INTERVIEW: Oxygyn

INTERVIEW:

  Oxygyn

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2015 was the last time…

I got to spend some time with Oxygyn. The need to renew that supply was realised with the release of their latest single, Bubblewrap. I was interested in the title and sound so had to ask the Malta-based band what it is all about. I learn more about the scene there and whether we can see them in the U.K. next year; the new artists to look out for – and how their music has developed.

Corrode (2015) was the song I last witnessed from them. I ask whether there is more material coming and what it was like working with producer Luke Camilleri on their new track. Kurt and Katia are Oxygyn’s siblings so I find out what their musical upbringing was like; what the Maltese group have planned for Christmas – and what sort of gigs they have planned.

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

Hey, Sam. All good here! It’s been a very busy week with the release of our new single. However, it’s been very fun too.

Seeing the response from our listeners is always a very rewarding thing.

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

We are Oxygyn; a Maltese-based Indie-Pop band. Kurt and Katia are our front singers, while we have Luke (Funky Monkey, 141 Records) who is our resident producer and D.J. Kurt writes the lyrics of the songs, while Janelle Borg composed the music.

Our aim is to share great music with a message; one about the nature of humanity and the society which surrounds it.

 ARTWORK: David Ellul

Bubblewrap is your new single. What is the story behind that?

Bubblewrap touches upon a very sensitive subject...

It speaks of how society, including the media, imposes unattainable ideals on people; dictating the way we should look, act, think and speak. While trying to reach for these ideals, we lose what makes us human (our individuality, and, gradually, turns us into clones. It is a message about individuality and standing up for your freedom of speech and thought.

How do you think it develops from the track, Corrode (2015)?

There has been massive development since our first release, Corrode.

Firstly, the electronic element introduced has given Bubblewrap a more modern edge and provides a balance between the meaning of the song and the music it is portrayed through. We believe that the evolution of our sound has matured as the band grew up - and better reflects the type of artists we want to be.

I am interested in the video. Do you think the visuals match the lyrics? Is there symbolism at work, would you say?

The music video was made with the message of the song in mind. The concept behind the video is that the very distinctive individuals are all portrayed wearing similar black clothing - sponsored by Maltese fashion designer, Parascandalo. The black clothing symbolises society imposing limitations on the person’s individuality; which is in stark contrast to the rainbow-coloured attire Kurt and Katia are styled in, symbolising their breaking free from society’s chains.

We believe that the symbolism in the video is subtle, yet effectively conveys the message we want to give.

Luke Camilleri provides production on the new track. What was it like having him on board?

Introducing Luke to the band was a leap forward in our musical style. His background of Electronic music opened up new horizons for us. His talents allowed us to explore our genre and develop our ideas into something concrete. We consider him a massive asset to the band and we look forward to working with him from here onwards.

Is there going to be more material coming in 2018?

We hope so.

We have an extensive repertoire of songs and we do see that a handful of them can be gathered to produce our first-ever E.P. Our aspiration is to record these songs over the next year and release them as a whole.

Kurt and Katia; you are siblings. How did you come to meet the rest of the band?

This was done with the help of our composer, Janelle Borg. Kurt and Janelle used to go to the same sixth-form and wrote songs together. From there, they decided to try out their songs with Katia. After their release of Corrode, Janelle introduced Kurt and Katia to Luke. It was a very organic process - which brought together people from very different contexts.

Malta is where you are based. Ia there quite an active scene there? Is there ever the temptation to move to somewhere like the U.S. or U.K.?

Malta’s music scene is relatively small but very active.

The people involved are very passionate about their art and go out of their way to create opportunities for artists to grow. However, our temptation to move out of the country and to places like the U.K. or U.S. is ever-growing…and we hope to achieve this in the coming years.

What sort of music did you all grow up listening to? Are you all quite similar in terms of tastes?

We have all grown up listening to different music. Kurt and Katia had always heard Pop and Indie growing up, while Luke was more into Electronic music. We think that this variation in taste has helped our music to develop.

IN THIS PHOTO: LEISURE/PHOTO CREDIT: Fraser Chatham Photography

Who are the new artists you recommend we check out?

We have lately started listening to LEISURE, Khalid and HAIM. Even though they aren’t really new artists: we really love their music and recommend that everyone checks them out.

IN THIS PHOTO: HAIM/PHOTO CREDIT: Getty Images

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

We think that would be Oh Wonder’s self-titled debut album.

We both really relate to the songs on the album and the artists themselves. We think that the lyrics and the music complement each other wonderfully and provide an insight into the thoughts and lives of Anthony and Josephine.  

Can we see you perform anywhere soon? What gigs do you have lined-up?

As for the moment, we want to focus on the material we put out. We don’t have any gigs lined up and we are rather planning out our next releases and setting our plans for 2018 into action

Do you plan on coming to the U.K.?

We would love to!

Seeing that the right opportunity crops up, we’d be definitely down to visit the U.K. and play our music.

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

We would invite them to just be free and express themselves. There is a lot of fabricated music in the scene nowadays and we believe that there is a lack of raw, emotional and thought-provoking music.

So; we would tell new artists to produce music from the heart and keep pushing towards your goals and for what you believe in.

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

Christmas is a time we like to cherish with friends and family. We try to put our work and music to the side for the holidays and focus on what matters most. We would be nowhere without our family and friends - so we would want to give them their well-deserved time.

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).

