronger Love. What was it like working with him?

Gus is a fantastic listener and he really understood my vision for this E.P., especially sonically. We took a bunch of chances in the studio and created some great moments - out of methods that might have been a little ‘unorthodox’ for me before!

This E.P. is also the first time I’ve used my band on record - so that was extra-special - and Gus helped direct the flow of how we’ve interpreted everything live into a really rounded recording.

It seems, in your new music, you prioritise what you have over what you can buy/possess! Do you feel quite blessed right now?

That’s a great question – I’m quite an optimist, generally...even in my darker moments! I’m very lucky to be surrounded by people who value people more than anything. There’s a lot of love in my life. Those two things combined are, essentially, what stimulates me to live the way I do and appreciate everything for what it is - rather than constantly chase what it isn’t. (That certainly doesn’t drown my ambition though!).

I believe in making the very best out of what you have - because doing that will make you realise just how amazing it is.

What was the decision behind moving from Hitchin to London? What is it like, as a songwriter, working in London?

London happened pretty organically for me. It wasn’t a ‘huge decision’: more so the fact that, after I moved home from studying music in Brighton, the creative connections that I was making were in London - and that a bit of a ‘domino-effect’ up to the present day!

Who were the artists you fell for at a young age? What kind of music were you raised on?

Loads of old Soul records on my mum’s side and all the great rootsy Rock stuff on my dad’s. That was the main mesh, along with loads of commercial radio-play, as you do when you’re a kid!

There were a few early musical obsessions, too – Michael Jackson, The Rolling Stones and Meat Loaf to name an eclectic three...

Who are the new artists you recommend we check out?

I’m really struggling to stop playing Theo Katzman’s second solo record, Heartbreak Hits, at the moment. I found it last year and it’s been a regular feature since – he’s been doing his own thing outside of Vulfpeck for a while now – but this record came to me late; hence why it still feels super-fresh! I’m also enjoying the new Sam Smith record; Game Winner by Joey Dosik - and a record called A Song for Every Moon by Bruno Major.

I run a playlist on my Spotify page called Earssentials - that I’m constantly updating with new stuff that grabs me.

IN THIS PHOTO: Joey Dosik/PHOTO CREDIT: John Hanson

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

Another great question – there are definitely more than a defining three for me but, straight off the bat, I would say Michael Jackson’s Thriller

For its power, sleekness and ambition. A total reset of the popular bar for the time - and still today.

Secondly; I’ll go for Exile on Main Street by The Rolling Stones

For its unashamed bravado and ragged beauty; amazing songwriting and, personally...I consider this to be most of their best writing on one record. Controversial!

Thirdly; I’ll take Donny Hathaway - Live

As it is quite honestly the most amazing documentation of a show I’ve ever heard on record. I’m a big fan of live albums and this is totally where I’d want to come from (if I ever made my own). There’s so much vibe and the mix is amazing - for picking out little nuances and gems in all of the arrangements. The band are incredible on this - and Donny’s interpretations of popular songs, mixed with his own ballads, are a total dream set-list.

Can we see you perform anywhere soon?

Yes! I’m launching the new E.P. this Friday (1st December) at Thousand Island (formerly Upstairs at the Garage), in Highbury, with the whole band – we’ve got some great support performing, too – so get down early!

Tickets are still on sale here.

Is gigging important? How much of a thrill do you get from performing in front of crowds?

Massively. I believe that songs grow to their full proportion and potential when they’re performed live. There’s where the real lifeblood is: in front crowds that love them as much as you do. That’s a huge ambition for me - as far as the journey (so far) goes and what’s yet to come...

Nothing beats the adrenaline of a great live show.

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

I think the most useful thing I could try to say would be to stay true to your art and stay focused: there’s so much hubbub in creative industries that it’s easy to get sidelined or sidetracked onto a path that isn’t necessarily ‘you’. Surely, the thing that’s going to interest people the most is ‘you’- rather than your version of something else?!

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

Plans are being hatched!

Christmas is always a family affair that usually involves way too much wine and way too much cheese. There’s usually a load of football to played too (which I love). I’m working with some new writers in December and I’m very excited about that. It’s going to be a creative month and we will be hard at work promoting the new E.P. (out 1st December on Spotify!)

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).

Hard Work – Theo Katzman

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Follow Alex Francis

PHOTO CREDIT: JPBoardman

Official:

https://alex-francis-gzzp.squarespace.com/

Facebook:

https://www.facebook.com/alexfrancismusic

Twitter:

https://twitter.com/afrancismusic

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SoundCloud:

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Spotify:

https://open.spotify.com/artist/0aJPoUxg99e5iOzIdWxpUa

INTERVIEW: Part Time Cooks

INTERVIEW:

PHOTO CREDIT: Clayton Jones

Part Time Cooks

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I do not often get a chance to take my digital…

ship over to Asia! On this occasion; I have been finding out about the South Korea-based Rap duo, Part Time Cooks. The guys talk about their new track, Old Friends, and why its origins are so special. I ask whether there are gigs coming and a trip to the U.K.; any new material in their minds right now - and if they have plans for 2018.

The duo discusses how they got into the game and what the music scene is like in South Korea; whether there are any new acts to keep an eye out for; how their Christmases will be spent – the music they grew up on and are inspired by.

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

Aweh, Aweh. We are very tired.

We just came off back to back shows in Seoul and Busan (Korea) this weekend - coupled with a mixing session for our up-and-coming single. But, we can’t complain: it’s always good to stay busy.

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

Part Time Cooks is Black Moss from Durban, South Africa and Saul Good from Chapel Hill, North Carolina. We are the joint-tie for the 'Best Rapper Alive' title - previously held by Lil Wayne. We started our group three years ago in Seoul, South Korea with the intention of becoming the biggest international success story to make it in a foreign country.

Tell me about the new song, Old Friends. What is the story behind it?

Saul: Old Friends is the first song made with our mentee, Elexven: an eleven-year-old producer from Korea, who just learned how to make beats a year ago. It is an open letter to our long-standing friends who, in the light of our recent success, may feel as though the connections are being put on the back-burner...

Moss: It's a sort of apology in advance for the strains the Rap game places on personal relationships.

There are rap beats and African colours; deep layers and explosive highs. Was it a difficult song to formulate and perfect?!

Once we had the hook down, the verses seemed to flow easily - as you can imagine; the inspiration for the lyrics is very close to heart.

At first, it was just the hook and verses - and the song sounded a bit bare. With us puzzling on how to really bring out the emotion Saul Goode, the southerner from North Carolina, suggested: “Why don’t you do that Zulu thing you do with the harmonies?”.

I turned the mic on and just started to freestyle harmonies in the intro and on the hook.

Is it true you met in Seoul, South Korea?! How did both of you, teaching English at the time, come to meet?

Saul: We met through a mutual friend, who is also now one of our main producers, Scotty Soul. I met Moss on his first weekend out in South Korea - but we only started working together two years later.

You are still based there. Is it hard getting your music exposed and trending in a nation with a less fervent musical economy than the U.K.?

We have built a good base in Seoul; joined one of the fastest-rising Hip-Hop crews, Vis Major - and partnered up with the biggest music distributor in South Korea. It’s a more difficult (and slower) rise to the top but, I would say, it’s not that far now until our goals are realized...

PHOTO CREDIT: Clayton Jones

Is there going to be more music coming? When can we expect an E.P., for example?

Yes! This is a Music Musings and Such exclusive: we will be releasing an E.P. titled Sacrifices in February (2018). All the music has been recorded; the music video production is underway - so fans definitely have something to look forward to!

What music do you both listen to daily? Do you take inspiration from music you hear around you?

A lot of Part Time Cooks!

Apart from our own musi; we try not to listen to too much current music - so as to not be influenced while in the writing and recording process.

Who were the artists you grew up on and followed as children?

Moss: 2Pac, Busta Rhymes; Ray Charles, Brenda Fassie; TKZee, Bone Thugs-n-Harmony; Mos Def and Talib Kweli.

Saul: Sam Cooke, Busta Rhymes; Pharoahe Monch, Nina Simone; Tribe, Eminem; Jay Z, James Brown, Slum Village; my dad, El-P and Outkast.

PHOTO CREDIT: Franke Theunissen

In that same spirit; who are the new artists you recommend we check out?

From South Africa; I would definitely say check out the likes of YoungstaCpt, Nasty C; Raheem Kemet and Shane Eagle.

In the U.S.: Well$, J. Gunn; G Yamazawa, Deniro Farrar; Sylvan LaCue and Buddy.

In South Korea: Vis Major, Company Artists; Brwna and Junoflo.

IN THIS PHOTO: Raheem Kemet

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

Saul: My homey Ben, who passed away, burned me Del the Funky Homosapien's Both Sides of the Brain in high-school. He wanted me to be me when I rapped - rather than just imitate the big artists at the time. It opened the door regards hearing so many underground artists (that influenced me in high-school).

Moss: I don’t have one. I don’t really get sentimental about things...