From Kurt’s end; he would like Oh Wonder’s High on Humans to be played

Katia's choice would be Breezeblocks by alt-J

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Follow Oxygyn

Facebook:

https://www.facebook.com/oxygynmusic/

Instagram:

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

YouTube:

https://www.youtube.com/channel/UCUCEW-0xjQPUj-vjn8EfB0Q

FEATURE: The Grammy Awards Nominations: Are Music Award Ceremonies Still Relevant?

FEATURE:

 

The Grammy Awards Nominations:

IN THIS PHOTO: Kendrick Lamar/PHOTO CREDIT: Paola Kudacki/GQ

Are Music Award Ceremonies Still Relevant?

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THE never-ending parade of music awards and…

ALL PHOTO CREDITS (unless stated otherwise): Getty Images

polls mean barely a month goes by where we are immune to the latest ‘big event’. In the next few weeks; we will get the nominations and shortlisted albums of 2017: earlier in the year, we had the Mercury Music Prize; various award ceremonies and festival announcements. It has been a busy and frenetic year for music but one that has sparked debate and controversy. We have, now, the nominations for the Grammy Awards. One of the biggest bugbears over recent years has been the ethnic breakdown and eclecticism of award shows.

There is always accusation these ceremonies are reserved for white, mainstream artists: it is not helped by the lack of fervency and change among the committees. Those charged with ordering nominations and selecting the panel are failing to notice how few black artists are being recognised. The issue not only limits itself to race. I find there has always been that dependence on Pop and Rock; recognising those who make waves in the charts – the YouTube/Spotify darlings who hold huge commercial sway. This is a problem that goes beyond award ceremonies and the like – we can see it crop up in every crevice and corner of the music industry. Call it racism or homogenisation: changes have to be made in order to create parity and a less discriminatory industry.

It is back to the Grammys and a breath of change in the wind. I shall provide my views, but here is how BBC summed up the nominations for the Grammys.

“Jay Z and Kendrick Lamar are the main contenders for the 60th annual Grammy Awards, leading a crop of nominations that is heavy on hip-hop and R&B but has left mainstream pop stars like Ed Sheeran and Lady Gaga out of the running for the major prizes.

IN THIS PHOTO: Lady Gaga/PHOTO CREDIT:  Tiffany & Co

The awards will be announced at New York's Madison Square Garden on 28 January 2018, and will be screened on 4 Music the following evening”.

I will come and look at other standouts from the nominations but, in the question I posed at the top of this feature, are award ceremonies like the Grammys relevant and all-inclusive? This year’s greater incorporation of black artists has been a welcomed relief – should this have happened decades ago?! It should, of course, but at least there has been an understanding of a big issue that was going unaddressed. In the past twenty years, only two black artists have won the Grammys’ main prize, Album of the Year. Beck nabbed it from Beyoncé two years back (her superior, self-titled record was robbed) whereas Adele did the same earlier this year – few would argue she has a stronger record than Beyoncé. (Although her record, 25, was released in 2015: it went on to win the Grammy in 2017!).

IN THIS PHOTO: Beyoncé/PHOTO CREDIT: Paola Kudacki (TIME)

The illogical and narrow-minded viewpoint has had to expand and alter. Artists like Frank Ocean and Drake have withdrawn their albums from potential nomination – fearing cultural bias would count against them. Race is an issue that is making award ceremonies somewhat redundant and reductive. The indigenous whites-and-Pop-only sphere of the Grammys has been challenged and confronted. You cannot deliberately impose amendments and codification that mandates a percentage of the music included (in the nominations) has to be from black musicians – that would be pandering and less to do with positive discrimination.

IN THIS PHOTO: Adele

The problem is this: the facts speak for themselves in this matter. In 2016; Beyoncé’s Lemonade was the darling of the critical world; scoring universal acclaim and lauded as a career-high for the R&B inspiration – even Adele, in her Grammy acceptance speech, recognised the power and potency of Lemonade. Frank Ocean, Drake and Kendrick Lamar have featured high – from 2016/2017 – in the upper reaches of public/critical celebration. I know the Grammys are not the byword for popularity and common sense – they have always carried a certain sense of predictability and discrimination. It is good to see Rap and Hip-Hop being recognised – at last! – by an awards ceremony that has relied too heavily on white artists and commercial genres. The fact it has taken so many years for change (slight as it is) to come about means we need to look at the award ceremonies around the world and ask if they are muddying the waters.

IN THIS PHOTO: Taylor Swift

Awards are there to recognise the best from that year in music: critical nominations and reviews should, you’d think, mirror those selections. If critics are raving about Hip-Hop, Beyoncé and black artists then why would a major award ceremony turn its nose and ignore that?! Artists like Taylor Swift and Ed Sheeran – I will come to them soon – have always formed the basis of events like the Grammys. It seems like there is that need to bow to the big record labels and bosses. Maybe, if their prestigious and high-paid artists are not given the gong, then that would be a snub and tragic oversight. I can only imagine what happens behind-the-scenes when it comes to nominations and decisions – one feels there is a degree of chicanery and corruption. Looking at the British award shows (we have our share) and there is no less discrimination and controversy.

I looked at the Mercury Music Prize list and, although I am glad a talented black artist won the award, it seemed like this shift has, like the Grammys, come about after public pressure and a sobering wake-up call.  Sampha, J Hus and Loyle Carner were among the talented, black artists who put their stamp on R&B, Soul and Hip-Hop. I will address genre, soon, but I was aggrieved there were few female nominees; some odd, left-field selections (Ed Sheeran being nominated) were in there. I know award shows need to keep fresh and reflect the tastes of the general public.

IN THIS PHOTO: Jay-Z

If they do not evolve and remain fresh then they can be accused of being labelled ‘dinosaurs’ and stubborn. I agree with that point but change and development need to be aware of the nature of racism, sexism and rigidity.  I am humbled and pleased the top-nine most-nominated artists of 2018’s Grammys are non-white performers. Lorde is the only Pop artist to be included on the list. Melodrama is a phenomenal record and one that is caught in a quandary: if it loses, many will scratch their heads (as it gained huge applause); if it wins then it will make a mockery of the more-inclusive breakdown of this year’s nominations. Neil Portnow, the Chief Executive of the National Academy of Arts & Science – which runs the Grammys – provided his take on the shift towards recognising black artists: "…a really terrific reflection of the voting membership of the Academy".

IN THIS IMAGE: The album cover for Lorde's Melodrama

Striking the balance between racial equality and logic is hard to achieve, I admit. You cannot nominate artists because of the colour of their skin: you can definitely not exclude them for that same reason. This year sees Bruno Mars nominated for 24K Magic; Jay-Z for 4:44 and Kendrick’s DAMN. get a nod in the Album of the Year category – Lorde’s Melodrama is in the minority in terms of race and genre! There is no excuse for the baffling minority of black artists in previous years: the fact 2018’s main categories are much more pragmatic proves quality and depth is being favoured over commercialism and the Pop charts.

IN THIS PHOTO: Kendrick Lamar

In the past; I would say the bigger award ceremonies have been irrelevant and a waste of time – if they are not going to synchronise with critical reviews then it shows there is a split and lack of common sense in the industry. We have specialist music awards in the U.K. but there is still work to be done. Q’s annual award ceremony is still too focused on Pop and white artists; NME are a little stiff and unwavering when it comes to genres; the Mercury Music Prize is too London-centric. There are always going to be people disappointed and speaking out. It is a lack of consistency that troubles me most. All music awards should reflect quality and nothing else – regardless of genre, gender and race.

So many ceremonies have raised questions around exclusion and homogenisation; whether that be a lack of female faces or an overly-white outlook. The Grammy Awards have a long way to go until they regain a semblance of authority and balance but the nominations for next year’s hand-outs looks far brighter. Another of the notable discussion points – when looking at this year’s Grammy nominations – is the diminished role of Pop and Rock. Taylor Swift and Ed Sheeran are names one would normally see dominating award shows elsewhere. They have missed out on all the major categories and, with it, given the focus to other genres...

IN THIS PHOTO: Ed Sheeran

Despite the fact there are plenty of categories on offer – a musical Oscars, it seems – there is a shift is tastes, it appears. I have mooted whether music awards are true to the tastes of the public and what importance they hold. Whilst I argue having a Grammy, Brit or MOBO (less so with this one) does not make you better than anyone else out there – and can often be the result of record labels and corporations ensuring their best-paid acts are happy – I think the step forward for the Grammys should be the start of things to come. In the past, I would have argued that such a high-profile award show, in the way it limits its scope and promotes those acts with a greater commercial appeal, are worthless.

This year (2018, in terms of the prize-giving), where they are going for quality, it seems the penny has dropped. Not only are the best and most celebrated records given their due; there are more black artists nominated. With a positive shift towards Hip-Hop/Rap and black artists sees other issues arise. Some have commented how Rock has been ignored, to an extent. Big players like Queens of the Stone Age have not featured heavily but that is more to do with the lack of big Rock bands this year – not really producing albums to challenge the best out there. There are sub-categories that cater to most genres - so it is not as though people will miss out.

IN THIS PHOTO: Lorde/PHOTO CREDIT: Andrew Whitton

At least one Country performer is recognised in their best album of the year sector: for 2018’s Grammy, there is no Country album in the main categories. Again, one must make way for other genres to take their place. There has to be a cut-off but I think other award shows should take guidance from the Grammys. Pitchfork raised an issue about the lack of women nominated this year:

“The Big Four are the guts and glory of the Grammys, and everyone knows it. But only a fifth of the nominations across those categories this year go to female artists: Lorde, Julia Michaels, SZA, and Alessia Cara. It is true that 2017 has been a truly rough one for women on the charts, and it’s hard to expect more from the Grammys than glorified chart watching. But couldn’t y’all have at least slipped “Bodak Yellow,” the year’s record smasher of a hit, into the Big Four? SZA’s spectacular debut CTRL for the album nod?

That said, it seems like Lorde has a real chance for the AOTY win, just in terms of voting politics. The Grammys love a wunderkind. Four of the last 10 AOTY winners have been young, white pop singer-songwriters mining matters of the heart and the self. And the two strongest competitors—Kendrick and JAY-Z—could split votes that sway hip-hop. (Plus, you know, Melodrama is a good album.)”.

They noted a few discrepancies in categories where The War on Drugs was in the Rock album section – strange for a band not renowned for their grittiness and strings – whereas The National are scrapping it out in the Alternative list. Popular chart acts are being relegated whilst there are some notable omissions in terms of Rock albums – some lesser-known artists, who released minor L.P.s, given the nod instead.

IN THIS PHOTO: Cardi B

Rolling Stone highlighted the rise of R&B and how it is replacing the hegemony of Pop:

“This summer, Nielsen published a report demonstrating that hip-hop and R&B had passed rock as the most-consumed music in America for the first time, largely due to streaming. That appears to have gotten Grammy voters' attention, as least for now: The most prestigious Grammy categories (Song/Record/Album of the Year) were dominated by streaming success stories, whether it was Luis Fonsi and Daddy Yankee's "Despacito" (over 4 billion views on YouTube) or Childish Gambino's "Redbone" (338 million streams on Spotify). The only exception to the rule in the major cross-genre categories was Lorde's Melodrama, which was not a massive streaming success”.