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

Work harder. Find people like Black Moss, who bring out the best in you, and stick with them. If you feel like music is what you want to do for a living; stop working a nine-five and go get it.

Cook, yo!

PHOTO CREDIT: Anuj Madan

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

Part Time Cooks are coming off a busy November in South Korea and Japan. They hit the ground running in 2018 with the release of the Sacrifices E.P. - and a February tour of Japan. In April, the Part Time Cooks will make their first tour of Africa as a group - with confirmed shows in South Africa and Kenya.

Stay updated with our show schedule at www.parttimecooks.com.

Do you think you will come and perform in the U.K.?

Of course! We would like to add on shows in Europe for our tour; so, any promoters reading this can contact our management at Campbell.al81@gmail.com.

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

We will make a solo trip back to their home countries - to spend time with family and perform for our day-ones.

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).

Oliver Mtukudzi - Neria

G Yamazawa - North Cack

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Follow Part Time Cooks

PHOTO CREDIT: Clayton Jones 

Official:

http://www.parttimecooks.com/

Facebook:

https://www.facebook.com/parttimecookspage

Twitter:

https://twitter.com/parttimecooks

Instagram:

https://www.instagram.com/parttimecooks/

YouTube:

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

FEATURE: Into the Deep: The Blue Planet II-Themed Playlist

FEATURE:

 

Into the Deep:

 PHOTO CREDIT: BBC/Getty Images

The Blue Planet II-Themed Playlist

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MILLIONS of us have marvelled at the latest…

IN THIS PHOTO: Sir David Attenborough/PHOTO CREDIT: Getty Images/Press

Sir David Attenborough-narrated documentary, Blue Planet II. Most of us – I would think all, in fact! – will never get the chance to see, with our own eyes, the kind of scenes that were filmed for the show! One might imagine watching the marvels and unpredictable majesty of the oceans, seen through a T.V., would lack a certain naturalness and wonder. Whether it was the cinematography or Attenborough’s narration: it is as though we were diving and swimming alongside the cameras; watching the curious ocean-life as they went about their business. Radiohead and Hans Zimmer collaborated on the five-minute trailer for Blue Planet II – an intriguing and cinematic score that articulated the awe and captivation of the deep blue.

There has been so much to take from the show. None of us could quite comprehend the endless majesty and mystique of the sea. Not only has Hans Zimmer, Jacob Shea and David Fleming – for the soundtrack to Blue Planet II – given us scores and symphonies for each creature/occasion: the stunning images and narration provides the listener with the chance to score their own soundtrack. I was awed and hushed by solemn scenes of fish aimlessly seeking the beds of the oceans; predators hiding and nuzzling in coral; schools of fish in a balletic, perfectly choreographed storm; cute turtles lazily swooning in the cool; strange and wonderful sights that remain in the mind forever! It has been a tremendous series – we all hope there will be a third instalment down the line. There is something about Sir David Attenborough’s voice and passion of the natural world that means everything that comes from his mouth is urgent and meaningful!

 PHOTO CREDIT: BBC/Getty Images

To mark the triumphant and much-admired Attenborough show; I have compiled an ocean/sea creature-inspired playlist. Some of the songs are symphonic and graceful; others have appropriate titles – some are just plain silly! I have trawled the ocean of music (sorry!) to find all kind of sound and sensations; songs that, through name or origins, remind you of the water – and the array of fascinating bodies who frolic beneath. It has been fun but the most evocative and memorable pieces of music are the ones from the Blue Planet II soundtrack itself – you do not need to watch the show to imagine the beauty the music summons. Of course; you should revisit all the previous episodes and remind yourself why the show is drawing such praise! In this playlist, alongside the Radiohead/Hans Zimmer collaboration: enjoy an oceanic smorgasbord of Blue Planet II-inspired songs…

 PHOTO CREDIT: BBC/Getty Images

AND slowly drift away.

INTERVIEW: Makk Mikkael

INTERVIEW:

Makk Mikkael

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MY frustrating ambition with regards finding more women…

to feature on this blog continues. Luckily; Makk Mikkael has arrived to provide some relief and sunshine! I talk to the talented young songwriter about the new single, Jungle, and its awesome video. She discusses subjects like urban crowding and feeling harried; how the song reflects a dark period in her life – and why she felt the need to get the subject down on paper.

I ask her about growing up and the music she got into her; whether there is more material coming down the tracks; what music means to her – those special albums that she holds close to her heart.

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

I’m doing great, thanks. Jungle’s been getting lots of love; super-happy about that. It’s been a hectic time - hustling with the crew to get this track out. It feels great to finally have music out!

I'm excited about what's coming next!

Jungle is your new cut. Tell me about creating the song and what it means to you?

Jungle is really special to me.

Not only is it my introduction to the music world but it’s super-personal and close to me. I wrote Jungle in what you could say was a ‘dark’ phase of my life. I was around someone who took my energy and drained me, emotionally. Looking back, I’m happy it happened - because I felt all those rollercoaster emotions which, in return, I was able to create good music from...

The video has a yellow tinge – a ‘happy colour’, as you say. Is being out in the wilderness someone you feel less alone, perhaps?!

I grew up in the Rocky Mountains - so I definitely feel at home in the wilderness.

It’s a big change going from the mountains to the ‘concrete jungle’: the pace is so much different and people are hustling, constantly. Jungle was inspired so much by my surroundings in Toronto, as well as a personal relationship. I think the mix of everything I was experiencing played a huge part in why I love the colour yellow. Yellow is my vibe. The colours will definitely morph and change with how I’m feeling - and the stages of my life.

For this album, though; yellow fit so much. I look at it as a ‘coming out of the dark’ and moving ‘towards the light’.

Tell me more about your new album and the themes you explore…

The album is coming out in the near-future.

My sound and style morphed into what it is now by listening to the early Weeknd tracks; Jessie Ware and Roy Woods. I listen to a lot of music and I feel so connected to it. The style that will be explored throughout my album will have dark, ambient; low-fi vibes. If you were to associate colours with my album...think yellow.

I’m still in the creative stages of putting together this album - and I’m constantly discovering new themes and ideas to write about. I write best when I’m feeling low or vulnerable; when I feel like the world’s on my shoulder - that’s when I’m most creative with my art. As long as I’m putting out what my soul loves and craves; I will feel good about everything that’s coming up in the future.

How much of the music was compelled by changing fortunes and coping with a relationship transformed? Was it a confusing and transforming time for you?

It was a confusing time, absolutely. I don’t know if I can really explain how I was feeling - because I wasn’t sure in that moment. Majid Jordan’s track, Changes, perfectly represents how I was feeling when Jungle was written. I had this underlying feeling of being swallowed by the ocean and, every time I would try and come up for air, I was pulled back down to the bottom of the ocean. It was like time was frozen; everything was at a standstill - my emotions and thoughts, especially.

I was physically and mentally incapable of grasping onto anything or anyone - including myself. As an artist, it’s so important to go through ups and downs and be able to captivate how you felt, not only for yourself, but for your listeners. That’s so important to me no matter what I experience, good or bad. I have to know that I can write about it - once the dust settles and I have my clarity back. People come and go and are in your life for a reason: to teach you things and for you to grow and reflect. This person that was close to me  and, looking back, I don't know if we ever were that close. My energy was drained almost always and, back to that underwater analysis, that’s what I felt 24/7...

So; it obviously wasn't healthy - but I grew as a person and got some art out of it.

Are there going to be more singles? Is there another song you feel perfect for release?

For the next release, which will be soon (B.T.W.), I have narrowed it down to two tracks! I want to put both out A.S.A.P. When the time comes for the next track to be released, I’ll get my team involved and we’ll make the right decision.

Honestly; just putting music out is so exciting for me. That’s my passion and what I’m all about - so wouldn't have it any other way.

I want to know how you got into music. When was the seed planted?

From a very young age; all my friends and family constantly inform me of the mini-concerts I would put on in the basement. I was first onstage when I was around five or six. I was at this venue...I don’t remember where. My mom was in a band and she asked me to come up onstage with her. I sang Twinkle Twinkle Little Star and was hooked. The light and energy in the room everything had such an impact on me...

I always remember that moment when the spotlight was on me and there wasn’t a care in the world! Music is and has always been that for me. I get to express myself and be myself: I think that’s so liberating and freeing knowing, whatever you experience and go through, you can write and sing about it.

Which artists did you connect with at a young age, would you say?

I was obsessed with Hilary Duff, Hannah Montana; Aly & AJ and JoJo. I think those were the top-four influences for me. I still watch the Aly & AJ concert tour every once and a while. They love music and I’m all about the music. I went to three Hilary Duff concerts and every time, I flipped out. I don’t view concerts the same as I did when I was younger, though. I don’t go to them to get drunk or party - which is what millennials are about. I’m always there for the show.

The joy was so intense when I was younger: now, I’m (just) like ‘I wanna get onstage; let’s do this!’.

What does music mean to you? Is it somewhere you can find safety in?

Absolutely. Music is something that completely makes or breaks me. Nothing else out there effects me the way music does. It’s so personal and close to me.