IN THIS PHOTO: The War on Drugs

There are still cracks to address when it comes to the categories and demographics of the Grammy nominations. If the sudden decline of Pop and Rock means the predicted artists are without kudos and spotlight; that might be a reaction to the need for more black artists having their music featured. Even if Taylor Swift, and Reputation, gathered big reviews;  it seems there is that desire to move from the mainstream Popstars, who have always dominated, and towards artists usually ignored. One can question the worth and value of an award like a Grammy but a lot of reservation and dubious tutting has arrived from the underwhelming artists featured and the lack of certain genres/races featured – and the endless categories, I guess! I feel the Grammys, as the biggest award ceremony in music, needs to set an example. One of the reasons many other awards lack substance is because of the quality/balance issue – putting charts and Popstars above the genuinely great and acclaimed.

The Grammys have shown favour to artists who have accrued huge streaming figures (on Spotify) but I look at albums by Kendrick Lamar and Jay-Z and they address the state of modern America. In a time of ‘fake news’ and President Trump’s endless reign of idiocy: it seems the importance of truth-telling artists from Hip-Hop are being given a platform. That need for a truthful, straight-talking musical presidency is one that reflects the public and critics’ desires. There is a lot more to pore over with regards the Grammys and whether enough is being done - but one of the best ways for them to salvage a semblance of respect and standing was to turn away from the white Pop market and towards Hip-Hop. It is a long time coming but I feel, if this is a sign of what is to come; it is a hugely important step towards…

IN THIS PHOTO: The most-nominated woman in this year's Grammys rundown, SZA/PHOTO CREDIT: Mambu Bayoh

MAKING music award shows inspiring and vital.

FEATURE: Stocking Thrillers: Great Gifts for Music Lovers

FEATURE:

 

Stocking Thrillers:

 PHOTO CREDIT: Iconica

Great Gifts for Music Lovers

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IT can’t just be the men…

who will leave things to the last moment! The traditional mentality to panic-buy and wait until Christmas Eve results in some rather questionable and thoughtless gift. Music lovers demand presents a little more personal, impressive and appropriate. With that in mind; a collection of confections – various-prized gifts – that will satisfy your music-obsessed friend/family member.

There should be, in this stuffed and stocked list, something that tickles the fancy; a present that would be perfect for a music fan in your life – and, with a few weeks remaining – plenty of time to get your order in!

IMAGE/PHOTO CREDITS (unless stated otherwise): Getty Images

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A U.S.B. Mix-Tape

Still here are the days when romance can be measured by a mixtape! It is a great gift for music fans that prefer their sounds/technology a little older and vintage – the look of a cassette with the attached dongle. It looks great and means you can put their favourite sounds on to the memory stick; hand it over and watch their eyes light – or let them choose their own tracks.

Buy: https://www.etsy.com/uk/listing/261927693/4gb8gb16gb-usb-mixtape-retro?ref=listing-shop-header-2

Sia -  Everyday is Christmas

The Australian Popstar departs from her confidence and electric songwriter to something tenderer and Christmas-flavoured. Written with Greg Kurstin; this is a collection of modern Christmas songs that are guaranteed to warm the cockles and get the family singing – and are actually pretty decent songs for those who dislike the cheese of Christmas tracks.

Buy: https://itunes.apple.com/us/album/everyday-is-christmas/1299289839

Music-Themed Chocolate Bars

The Balance says it best: “When you're starting a food business, you can start out with a plan to either appeal to as many people as possible. Or, you can decide to focus in on a group of people to create products that also, perhaps, tie into your own interests or dietary needs. Within one year, several candy businesses caught my eye as it turned out they were all targeted to the same type of consumer: music and entertainment lovers seeking fun gifts”.

Buy: https://www.thebalance.com/chocolate-gifts-for-music-lovers-1326118

Spire Studio Portable Recording Studio

It is a pricey one for the stocking but a sure-fire winner for any serious musician and producer. It is available via U.K. sites – and should arrive from the U.K. in time for Christmas – and is an all-in-one studio for those who prefer convenience and affordability. As Spire put it: “Record studio-quality sound without the hassle of cables. Instantly edit, mix, and share your recorded songs via a built-in Wi-Fi connection between Spire Studio and the free, Spire app for iOS. Whether capturing a moment of inspiration or collaboration with bandmates, Spire delivers a new kind of recording experience”.

Buy: https://www.spire.live/en/spire-studio.html

Personalised Song Lyric Print

Surprise the music-lover in your life with a framed and personalised print. You can capture their favourite song lyrics in a gift that is sure to give them satisfaction. Whether they are a Rock or Pop fan; you can give them something that is meaningful and special to them.

Buy: https://www.thedriftingbear.com/products/personalised-song-lyrics-print?variant=18419060548

Roli Seaboard Block

It is a perfect and lightweight keyboard for those who want to create quick and easy sounds on-the-go – or those who want to sit at home and craft something. The manufacturers say: “Create astonishingly expressive music on a portable, super-powered keyboard. Touch and shape your sound on Seaboard Block's soft, pressure-responsive musical surface. Play a powerful standalone instrument — and extend its power by connecting to other Blocks”.

Buy: https://roli.com/products/blocks/seaboard-block

The Beatles Anthology (Hardback or Softback)

They sang about paperback writers – can’t remember which song it was! – and, here, you can discover how the band got together and why their music creates a timeless joy! It is filled with fantastic and never-seen-before photos and, although the book is a few years old, its relevance and place will never date. I am ordering it for Christmas and feel like it is an essential purchase for fans of The Beatles – and those discovering them for the first time.

Buy: https://www.amazon.co.uk/Beatles-Anthology/dp/0811826848/ref=tmm_hrd_swatch_0?_encoding=UTF8&qid=1512220345&sr=8-4

Fender Monterey Bluetooth Speaker

Another pricey gift but a high-end speaker that delivers exceptional performance. GAK provided their capsule review of the product: “Powerful and packed with music-friendly features, the Monterey Bluetooth Speaker makes it easy to bring Fender’s classic stage-ready style, performance and sound to your home, office or dorm room. Designed in Southern California, with a look inspired by our classic amplifiers, the Monterey brings Fender’s famously clear sound to streaming music and phone calls. The Monterey channels 120W of power into a pristine quad-driver system; two woofers and two tweeters are precisely matched to”.

Buy: http://www.richtonemusic.co.uk/products/fender_monterey_bluetooth_speaker.asp?gclid=CjwKCAiAu4nRBRBKEiwANms5W_m5q9-jjosluV9QT8keLmjJRvTlGkOnu25sQqR3HuZjc3GXhKy-xhoCCnUQAvD_BwE

StuHub Gift Card

IMAGE CREDIT: @StubHub

This is a nice, easy gift for those who love their gigs. It works like any gift card and can be pre-loaded with various denominations. It is hard affording gigs these days so this is a nice option for anyone who has plans for next year’s big gigs – and needs that financial help to make it a reality.

Buy: https://www.stubhub.com/gift-cards/

FiiO X1-II Media Player

This is how Headphone.com sees this incredible piece of technology: “The newly updated - and extremely affordable - high resolution digital media player FiiO X1-II has arrived at headphone.com. This 'second generation' X1-II player / DAP from FiiO now includes awesome wireless Bluetooth 4.0 connectivity, a tidy touch scroll wheel, improved DAC and headphone amp circuitry plus a cool new look with streamlined navigation and design improvements”.

Buy: https://www.headphone.com/products/fiio-x1-ii-media-player

Personalised Headphone Stand by MijMoj Design

This is something I could do with! Make sure your headphones are given a comfortable place to rest this Christmas! Not only that but you can have this stand personalised – either a great gift for a music fan you know; perhaps it is something you want to treat yourself to!

Buy: https://www.notonthehighstreet.com/mijmoj/product/personalised-headphone-stand

Wax & Stamp Subscription

This is a brilliant idea for anyone looking to get their vinyl-lover a great gift. Why is this such a sought-after gift, then? “Set up by two friends, Wax & Stamp is a real labour of love. Two records will land on your doorstep each month- one chosen by Wax & Stamp and the other by a guest selector (think DJs, record label heads and artists). By the end of the year you’ll have 24 new releases to add to your record collection. Their focus is on new music, so if you’re looking for a classic, this probably isn’t the answer. However, if you want to keep abreast of the latest news in music but find the choice overwhelming, this will give you a helping hand”.

Buy/Register: http://www.waxandstamp.com/

David Bowie - A New Career in a New Town

Keep the master close to your heart with this fantastic gift. This is how Rolling Stone sees it: “No period in David Bowie's career is more curious than the trilogy of albums he recorded in the late Seventies while living in Berlin's artsy Schöneberg district. They're defiantly uncommercial, stacking soundtrack-y, atmospheric soundscapes alongside pop songs, and they're bizarrely endearing – "The hin-ter-land, the hin-ter-land/We're gonna sail to the hinterland," goes one catchy-yet-strange passage in Lodger's "Red Sails." Stranger yet maybe, this era produced one of his most enduring hits, the anthemic "Heroes," which has been covered by everyone from Oasis to Peter Gabriel and Janelle Monáe. The period, defined by Bowie's collaborations with Brian Eno, was so far-out (even for the former spaceman) that it frustrated his record label and caused a slight dip in his popularity (all of his albums from this period have yet to be certified even gold), though the tales of Bowie's drug-and-alcohol-fueled romps with Iggy Pop and musical experimentation at the time have become the subject of multiple books. Now a new box set, A New Career in a New Town (1977 – 1982), is offering a freshly polished look at the time. It contains 1977's brilliant and sprawling Low and "Heroes" LPs, 1978's live outing Stage, 1979's avant-rock experiment Lodger and 1980's only slightly poppier Scary Monsters (and Super Creeps), the last of which, recorded in New York, was intended as a return to commercialism, though it still reads like fractured pop”.