When I’m writing songs, it’s medicine for my soul. I watched this TEDTALK a while ago by Elizabeth Gilbert - who wrote Eat, Pray, Love and Big Magic. She was expressing how your art, whether it be writing, music or painting, as artists; you have to tap into your inner ‘Genius’ - which is your alter-ego. Your ‘Genius’ is an extension of your creative-self that you blame failures and success (whatever it may be) on. If you have time, I would definitely recommend watching it...

What I took away from this was it’s not your fault, as an artist, if you have an idea and lose it. We’re built on emotion and are easily breakable but, when you can blame your alter-ego, you’re not as tough on yourself - and you’re less judgemental on your thoughts and ideas.

It is (just) something I find comfort in - and keep in the back of my head when I’m writing.

IN THIS PHOTO: Kacy Hill

Who are the new artists you recommend we check out?

Willow Smith. I know she's not a new artist; however, she has a song called IDK. It’s so groovy. Majid Jordan dropped their new album and it’s insane - all synth, atmospheric -sounding stuff. Swell is dope. Very moody and low-fi-sounding (which is my jam!).

IN THIS PHOTO: Willow Smith

Kacy Hill’s Foreign Fields pretty much the song I have had on-repeat for the past couple months. It’s so good. I don’t think anyone mentioned (above) is a new artist (haha) but it’s not mainstream radio stuff: definitely more the left-of-centre, vibey stuff that I’m into.

IN THIS PHOTO: Majid Jordan

Speaking of which...I created a playlist on Spotify - with the last little bits of what I’m listening to right now! It’s called Makkjams. Check it out if you want to expand your musical library...

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

Love this question so much!

The 1975’s first album (The 1975)

I saw them live and was even more hooked - if that’s possible. I’ve listened to them since 2013 and it strikes the best chord in me; it’s comforting listening to them.

My second choice would be Clean (E.P.) by The Japanese House

Side note: she's signed to Dirty Hit Records - which is the 1975’s label - and the 1975 co-produce The Japanese House. Clean is the most nostalgic E.P. out there. All the feels and the videos that were released (with it) are bang-on.

Third would be Toro y Moi - Boo Boo

I (just) recently discovered it - but it’s been on-repeat since then. I feel like this album is the soundtrack to my life. It also dropped on my birthday so, if that’s not a sign, I don't know what is!

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

Just do you. I think it’s so sick to be yourself in an industry that has a lot of the same thing going on. If you put in the work and hustle, you will move mountains. You’ve just gotta believe in yourself and do it...

No excuses!

What is your touring schedule looking like? Are you coming to London anytime soon?

WOULD BE SO DOWN TO GO TO LONDON.

Before I moved to Toronto, not too long ago, I was narrowing down the best places to live for music: London was up there along with L.A. I did live there for a couple of months with singer/songwriter Kiesza. Music is amazing in London (I can only imagine). It’s one of those places that has a vibe like Toronto; there’s a cool underground sound that’s poppin’. I’m going to start a tour in March/April and I couldn't be more excited. I will have quite a few more tracks released by then. I’ve been planning out my live show: the colours, vibes; everything that I want to express in my music...

It’s going to be dope.

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

I’m going home to see my family in Calgary. We’re getting a puppy and going skiing lots - so I’m taking a break from Toronto for the month of December. I will most likely be writing while I’m home.

I'm always ready for that inspiration to strike.

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).

Miguel (ft. Travis Scott) - Sky Walker 

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Follow Mikk Makkael

Facebook:

https://www.facebook.com/makksmusic

Twitter:

https://twitter.com/makkmikkael

Instagram:

https://www.instagram.com/makkmikkael/

YouTube:

https://www.youtube.com/channel/UCLBiBc97bABBIT-eavbho8w

INTERVIEW: Tall Poppies

INTERVIEW:

 Tall Poppies

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ONE looks at Tall Poppies and is…

instantly transported to a finer time. There is something classic, vintage and stylish about the guys. I speak to them about the new track, Now, and how it got started. They tell me about future material and how the band came together. I was interested to know whether the song’s story of being jilted is something drawn from personal experience; what it was like filming the video – and how they will see the year out...

The band talk about the music that means a lot to them; why the 1960s is an important decade; why the band relocated from Australia to the U.K. – and whether there is an interesting tale behind the name ‘Tall Poppies’.

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

Hi, Sam. Very well! We’ve been busy prepping this week for the single launch-party.

Exciting stuff!

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

We’re an Indie-Pop four-piece (now) based in East London. We comprise of Australian twin-sister frontwomen, Catherine and Susan, on vocals, guitar and bass; Diarmuid Nugent pulling at heart-strings on violin - and Doug Fink keeping the beat on drums.

Now is your new single. It is immediate and fresh! It sounds like it came together quickly. Is that the case?!

Yes. It was recorded after we thought we had already completed the album. It burst out one day while we were jamming in the living-room. It did capture a moment, and so, we took it to Atlas Studios in Dalston and tracked it over a weekend.

Now documents being stood up on a grey night. Has that happened to any of you? What would you do, to the culpable, if they stood you up?!

Yes. It was based on a true story - as most of our songs are. The culpable never had a second chance to repeat the offence…

There are strings and hazy beats; some 1960s touches and gorgeous harmonies. It is a busy brew! Do you think your material reflects the artists you idolise? Who were the artists you all grew up listening to?

Yes. The sound is busy and we all have quite a spectrum of influences...

The sixties vibe does stem from Beach Boys/Pet Sounds. We grew up listening to solid Pop songs - including The Beatles, and later, David Bowie and Kate Bush. Our (Cath and Suz’s) mother was an Elton John fan.

Too Low for Zero holds a special place in the heart.

The video is kind of trippy and cinematic! What was that like filming?!

It was great fun. We took the band shots at The Joint in Kings Cross on the wettest night of the year. We all arrived looking like drowned rats - but luckily we had a comb. Catherine and Susan then took the rest of the shots in Western Australia on a quick visit home. That was awesome.

The beach-goers didn’t seem to mind Susan running around with massive orange hands...

Can you tell me how you all came together? What is the origin of the band-name, ‘Tall Poppies’?

Catherine and Susan have been writing songs together since childhood; entertaining the local neighbourhood. When we moved over to the U.K., we started out as the oh-so-original ‘Susan and Catherine’. It soon became evident we needed a stage name, as people would forget them, so the more memorable ‘Tall Poppies’ was agreed upon.

It is a term used when referring to people who are resented - who are of high status. In the Australian music industry, it’s the ‘I liked them when they weren’t popular mentality’ but, according to Wikipedia, it originates from Greek mythology. Anyway; it suited our colour scheme too - as we like to wear red and have dark hair.

After the move to London, we soon met Diarmuid - who played violin on one of the songs for a set - and rapidly became a permanent fixture. Doug joined soon after having met Diarmuid through work and voila.

Here we all are.

What was the reason for the band locating from Australia to the U.K.? Do the music scenes differ greatly?

We had been playing and recorded our first album in Perth. It’s a beautiful city on the beach and there are some great venues and awesome bands - all with quite a quirky vibe. It is, however, one of the most isolated cities in the world. It was either move to London or Sydney to pursue the dream.

We chose London as the British scene was and is a real inspiration.

Do you think we’ll see more new material next year?

Yep. We have an album to release March 2018...so stay tuned!

Who are the new artists you recommend we check out?

Susan: I have been listening to Whitney. They’ve got a cool jangly 1970s sound that is rather refreshing.

We’ve been enjoying Mac DeMarco. It’s good to hear an artist that doesn’t take themselves too seriously.  

IN THIS PHOTO: Whitney/PHOTO CREDIT: Amanda Leigh Smith Photography

Doug: Little Mammoths are the new band of former Noah and the Whale bassist, Matt. They’ve been touring their new material this year.

Also; Drive-By Truckers. They are a bar-band for the twenty-first century.

Diarmuid: Julie Byrne’s Not Even Happiness is excellent.

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

Catherine: This is a difficult question to answer - as there are so many albums that have special meanings to us. I’ve always found that when I’ve bought a Divine Comedy album something good happens in my life; new opportunities or romance. I’ve been buying the back catalogue and new albums, sporadically, when I feel like I need some good luck in my life.  

Susan: Likewise: I’ve got a few on the list! I do have a soft spot for the chocolaty tones of Jens Lekman’s album, Night Falls Over Kortedela, with his nostalgic arrangements, uplifting melodies and humour that permeates his songwriting.

Diarmuid: Björk’s Homogenic is a favourite

It was very exciting to hear at the time it came out. I listened to it through the headphones at the Virgin Megastore. It was striking to hear the Classical string arrangements work so well on such a modern Electronic album.

Doug: Van Morrison – Astral Weeks (blushing face) for his musicianship and dreamy sonic landscape.

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

Don’t let anything hold you back. Be as different as you like. Embrace all the spiffy tools there are for you to make your own way - without worrying about some man with a cigar in the middle.

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

Aquarium in Shoreditch on the 8th December (consider it our Xmas gig).