Buy: https://www.amazon.co.uk/New-Career-Town-1977-1982/dp/B073NXBYP6

Chromecast Audi

You can easily cast music to your speakers and enjoy music without interruption; it is compatible with Android, Windows and iOS and means you can listen to your favourite tracks wherever you go

Buy: https://www.currys.co.uk/gbuk/tv-and-home-entertainment/digital-and-smart-tv/smart-tv/google-chromecast-audio-10137628-pdt.html

Numark PT01 Touring Vintage Suitcase Turntable

This is a nice and well-priced turntable that should be top of the Christmas list! The manufacturers list it like this: “The Numark PT Touring turntable is a classically-styled suitcase unit that recalls the popular portable turntables from the past. PT Touring has a rugged case with a handle so you can carry it anywhere. It plays all your 33 1/3, 45 and 78 RPM records, comes with a 45 RPM adapter, and it has built-in stereo speakers for convenient listening without needing to connect external speakers. In addition, it has RCA outputs for simple connection to home audio equipment and a convenient Auto-Stop feature kicks in when it reaches the end of the record. Plus with its USB port, included USB cable and downloadable EZ Vinyl/Tape Converter software, converting analog records into digital files for archiving on your computer is a snap. PT Touring far surpasses the old suitcase turntables in versatility, however. It can also operate on its own built-in rechargeable battery—which means you can enjoy your records even if you’re not near a wall plug”.

Buy: https://www.amazon.co.uk/Numark-PT01-Touring-Headphones-Conversion/dp/B015FJZZZA

Musician Tree Ornmanets

This is an American site but, if you think the tree is lacking that certain something; get onto their site and order your favourite musicians in decoration-form! These ornaments will make you the envy of all your mates – and lend your festive tree a special look and swagger.

Buy: http://www.mlinehamart.com/

A Classic Band Poster

A vintage poster of your loved one's favourite band is a thoughtful gift and one that will live with them forever. As we get more and more involved with the digital tide: it is nice to have a retro slice of music heritage hanging on the wall!

Buy: https://www.classicposters.com/

Personalised Favourite Song Lyric Soundwave Print

This is another great gift – like the personalised lyric one – that allows a single moment of music to be captured in a frame. It can be your choice moment from that favourite song – a gift that shows thought and will be appreciated and enjoyed by the music-lover in your life.

Buy: https://www.soundviz.com/?gclid=CjwKCAiAu4nRBRBKEiwANms5W8h5cN2Nfn0cZNy6LQmEkip5frAuIEdOcW0SqnW0iEwCgnZPzQm9lxoCJ-sQAvD_BwE

Amazon Echo Dot

Trusted Reviews tells you why you need this in your life:  “AI assistants are the future, and every home ought to have one right now. They are capable of making your life so much easier, and al you need is to speak out commands and ask for basic information. No longer do you need to take out your smartphone just to perform basic tasks. Right now in the UK, the Amazon Echo is the closest we get to this without stepping into Terminator territory. The only problem with the Echo is that it will prove a little too big and expensive for some. Enter the Amazon Echo Dot – a smaller and more affordable alternative. The Echo Dot offers almost everything the larger Echo does, but for a third of the price. It also adds some crucial features such as Bluetooth and 3.5mm output, which weren’t available before”.

Buy: http://www.argos.co.uk/product/6349693

Public Enemy Action Figures

What do you mean you don’t need Public Enemy action figures?! Even if you are not a fan of the legendary Hip-Hop crew, this is a seriously original idea! Have Chuck D and crew in your life always with this stunning set of figures – with the members of Public Enemy looking at you from the shelf. This is a gift that could gain value in years to come – but you won’t want to leave them in the box, that’s for certain!

Buy: https://www.amazon.com/Public-Enemy-Action-Figure-Set/dp/B01G1LRE9G

A Band T-Shirt

If you want an easy gift that you know you’ll get right; there are plenty of websites out there that can deliver great band T-shirts at a good price. It is worth browsing but (the T-shirt) is always a good and durable present for the serious, die-hard music fan!

Buy: https://www.emp.co.uk/band-merch/t-shirts/?wt_mc=sea.google.nonbrand.emp_uk_generics_band_shirts.46319090565.band%20t%20shirts.e.c&adc=uk&gclid=CjwKCAiAu4nRBRBKEiwANms5WyV6ugiGLRPpNKcnkFVqROHAp30CBVDsL15TPfGfyUeT0roghAxv9RoCJO0QAvD_BwE

Gwen Stefani - You Make It Feel Like Christmas

The Voice coach and sometimes No Doubt frontwoman was inspired to write a seasonal song while visiting boyfriend Blake Shelton’s Oklahoma ranch. That initial inspiration soon snowballed into a full-fledged holiday album; featuring six originals and six covers of Christmas classics.

Buy: https://www.amazon.co.uk/You-Make-Feel-Like-Christmas/dp/B075MYGCG3/ref=sr_1_1?ie=UTF8&qid=1512222809&sr=8-1&keywords=Gwen+Stefani+-+You+Make+It+Feel+Like+Christmas

The Queen Is Dead (Deluxe Remaster)

The iconic Manchester band has reissued their classic L.P. with fully-restored version of The Queen Is Dead as well as a number of B-sides and rarities. It also comes with a previously-unreleased live album, recorded in Boston in August 1986 - and a D.V.D. featuring Derek Jarman’s The Queen Is Dead film.

Buy: https://www.amazon.co.uk/Queen-Dead-2017-Master-Deluxe/dp/B073ZBHG1R

Smokey Robinson - Christmas Everyday

This fantastic set from the Miracle man is an Amazon exclusive, featuring three originals; including the title track - which he first recorded way back in 1963 on Christmas With the Miracles. Covers include Robinson’s take on Donny Hathaway’s This Christmas.

Buy: https://www.amazon.co.uk/s/ref=nb_sb_ss_c_1_19?url=search-alias%3Daps&field-keywords=smokey+robinson+christmas+everyday&sprefix=smokey+robinson+chr%2Caps%2C148&crid=2VBCNO0O6ROTL

Nonda Zus HD Car Music Adapter

FM, 3.5mm AUX cable and Bluetooth connection to support all car types; regardless of year, make or model...Make and answer calls hands-free to ensure your safety while driving...Sleek, modern design to fit any car interior.

Buy: https://www.nonda.co/products/all-compatible-hd-music-adapter

Audioquest Dragonfly

On their website; Audioquest explain why this is such a popular choice: “Launched in 2012, press and public alike have enthusiastically embraced AudioQuest’s multi-award-winning DragonFly USB digital-to-analog converter/preamp/headphone amp as the rare audio product that bridges the gap between die-hard audiophiles and mainstream music lovers. DragonFly plugs into a computer’s USB port to bypass the computer’s compromised audio circuitry and deliver cleaner, clearer, more naturally beautiful sound to headphones, powered speakers, and complete audio systems. Small, affordable, easy to use, and remarkably effective, DragonFly was named Stereophile’s 2012 “Computer Audio Component of the Year” and 2012 “Budget Component of the Year;” Tone Audio’s 2012 “Digital Product of the Year;” Computer Audiophile’s 2012 “Computer Audiophile Product of the Year;” AudioStream’s “Greatest Bits;” and What Hi-Fi?’s 2014 “Product of the Year.” Perhaps most memorably, DigitalAudioReview.net’s John Darko quipped: “A DAC with the DragonFly’s performance at the DragonFly’s price point is as rare as rocking horse sh*t.” We couldn’t have said it better”.

Buy: https://www.amazon.co.uk/s/?ie=UTF8&keywords=audioquest+dragonfly+black&tag=googhydr-21&index=aps&hvadid=223847239824&hvpos=1t1&hvnetw=g&hvrand=1270551994944676627&hvpone=&hvptwo=&hvqmt=b&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9045828&hvtargid=kwd-296947453403&ref=pd_sl_351xelfizz_b_p28

Steepletone Bluetooth Brighton Cream/Beige Retro 1950s-style 3-Band Portable Radio

This is how the product is described: “EW AND EXCLUSIVE BLUETOOTH VERSION OF THIS EVER POPULAR CLASSIC. Steepletone Brighton 1950's Portable Bluetooth Retro Style Rotary Radio Manufacturer's Description Reminding us of the stylish and much adored radios from the 1950's and 1960's the Steepletone Brighton 3 band retro radio manages to capture the romance and familiarity of yesteryear whilst still giving top quality performance that you would expect from today's radio players. Sounding simply superb the Steepletone Brighton retro radio receives FM, MW and LW (long wave is great for picking up the cricket and the BBC world service), and can be powered via the mains electric (power lead supplied), or for portable use by using 6 x 'C' size batteries (available separately) Further features of the Steepletone Brighton retro radio include: Strong and stylish carrying handle, rotary on/off/volume control, rotary tone control for bass and treble, direct tuning, easy to read dial scale with rotary tuning, push button band selection, beige plastic finish, built in ferrite antenna for MW and LW bands and telescopic aerial for FM (4-section/50cm long). The Steepletone Brighton retro radio also comes with a 1 year warranty”.

Buy: https://www.amazon.co.uk/Steepletone-Bluetooth-Dial-Latest-wirelessly-Smartphones-Cream-Connectivity/dp/B018PQ6EIW/ref=sr_1_1?ie=UTF8&qid=1512223603&sr=8-1&keywords=retro+radio

The Beatles - The Christmas Records

This is another fantastic Beatles-related gift and one that is appropriate for this time of the year. The press-release assesses it in these terms: “During the height of Beatlemania, from 1963 through 1969, the Fab Four recorded and released holiday messages and songs on flexi-discs for their loyal fanclub members. Those rarities are now being widely released for the first time as a boxed set of colored vinyl singles in sleeves with the original flexi-disc artwork along with a 16-page booklet featuring notes on the recordings and reprints of the band’s National Newsletters, which were sent out to fanclub members with the holiday flex-discs. Note: Four out of six of the singles are one-sided. This is more of a collectors’ piece than a traditional Christmas album”.  

Buy: https://store.hmv.com/music/vinyl/the-christmas-records?gclid=CjwKCAiAu4nRBRBKEiwANms5W9MkMhABULNhbjGn8QPO8knj4ADPvcj1EzISp1-22VuBBlRU97VhTRoCoHcQAvD_BwE&gclsrc=aw.ds

Focusrite iTrack Pocket

It’s as simple as connecting your phone, opening the app and hitting record! You can use the built-in microphone for vocals and acoustic guitar or hook up your electric guitar or line level instrument via the input jack. High-quality audio, effects and instant mastering – you’ll be a YouTube star. Capture your performances with a high-quality stereo microphone that fits in your pocket...KeepiTrack Pocket on you, take it anywhere and connect your phone every time you have a great idea...Record straight into Garage Band, iOS Camera App; iMovie, Rode Rec; Loopy HD and Tape.

Buy: https://www.gear4music.com/Recording-and-Computers/Focusrite-iTrack-Pocket/13CV

Astell & Kern AK70

The AK70 is Astell & Kern’s latest portable Hi-Res Audio player. It sits just above the company’s entry-level AK Jr, although entry to A&K’s post-iPod audiophile world costs just shy of £400 and the AK70 is priced at a not-inconsiderable £500. It is a great investment and terrific piece of technology that is worth the money – even as a Christmas gift!