In the New Year, we’ll announce more dates to come...

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

We’ve got some quality family-time planned and will be making use of the time to write some new material, too. 

Susan: I’m planning on getting to know my new keyboard a bit better.

2018 will be a big one for you! What are your ambitions and aims for the year ahead?

We’ll be putting out the new album, Let’s Go Out, in March next year.

We’re going to sort some gigs to tour it - and following that get down the new songs we’ve been working on.

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).

Thanks very much for the interview.

Susan: My choice is Divine Comedy – Tonight We Fly (you can play it at my funeral, too)

Catherine: Heartbreaker - Dionne Warwick

Doug : Jackie De Shannon – Put a Little Love in Your Heart

Diarmuid: Jóga – Björk

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Follow Tall Poppies

Official:

https://www.thetallpoppies.com/

Facebook:

https://www.facebook.com/tallpoppiesmusic

Twitter:

https://twitter.com/thetallpoppies

Instagram:

https://www.instagram.com/tallpoppiesmusic/

YouTube:

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

SoundCloud:

https://soundcloud.com/tallpoppies

Spotify:

https://open.spotify.com/user/tallpoppies

FEATURE: Writer’s Block: Why Hip-Hop’s Early Incarnation Deserves Fonder Reinvestigation

FEATURE:

 

Writer’s Block:

 PHOTO CREDITS: Getty Images/Press 

Why Hip-Hop’s Early Incarnation Deserves Fonder Reinvestigation

___________

I have been getting stuck into new music with...

fervency the past few months - and have found some great bands/acts I feel will do great in 2018. One of the things I am noticing is how many new artists are looking back and taking influence from previous years! This might include a Pop/Electro act sourcing from 1980s artists like Madonna and Prince; a modern Rock artist inspired by the muscle and swagger of Led Zeppelin. I am not one prone to endless nostalgia and contemplation but I am interesting seeing how the past is such an integral part of the present. Pop music, for all its shine and polish, sounds utterly infectious when it has bygone D.N.A. and classic strands. It is no coincidence my favourite two albums of the year, Lorde’s Melodrama and Kendrick Lamar’s DAMN. find strength and clarity in the arms of music’s better days. Lorde, claiming the top spot in my heart, has crafted a masterpiece in Melodrama. It is her second album and one that manages to muse on heartbreak and tough times - but do so with a lot of colour, variation and musical exploitation.

IN THIS PHOTO: Kendrick Lamar

I am in love with the album and admire how the young Lorde has sprinkled elements of the 1980s and 1990s into a modern and progressive work. The same can be said of Lamar and his latest piece of genius. Maybe To Pimp a Butterfly (2015) was a more vibrant affiliation with past Hip-Hop past ventures but I can see a lot of older sounds in DAMN., too. The record has been lauded by critics and demonstrates what a sensational human Kendrick Lamar is. He is one of the few mesmeric Hip-Hop artists that have found their way into my soul. My opinion is Pop/Rock is stronger when matching modern and of-the-moment sounds with the finest from the past: Hip-Hop transcends and stuns when (artists) interweave the glorious past with the urgent modern. I feel too many artists in the genre are neglecting some of the finer days and the sort of possibilities that can arrive from experimentation.

Kendrick Lamar is an exception, I find. If Grime and Rap has a few masters (female and male) and a lot of potential hopefuls: Hip-Hop is in a state of 9-1-1 (to quote an Eminem lyric). One problem I have found is how many newer artists in the genre are losing focus right from the off. So many songs are bringing endless collaborators and that, for all the good intentions in the world, is distilling the song and crowding it out. If a Rock song had four of five guest vocalists on it; that would put off the listeners and cause them to go elsewhere. It seems almost required for the hottest new Hip-Hop star to pen a tune and sling a host of bodies into the mix. Whilst I am delighted there are new Hip-Hop/Rap treasures like Princess Nokia emerging and amazing the senses; her best work makes one think of the glory days of the genres. ABCs of New York integrates bits of Lauryn Hill in parts; the song reminds me of the 1990s and the artists emerging during that period - a dazzling and instant smash for a hot young artist.

IN THIS PHOTO: Princess Nokia

I feel Princess Nokia will have a long and prosperous career. She is an artist with a singular mind and forging her own path through music. Away from her – and some other like-minded, talented peers – there is not a huge amount to recommend. I have written about the logistics and legalities when it comes to sampling music and creating songs that weave a variety of songs together. I have been revisiting the best days of Rap and Hip-Hop and the likes of De La Soul, Beastie Boys and Public Enemy. I adore the ‘Flower Age’ De La Soul and how they managed to pen incredibly engaging and mind-blowing songs without profanity and rampant sexism. I guess that period (the late-1980s) still contained sexism and offence – I like to think there was a greater degree of purity and purpose back then – but I listen to an album like 3 Feet High and Rising and marvel at the way the U.S. band broke grown and created something pioneering.

It was one of the first Hip-Hop/Rap albums that fused comedic skits and lighter tones with exceptional production and sampling. One need only listen to songs like Potholes in My Lawn, Eye Know; Me, Myself and I and The Magic Number and see the list of (other) songs featured within. Maybe I am bathing in the warm waters of nostalgia but I wonder why modern Hip-Hop is defined by polished productions and a rather direct and unabashed energy. I feel De La Soul’s greatest work is not a product of the 1980s – it was released in 1989 and inspired artists who would add an incredible footprint to the 1990s. I listen to that record and laugh at skits and brief turns; admire the fact there are twenty-four songs and the album was too long to put on vinyl – maybe there was self-indulgence in parts but it showed how passionate and determined the band were to make history!

The same can be said of an album like Beastie Boys’ Paul’s Boutique. That record arrived in the same year (as 3 Feet High and Rising) and, when it arrived, found critics miffed and confused. Many were unsure whether the sample-heavy L.P. was career-suicide for the New York legends. Of course; time has proved them wrong and that album is seen as one of the finest of the 1980s. Again; there was a mix of comedy and incredible spits; fine rhymes and incredible energy. I guess there is a bit of a difference between Beastie Boys and De La Soul. The latter were seen as hippies and a product of the 1960s – their records were a mellow and soothing affair; offence and trouble were not on their mind, Beastie Boys were a more expressive and fired-up band but they rarely relied on shock and crudeness to make their point. The heyday of their career found them taking a bold and explosive approach to sampling and crate digging.

I am agog when listening to Paul’s Boutique and the music the boys laced into their exceptional tracks. Many could argue times have evolved to the point where sampling has become impossible and costly. I am hearing modern artists (in other genres) sample and they have not reported major obstacles. Perhaps that is because they are only sampling a single track (or two) but there are few out there willing to take the initiative and create an album and multifarious and cross-pollinating as 3 Feet High and Rising and Paul’s Boutique. Public Enemy’s It Takes a Nation of Millions to Hold Us Back arrived in 1988 and was, arguably, the start of a new wave of Hip-Hop gods. It is hard drawing a line between the three classic acts I have mentioned: each shares the D.N.A. of genius and groundbreaking music. Public Enemy’s strongest statement was defined by anger and a feeling of alienation. With Chuck D on the microphone, the record looked at the plight of black citizens in the U.S.; corruption from police and the government; the way his peers were being segregated and abused. An album that dealt with such harsh subjects did not deliver its music and motifs with po-faced production and a lack of imagination.

Take a gulp of the album and you witness a staggering display of lyrical/poetic inventiveness and sampling; incredible compositions and command like nothing else – a record that compels the body to move and makes you think. Even though we are not in the 1980s anymore; that does not mean Hip-Hop/Rap needs to become too entrenched in modern times. The albums I have named are the tip of the iceberg – I would urge people to properly investigate the late-1980s/early-1990s and the way Hip-Hop exploded and evolved. We cannot claim times were different then: today; there is the same political corruption and sense of division around the world. Not only are many Hip-Hop/Rap artists lacking any true incentive and fortitude: the music is quite flat and commercial. I am excited considering a new Eminem album - but there are few other Hip-Hop artists I am genuinely pumped about.

IN THIS PHOTO: Eminem 

At a time when we need these men and women to step up to the plate and show music how it is done – are the best of the breed failing to rise to the challenge and deliver an album with any real substance and genius?! If you look at the finest albums this year; there are going to be one or two Hip-Hop/Urban albums in there - but I feel other genres will take a bigger slice of the pie. Something as blissful and dreamy as 3 Feet High and Rising is what the music world needs at the moment – there are artists who get close but nobody quite reaches those heights – and could spark a new movement in Hip-Hop. At such a dark and fraught time; there is a distinct lack of humour and fun to be found in music right now. Hip-Hop does not have to lose its authenticity and street credit if it returns, to a degree, back to past decades and revokes its magic and wonder. Public Enemy showed you could deliver bombs of passion and proclamation but ensure the compositions sparked and ignited the mind.

I get tired by processed beats and formulaic lines; too many weak-willed mandates and insignificant albums. It sounds like I am taking aim at Hip-Hop but there have been wonderful records from the past few years – creations that have the potential to endure for many years to come. This stubborn and beleaguered music lover is always looking back and wondering whether modern music would benefit from greater pairing with its predecessors. We are seeing the 1980s making a comeback in Pop; the 1990s have never really escaped from music – a lot of artists I am featuring still obsesses over the guitar bands of the early-2000s. I feel Hip-Hop is the genre that stands above the rest and has the power to change lives and situations. During a period where the U.S. is being led to Hell; the world is fractured and people are not sure what the future holds – music holds a place and holds the torch that can shine a guiding light.

I feel Rock and Indie will only progress and inspire if we allow greater chances and access rights for the best of the underground; the mainstream become credible and worthy if there is a restructuring and a thorough investigation – have fewer commercial acts and restructure the charts so unsigned artists are provided the platform to mix with the big names – and Jazz provided better oxygen if people hang up their prejudices and preconceptions. Hip-Hop still suffers from being seen as rather niche and threatening. Few people I know listen to it and many assume (a Hip-Hop record) will be a slagheap of sex, sexism and suggestion. If leaders like Kendrick Lamar are no strangers to spicy language and prevarication: their music is designed to get people thinking and make a difference in the world. He is a rare example of what Hip-Hop can do and how far it can reach. Gone are the days of Lauryn Hill, De La Soul and Beastie Boys. I wonder whether the fact there are no modern-day comparisons is because of rigidity and fear. Many artists are sceptical casting their mind to the past – fearing they would be accused of being unoriginal and a pallid replica – but the difficulty sampling music and injecting that into your own is limiting a degree of creativity and potential.

IN THIS PHOTO: Run-D.M.C. (whose 1986 album, Raising Hell, was one of the most influential Hip-Hop records of the decade)

This is something we need to look at but, as it stands, it is possible and (relatively) inexpensive for modern artists to get permission to use other’s songs – and sprinkle that into their own body. Apart from modern queens like Princess Nokia; I miss the sparkle, colour and dreamy flows I grew up on. Perhaps I am being myopic but there is a great need to desire, among many, for Hip-Hop to open its mind and look back at its forefathers. Maybe there is not a universal writer’s block but there are few who are creating genuine works of art – albums that can remain for decades and inspire the new generations. In order for Hip-Hop to move forward; I think, ironically…

IT needs to take a long, fond look at the past.

FEATURE: 6 Overground: Why BBC Radio 6 Music Remains Britain’s Most Essential Station

FEATURE:

 

6 Overground:

ALL PHOTOS (unless stated otherwise): Getty Images/Press 

Why BBC Radio 6 Music Remains Britain’s Most Essential Station

___________

THE working regime, for me, usually starts as Chris Hawkins is…

IN THIS PHOTO: Chris Hawkins

entertaining his listeners on BBC Radio 6 Music. I do not tune in that early but, as I fight my way through fatigue and the temptation to emigrate to a hot climate – sack the job off and establish a music label in the U.S./Australia – I am brought back to Earth and realise I have to continue and life that nine-to-five life (ironic; given the fact I work a lot longer than that!). By the time I roll into the office, and unleash the caffeine enema, I am ready to settle down to the last half-hour with Hawkins. It is the voice of Shaun Keaveny that provides tonic, impetus and drive to keep going. I wrote, earlier in this year, about BBC Radio 6 Music and its merits; how it is an essential destination for anyone who loves their music. I will draw in an article – a very illuminating one Esquire published back in 2015 – that followed a typical day on the station; spoke with personnel and provided snippets of conversation and music that showed why the station survived the chop and has continued to grow. The latest Rajar figures – nothing to do with the leaders of India and their followers; to nick a joke from Frank Skinner – show there is a shift in the radio market. Chris Evans, the ginger one with a love of cars, has seen his listenership dip a bit: Nick Grimshaw’s morning show on Radio 1 is losing listeners at the rate of knots – there are changes that mean people are starting to head the way of BBC Radio 6 Music.

One can say that is a sign of age – younger listeners growing up and wanting something more mature – but I think it is to do with quality and the desire for something deeper and more appealing. I will come back to Keaveny very soon (as I run-down my favourite D.J.s and why the station is blossoming) but here is an article, from May, that showed where the listeners are flocking the way of ‘6’:

“BBC Radio 6 Music has achieved its highest ever audience figures as digital listening continues to grow across the UK, new data has revealed.

According to the latest Rajar figures (Q1 2017 2nd Jan-2nd April 2017), the station draws a record 2.35m listeners every week (from 2.33m last quarter and 2.24m last year). The Shaun Keaveny Breakfast Show, which recently celebrated its 10th anniversary, has a weekly reach of 1.12m, making it the most listened to programme on the network. Steve Lamacq’s weekday afternoon show remains over the 1m mark, with 1.115m listeners. Other shows enjoying record figures include Mary Anne Hobbs, Cerys Matthews, Huey Morgan, Chris Hawkins, Iggy Pop, Jarvis Cocker’s Sunday Service, Guy Garvey’s Finest Hour and 6 Music Classic Concerts.

The share of all radio listening (BBC and commercial radio) via a digital platform now stands at a new record share of 47.2% (44.1% last year), with 32m people tuning into radio via a digital platform (DAB, Online and DTV) every week. DAB remains the lead digital platform by some margin, and now delivers over 1/3 of all radio hours in the UK.

 Bob Shennan, Director of BBC Radio and Music, says: “Despite huge changes in the sector, it’s heartening to see a massive 89% of the UK population committing to listen to radio each week across a variety of devices. It has been a strong year for digital innovation right across BBC Radio with all our services seeing digital growth of one sort or another, especially BBC Radio 6 Music which goes from strength to strength, building a loyal audience that recognises a station run by music-lovers for music-lovers.”

Those all merry tidings for a station is going from strength-to-strength. I mentioned I’d return to Keaveny - and so I must! My usual radio-listening day starts properly around 7 A.M. and ends later in the afternoon, Monday through to Friday. I have heard other breakfast shows on radio and they all have drawbacks and perils: either too many adverts or inane chatter; terrible music or, if you’re really lucky, a combination of all three. With Keaveny; there is none of the pitfall and scars you get with rivals. He is a denigrating presence who is always tough on himself and his professionalism. The truth is it takes a lot of effort to get up, be consistently funny and produce a fantastic show every weekday – I will resist making a joke at this point. Not only is the charming/belligerent northerner perfect to get the spirits up and eyes bright during the working week; the music played on the show is consistently brilliant! I feel that is another reason many are flocking from stations like BBC Radio 1 and their colleagues: the range of music is often unreliable and the presenters not always as likeable as you’d like...

I find the younger vibe of Radio 1 puts too much emphasis on mainstream music and the kind of artists who go for streaming figures as opposed to genuine merit and respect. You do get some affable D.J.s and good music but its demographic is rigid when it comes to age and tastes. The same can be said of Radio 2 and its make-up. The music balances chart acts but it also features a greater number of older songs and artists – not as close to the top of the quality-spectrum as you’d hope for. I prefer Radio 2 over its younger peer but they are the only real BBC options out there – Radio 3, 4 and 5 have a very narrow sound/scope and are quite niche. The joy of 6 is the fact it takes all the best aspects of 1 and 2 – the energy and cool music combined with mature presenters who have been in the music industry a long time – and bundles it all into a kitten-cute package that appeals to those music-lovers who know their stuff. If you’d expect other radio stations’ listeners to be the sort who are nursing hangovers and wiping vomit from the corner of their mouth (not necessarily their own!): the discerning listening of BBC Radio 6 Music will be digging through crates of vinyl and queuing in line to see the latest Dutch Uncles gig. Keaveny is a former musician – and current lead of the epic Bince Meef (currently on-hiatus and planning an international tour, I understand) and has that affectionate bond with his music news presenter, Matt Everitt.

IN THIS PHOTO: Shaun Keaveny (photo courtesy of Esquire)

The reason I defected to BBC Radio 6 Music years ago was the tones and style of Shaun Keaveny. Every aspect of my writing and blog is compelled by the talent at 6 Music in some way. Keaveny has provoked me to think bigger and diversify my pages; bring in new features and become more ambitious. Even though Keaveny cuts a self-deprecating and imprisoned figure – a supplicant who prays to the gods of music to strike him down; wondering why he has not been fired – you can tell how comforted and defined he is by his role. I have covered this before but there are so many reasons Keaveny is one of the major stars of the station – someone who is responsible for bringing in new listeners and keeping the existing ones where they are. Make sure you tune in every weekday morning between 7 and 10 to hear the old master at work. Whether is his array of stunning impersonations – from Samantha out of Sex and the City; Paul McCartney or Donald Trump – you wonder how the man does it! It is just as well he is employed at the BBC as, without that outlet, he’d probably be confined to a nursing home. The comedic and vocals skills of Keaveny and his affectionate connection to Everitt (and producer Phil) means it is essential listener every morning., Matt Everitt’s music news is authoritative, funny and informative – the former Menswear legend/drummer is someone I listen out for so I can listen to/steal all his music news. He is an essential part of the breakfast team and keeps Keaveny in order when required!

When the show ends; it is to Lauren Laverne’s show we go. Like many of BBC Radio 6 Music’s personnel; she is a former musician – the lead of the incredible 1990s band, Kenickie – and seems to have limitless enthusiasm and passion for music. Her incredible knowledge and professionalism (as slick and charming as an oiled sea lion) stun me. I am always surprised she has energy left: there are so many side-projects and tentacles to her professional life. As founder of The Pool – a website featuring female writers; it tackles issues in society and features culture, fashion and music – she also presents on BBC Radio 4 and gives talks; is a D.J. who works at various festivals and events – a female Stephen Fry (if such a figure can be imagined!) who has her fingers in all sort of pies! Whereas Keaveny has his own style and dynamic: there is a distinct personality and flavour to Laverne’s show. Once again, as I covered this earlier in the year, I do not want to tread on the festival-mushed grass of repetition. I feel one of the reasons BBC Radio 6 Music is converting many to their pulpit of biblical music and congregation of proper music-lovers is talent like Laverne. She has a terrific rapport with the listeners and a warm and paternal warmth. Not only is she one of the most intelligent and knowledgeable D.J.s on the station but is incredibly quick-witted and funny. If Shaun Keaveny has the demeanour of a man who has committed a credit card fraud and, as opposed to a jail term, has been given the option of having his testicle hairs waxed off by Piers Morgan – Lauren Laverne is a cheerier disposition who nicely contrasts and evolves.

IN THIS PHOTO: Lauren Laverne/PHOTO CREDIT: @laurenlaverne

Keaveny is a fantastic D.J. and an addictive draw for the listeners: Laverne is another wonderful human D.J. whose endless curiosity for music means she provides us with the best new underground artists and those long-forgotten songs that we should never have abandoned. One of the big reasons there are new listeners to the station is because of that music. Certain presenters have their own preferences and sounds. With Laverne; one gets a lot of great Electronic music and Indie sounds; it plays on the lighter side (of sound) but is the most eclectic show, in my view. I will allude to the empathic and revealing feature Esquire ran two years ago – when I talk about Steve Lamacq, Radcliffe and Maconie and others – but, for me, Lauren Laverne (like Keaveny) is the reason I remain with BBC Radio 6 Music. The reason I wanted to revise and update my previous love-note was the fact 2017 has been an incredible year for the station. I have assimilated so many aspects of the station into my work and drive; Lauren Laverne, and the way she manages to dig those lesser-heard artists and shines them for the listening public, has made me conduct a similar archaeological approach to music – I thank her for introducing me to some great artists who are part of my regular rotation; I have met so many terrific musicians because of her guidance. One might criticise a station like 6 Music for being a bit of a pub for former musicians and those luring for previous decades: Laverne is someone always looking forward and of the mindset: the best of music is yet to come.

I would refute this viewpoint but know, as she does, we are going to see some tremendous music in the future. The D.J.s of the station do not live in the past and clinging to a time that no longer exists: they are always looking for great new music and embracing what is fresh and current. The age argument is not fair as Lauren Laverne is only thirty-ni…thirty-somethin…thirty-eigh…she is pretty young and hip, still, okay! The fact she has been in a popular and acclaimed band means she has that inside knowledge and appreciation for music’s inner-workings and complexities. She was among the most vociferous voices that campaigned when BBC Radio 6 Music was threatened with closure. It is clear she has that endless love for what she does! Once Laverne clocks off at 1; we then head over to Salford for Radcliffe and Maconie – meanwhile, somewhere in London, Steve Lamacq is preparing his show and, one suspects, nursing a pint at a local boozer! Another reason BBC Radio 6 Music lures me is down to its northern contingency. Shaun Keaveny, Lauren Laverne and RadMac (Mark and Stuart) are from that neck of the woods – not many mainstream stations can boast that many northern stars. In a music industry that is seeing its voice twanged and instilled with a thick London accent: it is nice knowing there is some genuine and pure voice who are not willing to go all R.P. for P.R. These genuine and real personalities burst from the speakers and get into the heart.

IN THIS PHOTO: Radcliffe and Maconie with Eno Williams of Ibibio Sound Machine/PHOTO CREDIT: @BBCRadMac

Radcliffe and Maconie are among the most experienced D.J.s on the airwaves. Both have been in the industry for decades – Stuart Maconie used to work for the likes of Melody Maker and NME – and they have presented together on other stations. Their brother-like partnership means the listener starts their afternoons with huge laughs and entertainment. I have not mentioned the features on each show – I have covered that before and will come to that in the conclusion – but, with Radcliffe and Maconie; you get some wonderful guests and brilliant music. Like Keaveny and Laverne; there is a distinct ethos and aesthetic to their show. Stuart Maconie hosts his Freak Zone show whereas Radcliffe presents a Folk show on BBC Radio 2. Both are huge fans of new music but are keen to provide the listeners with the finest and most intriguing new acts from around the world. Both are incredibly sharp and funny and, with every link and moment, you are guaranteed to transcend into a better mood. One can take that age-old/old-age argument some have proffered and argue that is the very reason BBC Radio 6 Music is gaining huge ground: people prefer experienced and knowledgeable voices; they are less reliant on the inane and youthful chatter you get on ‘some’ stations. With Radcliffe and Maconie; you are not listening to two old men talking about their dangling prostates; cranking up the latest Buddy Holly hit and wondering why the young people are swearing so much these days – that seems to be the impression some critics have!

IN THIS PHOTO: A recent guest on RadMac's show, Weaves/PHOTO CREDIT: @BBCRadMac

What you do get is two chaps who have huge experience and bring that expertise to that show. Their show has a very youthful side to it: you do not only get songs from the 1960s and 1970s; there is a great blend of the brand-new and established. Mark Radcliffe spoke with Esquire in 2015 - and gave his views as to why BBC 6 Music is growing; why their show provides satisfaction and fulfilment; why you cannot label and rigidly defined stations/listeners:

“Rock’n’roll was the first music for teenagers,” he says. “And we’re still in an age when people who were teenagers then are still around. So the idea was, when it was invented, pop music was for young people and then they would grow out of it and when you were in your mid-thirties you would start listening to Mantovani and [long-running Radio 2 light-entertainment show] Sing Something Simple. But I don’t really understand this. If, your whole life, you’ve been driven by this adventurous spirit to find new things that you like, why would you at any point stop? If you’re really into food, why would you stop eating new things? If you’re really interested in travel, why would you stop unless you physically couldn’t go on? And, of course, music is brilliant. So why would you lose that?”

I will allude to that article more a bit later (legally, of course!) but I always ensure I tune into Radcliffe and Maconie every weekday afternoon. Steve Lamacq, who follows them, provides a distinctly London accent and different dimension. His show features reviews of the latest singles and in-studio performances from the hottest acts around. ‘Lammo’ doggedly and diligently plans his shows and is a veritable truffle-hound; keen to sniff the latest vibes and sounds for his adoring listeners.

IN THIS PHOTO: Steve Lamacq (photo courtesy of Esquire)

I feel so many people are tuning into BBC Radio 6 Music because the live venues scene is dwindling and under threat. Lammo is among the most vocal when it comes to preserving our best venues and ensuring they are subsidised. If one cannot get out to a gig – we have less disposable income, so often rely on the Internet and T.V. for our entertainment – he provides a worthy alternative. Not only does he guide you to the best gigs and events to see: he brings musicians into his lair and hosts those exhilarating and unforgettable performances. Lammo, in the aforementioned interview, has his opinions on the demographic – and whether the station appeals to those who yearn for older music:

“Certainly, we have a lot of people in their forties who are reconstructed rave-goers,” Lamacq says. “People who spent a lot of their teens and early twenties standing in fields around the M25. But then their music tastes have changed and they’re into folk or rock music or whatever. It doesn’t stop them liking what they liked as a kid. They’ve grown up with three or four different types of music.”

I will flirt and skip my way through the remaining presenters – my hand might fall off if I do that! – but there is an amazing array of spectacular D.J.s under the BBC Radio 6 Music banner. Dividing its broadcasts between London (Wogan House) and MediaCity UK (Salford).

IN THIS PHOTO: Mary Anne Hobbs/PHOTO CREDIT: Laura Lewis

I will take one last piece from the Esquire article – lest I use more of their words than mine – but Mark Radcliffe provided illuminating insight as to why Salford is a great base; why BBC Radio 6 Music provides freedom other stations do not:

 “When we were working in the north for Radio 1 and Radio 2, we very much felt like an outpost, which we quite enjoyed, really,” says Radcliffe. “But there was always this sense that the big cheeses in London were letting you ‘have a go’, whereas now I think there’s a sense of ownership on the part of 6 Music. We’re the first station that’s been on that twin basis, and we do feel empowered by that.”

What can they do on 6 Music that they couldn’t do on Radio 2?

“Play good records,” says Radcliffe. “The thing is that the common consent among all of us that work on it is that 6 Music gives something that we knew people wanted all along, really. People are always open to a much wider selection of music than people working on radio stations give them credit for. Everyone you know who likes music plays a whole range of things.”

If the Esquire feature paints the London studios in draconian, dystopian terms – nearly comparing it to a wooden shed of a classroom at a comprehensive school somewhere in Falkirk – it is clear there is no reason for the Salford talent (Craig Charles, Chris Hawkins and Mary Anne Hobbs among them) to relocate to London.

IN THIS PHOTO: Mark Radcliffe with Thundercat

There is a great community and spirit up near Manchester. The studios seem extraodinary and perfect; a different sensation to walking into the studios in London, it seems. That geographical distance might show divisions but, conversely, it is the strength of the station. BBC Radio 6 Music promotes diversity and variation: having a centralised, homogenised outpost would not be a wise decision. I will end things in a second but, until then, a dying word (promise) from the article; how the station as viewed in 2015 – and why it is attracting people in by the bus-load:

“We thought there was a gap for a radio service somewhere between where Radio 1 and Radio 2 was,” explains Jeff Smith, Head of Music at Radio 2 and 6 Music, a role that sees him have final say on which tracks are played across both stations.

“We looked at all sorts of content and one of them was an album rock station. One of the key points of that was to really dig into the BBC archive. So we had two people spending nine hours a day going through the sessions we’d done at the BBC for the last 25–30 years. Despite all our thinking about creating an album rock station with The Eagles tracks and Simon & Garfunkel, they found the archive was all Siouxsie & The Banshees and The Fall, because all the sessions were done by [John] Peel or [Radio 1’s Nineties indie show, hosted by Steve Lamacq and Jo Whiley] The Evening Session. And in the time between then and now, because the archive was very alternative in nature, very British, we started to build around that.”

Still, it wasn’t the strongest manifesto for a brand new radio station. Was it meant for people who’d outgrown Radio 1? Or for people who wanted a deeper music experience than they got on Radio 2? Or neither?

Tucked away on digital – at a time when far fewer people owned digital radios, or even understood what they did – 6 Music proved a hard sell.

I will end this but, the reason I wanted to return to the shores of BBC Radio 6 Music, is to congratulate, what I think, is its finest and most productive year. They had a bumper selection of guests a couple of months back – Robert Plant and Morrissey among them – and were up in Glasgow for their annual festival. Tomorrow, Shaun Keaveny provides the rundown of the station’s favourite albums of the year; Lauren Laverne has provides some wonderful live guests and performances. Every D.J., in their own way, has added to the magic and palace that is teasing listeners from other stations – curious listeners kicking off their shoes and staying put with the wonders of BBC Radio 6 Music. It is staggering considering, merely a few years back, the station was rebuilding after near-closure and extinction. For a digital-only station; it is amazing seeing so many people flock to the station; spreading the love and proffering its benefits. For all the latest hustling, events and news; the cool interviews and decorations of BBC Radio 6 Music; you can have a look at their website and get involved. I will leave this now and congratulate the station on a record year: they have built their base and continued to grow; that seems likely to continue into 2018! As the final days of the year come into view; we are all looking ahead at what lies ahead and whether the best of new music will reach our ears. With the stellar and extraordinary BBC Radio 6 Music; you can bet your bottom-dollar you are…

IN very safe hands.

FEATURE: Net Neutrality: How Its Potential Eradication Will Spell Problems for U.S. Music

FEATURE:

 

Net Neutrality:

PHOTO CREDIT: Press/Getty Images 

How Its Potential Eradication Will Spell Problems for U.S. Music

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MAYBE it wouldn’t have been the worst thing to elect…

IN THIS PHOTO: Members of the FCC/PHOTO CREDIT: Press/Getty Images

Hilary Clinton as the President of the U.S.A. I can only imagine how some Trump supporters are feeling after the election of the odious leader! This is a petition and charter you will all want to sign. Maybe this is an issue that will affect the U.S. more but net neutrality is something we are living with at the moment: its tightening and erosion will spell the end of free-speech as we know it. Maybe it is a bloated oligarch unwilling to open his ears to the criticism and common sense being aimed his way – like a petulant child who sticks their fingers in and makes a loud noise; blocking out their parents’ shouting and discipline. We can only hope the hideous Trump is buried under the weight of his own ignorance, bigotry and stupidity before the end of his four-year spell in office. Whilst the President gets in some brilliant-white shag carpeting and commissions ego-boosting portraits of himself – to drape on every white wall – he is also planning on killing net neutrality. In a few weeks; we will know whether net neutrality’s death is signed and destined – or whether there will be a turnaround and cure. It does not mean the shutting down of the Internet as we know it: the aim is to control and monitor websites and information we share online.

PHOTO CREDIT: Press/Getty Images

At the moment; we can access any website we want and have the freedom to share information/content how we see fit – so long as it is not illegal. Protests will take place in the U.S. on 7th December: people will take to the streets and register their disgust on the Internet. If you want to know what neutrality is; how its end will affect us and what comes next for us – here is a useful guide via Save the Internet:

“Net Neutrality is the basic principle that prohibits internet service providers like AT&T, Comcast and Verizon from speeding up, slowing down or blocking any content, applications or websites you want to use. Net Neutrality is the way that the internet has always worked.

In 2015, millions of activists pressured the Federal Communications Commission to adopt historic Net Neutrality rules that keep the internet free and open — allowing you to share and access information of your choosing without interference.

But right now this win is in jeopardy: Trump’s FCC chairman, Ajit Pai, wants to destroy Net Neutrality. In May, the FCC voted to let Pai’s internet-killing plan move forward. By the end of the summer, the agency was flooded with more than 20 million comments. The vast majority of people commenting urged the FCC to preserve the existing Net Neutrality rules.

Time is running out: The FCC will vote on Pai’s proposal on Dec. 14. Join the millions who have already spoken out against it.

 IN THIS PHOTO: President Donald J. Trump/PHOTO CREDIT: Alex Wong via Getty Images

What is Net Neutrality?

Net Neutrality is the internet’s guiding principle: It preserves our right to communicate freely online.

Net Neutrality means an internet that enables and protects free speech. It means that ISPs should provide us with open networks — and shouldn’t block or discriminate against any applications or content that ride over those networks. Just as your phone company shouldn’t decide who you call and what you say on that call, your ISP shouldn’t interfere with the content you view or post online.

Without Net Neutrality, cable and phone companies could carve the internet into fast and slow lanes. An ISP could slow down its competitors’ content or block political opinions it disagreed with. ISPs could charge extra fees to the few content companies that could afford to pay for preferential treatment — relegating everyone else to a slower tier of service. This would destroy the open internet.

What would happen if we lost Net Neutrality?

The internet without Net Neutrality isn’t really the internet. Unlike the open internet that has paved the way for so much innovation and given a platform to people who have historically been shut out, it would become a closed-down network where cable and phone companies call the shots and decide which websites, content or applications succeed.

This would have an enormous impact. Companies like AT&T, Comcast and Verizon would be able to decide who is heard and who isn’t. They’d be able to block websites or content they don’t like or applications that compete with their own offerings.

PHOTO CREDIT: Juan Jose Horta 

The consequences would be particularly devastating for marginalized communities media outlets have misrepresented or failed to serve. People of color, the LGBTQ community, indigenous peoples and religious minorities in the United States rely on the open internet to organize, access economic and educational opportunities, and fight back against systemic discrimination.

Without Net Neutrality, how would activists be able to fight oppression? What would happen to social movements like the Movement for Black Lives? How would the next disruptive technology, business or company emerge if internet service providers only let incumbents succeed?

Huffington Post have bluntly explained what an Internet shift and paradigm change will mean for the average internet user:

“If the FCC ruling is allowed to stand, a few cable providers will get rich, new Internet ventures will move to other parts of the world, content will shift to places and languages that leave Americans out, and millions of Americans that

Which is why Americans need to voice, loudly, their displeasure with the FCC decision with their elected officials NOW, before the Trump’s television giveaway gets underway.

You can reach the FCC by email, or join one of the many protests to your elected officials by phone, text message to Fax, or petitions on Change.org, the White House, the Free Press, and Sign For Good. Like all regulation changes, we’re in the comment period”.

PHOTO CREDIT: Press/Getty Images

At the moment; we all pay a fee for our Internet service but we are aware of what else we are paying for – subscription fees for media sites and news outlets; for Spotify and Amazon; various other charges. In essence, without neutrality, Internet service providers can block certain contact and imposer stringent censorship. If an artist/figure has an outspoken political view and criticises the regime; that I.S.P. can block their videos/content and impose penalties. It can lead to an all-out block and black-out. Services can be moved to other nations and charges can be levied on the user; everyone will be watched and there will be a greater amount of restrictions and curfews. I mentioned how Trump was a delicate little flower: the bloated birthday-boy who does not want anyone to eat his cake; a stubborn and spoilt brat who spits orders and infantile waffle to anyone who will listen. We are talking about a scenario that would be somewhere between China and North Korea. One can see the Internet and access it: they would be controlled and manoeuvred by the State and there would be intense and rigorous political measures. In theory, if the measure went through, a service provider like AT&T could block or censor an artist who criticises the President. They could block the service, FaceTime, so users would have to look around for other options – more expensive and less user-friendly.

Before I come and drill down to the point – and how it can affect the music and entertainment industry in America – let us look who is behind the movement – and why it is proving controversial. The Daily Beast has provided their views:

“The man behind this move is Ajit Pai, the chairman of the FCC, who took up his post on January 23, three days after Donald J. Trump moved into the White House. In March, Trump said that Pai would be renominated to serve an additional five years as FCC chairman, and the Senate confirmed this term in October.

Just a little over a month after his confirmation, Pai is making moves to dismantle freedom in America. (It’s worth noting that Pai previously worked as associate general counsel for Verizon Communications, one of the companies that would benefit greatly if his plan is pushed forward. It’s also worth noting that FCC commissioner Jessica Rosenworcel has spoken out against Pai’s plan.)”.

One hopes there is not such a dictatorial and fascist approach here but, with the U.K.’s close ties with the U.S.; how long will it be until our Prime Minister considers such a movement?! Maybe it is Trump slowly turning into a communist dictator and turning his country into his own, twisted ideal of America. The sheer protest and backlash will make passing the ruling extremely risky. If the FCC’s appointed head – who used to be a successful lawyer – decides to kill net neutrality; it will change the way music is shared and enjoyed. The effect we will see through society will be profound and shocking: who knows how far the ban will go and how many restrictions there will be!

IN THIS PHOTO: FCC Chairman, Ajit Pai/PHOTO CREDIT: Press/Getty Images

Over the past few months; we have been hearing about sex scandals and entertainment figures outed and accused. People, women mainly, have been coming through and offer criticism and condemnation to the accused. Their views have been angered and unifying: we are allowed to express ourselves in that way and, as a man, I learnt a lot from what was coming out – feeling shocked at those who shielded the guilty and those who committed the acts. I would not have heard about the extent of the scandals were it not for the Internet; the backlash and feedback would not have been known were it not for the Internet – many people would have been denied their voice and say. We have guidelines and laws at the moment which means, if someone trolls or creates hate, they will be punished. We do not operate in a society where the Internet is inaudible and glides by without judgement. If people access illegal content; if they contravene laws and guidelines, then the site/I.S.P. will take action. Away from that, we have the freedom to say what we want and express ourselves in any manner we feel fit. If someone like President Trump objects to what someone says on Twitter – aimed at him – then he can block them (I can only imagine how sore his fingers are!). He is someone who has turned governance and leadership into an electronic thing: he has little comment and connection with people; preferring to post garbage on his Twitter account and spreading hatred.

PHOTO CREDIT: Press/Getty Images

HE is allowed to say and do as he pleases: the proposed death of net neutrality would prohibit people other than him saying the same things as Trump. It is an irony that seems to be lost on him. The close allegiance and bond between Trump and less-than-popular leaders mean he is turning the country into a business. We all knew this when he took over. Trump does not run a country to benefit the people and moving the nation forward: the reason he wanted to get into the White House was to diversify and expand his business mantras and maxims on a worldwide, political stage. There is no difference between the businessman and President. Because of this; few can be surprised he is supporting and promoting n action that will limit freedom of speech and generate more money for him. If the regular service provider bans certain content and gets strict; people will be at the mercy of other Internet options. They might charge a lot more and, in an effort to have their voice and words heard, people will be spending a lot more money needlessly – that all gets filtered back to the U.S. The President is keen to preserve the Second Amendment. That says, in order to maintain a free state, everyone has the right to bear Arms and protect themselves. This old-age, idiotic hangover from centuries-past has resulted in gun massacres and mass murderers running wild.

IN THIS PHOTO: Eminem/PHOTO CREDIT: Press/Getty Images

The President, in collusion with the gun nuts and those beholden to the U.S. Constitution, will never budge when it comes to guns – it means the nation is exposed to more bloodshed and endless deaths. If that so-called ‘inalienable’ right is stubbornly adhered to; why is someone like Trump so keen to block someone’s right to violate the First Amendment?! He has no respect for those who die due to gun violence; he has no regard for anyone who questions his actions and wants to exercise their First Amendment rights – he is turning the U.S. into a communist state. Whereas the likes of China are becoming less repressive and cruel: the U.S. is going the other way and losing a sense of liberty, freedom and the rights of the people. If there is an end to net neutrality then it can signal the end of musicians being able to talk about what they want. If someone has a comment about the President during a gig; that content could be blocked – and people would not be able to stream that performance. The same could be said of any studio material that is put into the ether. Anything the President deems to be controversial can be blocked or removed. How many musicians are going to be able to express themselves and release material as they always have?! With artists like Eminem gearing up new material; one wonders whether his music would see the light of day anywhere.

PHOTO CREDIT: Stephanie Frey/Dreamstime

It might get exposure on the radio but there is a danger, even if the album does get onto Spotify, Amazon and iTunes: Internet service providers might be able to block certain content or raise prices; make access and availability more difficult. There are some who say the end of net neutrality is more business-minded than it is censorship-based: it will affect tariffs and pricing rather than an arbitrary blocking of content and sites. One cannot say this for sure until it is imposed and rolled-out. I will end things with a piece Digital Music News ran a few days ago - that explains what could happen to musicians:

What does this mean for the music industry?

Imagine this.  As an independent artist, you struggle to get noticed on the internet.  Today, to make a living, you (or your band) may sell, distribute and promote your music.  Streaming platforms like Spotify and Apple Music may offer subsistence, but direct online sales of merchandise and concert tickets may offer a bigger payout.

If (and when) the FCC eliminates net neutrality rules, larger companies could easily lobby for ‘premium prioritization.’  This means that consumers would have to pay more to access their favorite sites.  Your website may not make the list.

Access to the internet could become a two-tiered system based solely on financial success.

American ISPs would likely sell consumers faster access to sites.  Larger companies would quickly divert traffic away from smaller, independent websites that help musicians.  Popular social media networks, including Facebook and Twitter, could easily charge musicians more to promote their music.

PHOTO CREDIT: Press/Getty Images

Independent musicians, DJs, producers, and bands, meanwhile, would face rapid marginalization.  Major music labels (Sony, UMG, and WMG) could pay Facebook to promote big-name artists like Taylor Swift and Adele.  Users on these platforms, and even on video services (YouTube, Vimeo), would constantly see ads for these big names.

Indie artists could face an uphill battle just to get noticed.

That’s on the artist side.  But what about smaller, independent streaming platforms?  Would Spotify, Apple Music, and Amazon Music pay to have faster access to their platforms?  If users pay higher rates for quicker access to more-popular platforms, what would happen to artists on SoundCloud?

Others could also get shorted.  Drip by Kickstarter and Patreon would soon become a less attractive platform for musicians and content creators.  Fans would likely access their favorite music on YouTube, a platform with mostly terrible payouts.  As a result, the value gap would also grow wider.

In the end, musicians would live the worst-case scenario: a lopsided music industry favoring the strong.

According to FCC Chairman Ajit Pai, eliminating net neutrality rules would actually promote investment and innovation.  Internet service providers wouldn’t have to worry about “rate regulation and other heavy-handed oversight.”  Pai added that the FCC would “relinquish any authority over Internet traffic exchange.”

With an incentive to provide faster connections to websites, ISPs could form alliances with larger companies.  They could then offer consumers “bundles of services and creative pricing.”  Given the success of these partnerships, international ISPs may quickly follow suit with similar deals.

PHOTO CREDIT: Press/Getty Images

While the FCC would no longer regulate ISPs, the FTC would face the daunting task of protecting the American consumer.  Yet, some groups claim that the FTC would have limited power to enforce fair business practices. The National Hispanic Media Coalition wrote,

There is a lot of confusion and predictions but one thing is for sure: the way we use the Internet will change; what we say and how much we can put online will be endangered. I worry anything deemed anti-Trump or controversial could be deemed unworthy of visibility and oxygen. This could extend to having views about celebrities who commit crimes and limit the amount that can be said again them. As the above article shows; the problems facing independent, new artists could be tire – placing a strain on their future and growth. There is no need to kill net neutrality and it seems like another move for Trump in his zeal to strangle his nation and mould it according to his own vision. There will be limiting of free speech and expression – despite what some commentators are saying! – and the business side of music will turn on acts and make life very unsure for them. There is no real way of saying just how damaging things will be but one thing is for sure: the end of net neutrality will change things for the worse. I hope it does not extend to the U.K. and impact our artists: American musicians and creatives are going to see the way they release music and communicate challenged and changed. At a time when free speech and conversation is bringing justice and much-needed dialogue in the world of entrainment: what Trump and the FCC are proposing will be…

PHOTO CREDIT: Press/Getty Images

A hugely unwise move!

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

________

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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.

_______

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PHOTO CREDIT: Jason Hayles

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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

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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

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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

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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!

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