Buy: https://www.richersounds.com/astell-kern-ak70-mint-green.html

R.E.M. - Automatic for the People (25th Anniversary Deluxe Edition)

Consequence of Sound were excited when this set was announced: “The Automatic re-release features the record freshly mixed by original producer Scott Litt and engineer Clif Norrellin in the brand new Dolby Atmos format. This is the first time Atmos has been used to mix commercially available music, and the new tech promises to “[transport] the listener inside the recording studio with multi-dimensional audio.” The four-disc Deluxe Edition includes a bonus disc of 20 never-before-heard demos from the recording session, including the previously shared mythical lost track “Devil Rides Backwards” and the unreleased recording “Mike’s Pop Song”.

Buy: https://www.amazon.co.uk/Automatic-People-25th-Anniversary-M/dp/B075K343CP

INTERVIEW: Eric Frisch

INTERVIEW:

Eric Frisch

________

IT seems The Beatles are a very important act…

to the New York songwriter Eric Frisch. He talks about The Beatles' influence and which of their songs he played for four hours on-repeat; other artists who have made an impact on him; details about his latest track, Baby Don’t Stop – and how the extraordinary video (for the song) came together.

Combining the sounds/musicianship of Fleetwood Mac, Cat Stevens and The Black Keys; there is a heady and intriguing mix I was keen to know more about. Frisch talks about the New York scene and plans for new material; what gigs he approaching; the music he was exposed to as a child – and how Classical music is coming into his life at this stage (having hit thirty).

________

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

Hey there. I’m great. My week’s been amazing. I had a really nice Thanksgiving weekend in Miami with my family.

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

My name’s Eric Frisch. I’m a thirty-year-old Indie singer/songwriter influenced by The Beatles, The Beach Boys; Cat Stevens, R.E.M.; Fleetwood Mac, Beethoven and Mozart. I’ve been living in New York for the past seven years.

Baby Don’t Stop is your new single. What is the story behind it?

I decided to play Baby Don’t Stop one night with my band at a show at The Delancey, a small dive-bar in New York (next to the Brooklyn Bridge), and the crowd absolutely loved it. I was pretty surprised - because I had written the song about ten years before I played it live for the first time. It’s just the repetition of three words,’ baby don’t stop’ (over and over again), as the song builds.

I wrote it when I was nineteen and stoned in my parents’ basement, sitting at my piano. I wish I could tell you there’s a really deep meaning behind it but, the truth is, I just kept singing these words at the piano - and it felt like it meant something and it kept building. As I was playing this song in my basement, I grabbed my RadioShack tape-recorder. The original recording is twelve minutes long; with me building up and singing Baby Don’t Stop at the piano.

I left it on my tape recorder for about ten years before I decided I wanted to record it in the studio. Why did I wait so long?! I didn’t have the confidence to play this song to a crowd for about ten years; I didn’t think anyone would get it. I was also worried that it wouldn’t translate to a recording so well.

The video is quite intriguing! It mixes a variety of old-looking footage. How did it all come together?

I think the video does a good job of capturing and enhancing the build-up and epic feeling I had in mind for the song. I knew a student filmmaker at N.Y.U. whose work I really like - and I played him the song - and he had the idea to make the video about a bunch of different people and important moments in their lives...

It would sort of focus on one couple but the video would really be about how fragile life is; how precious every moment is. Everything ties together and it's all of the little moments in life that make it so special. He had the idea of crowdsourcing a bunch of footage from all his friends...so he sent out Facebook posts, Twitter messages; emails and good old-fashioned texts; phone calls and love-letters to people we know.

At the end of the day...we had video submissions from over sixty of our friends.

In terms of sound; it, oddly, straddles The Black Keys and Phil Collins. Are those artists you are inspired by?

I really like The Black Keys and Phil Collins, so I’m flattered to hear you say that.

Who were the artists you lionised growing up? Was your childhood house musical?

The Beatles are the reason I became a musician... 

The first time I heard Rubber Soul, I listened to the song You Won’t See Me on-repeat for four hours straight on a train from Toronto to Montreal - when I was seventeen and visiting my then-girlfriend. Then I got into The Beach Boys, The Moody Blues; Cat Stevens, The Rolling Stones, Bob Dylan; C.S.N.Y. (Crosby Stills, Nash & Young), Fleetwood Mac; The Mamas and the Papas, Elton John; Donovan, E.L.O.; The Kinks, Simon & Garfunkel; Sam Cooke, Van Morrison; Traveling Wilburys, The Doors; C.C.R. (Creedence Clearwater Revival) and Chicago Transit Authority.

It seems like you splice 1950s/1960s music with modern sounds. Do you think it is important to preserve older tastes – but look forward and recognise where music is right now?

I definitely think it’s important to preserve older tastes and still look forward today.

What’s really funny is, the older I get, the further back in time I go with my taste in music. When I was seventeen, it was all about the 1960s. Then; when I graduated college and turned twenty-two, I went back in time to the 1950s. Now that I’m thirty; I swear I mostly listen to Classical music from the eighteenth century - Beethoven and Mozart mostly.

What can we expect in terms of future music? Are you working on other stuff?

Speaking of Classical music; I plan on releasing an album with my new band, The Surprise Symphony, next year that will be heavily influenced by Classical music - while still looking forward and being influenced by great Rock bands today like The Black Keys, Alabama Shakes; Tame Impala etc. It’s all about production.

That’s my dream right now.

Toronto is where you started life. What compelled the decision to move to New York? Do you miss the scene back home?

I learned how to produce in my parents’ basement in Toronto when I was twenty-two - after graduating college. I knew nothing about Pro Tools but I was determined to figure it out for myself. No one helped me. I had no idea what compression and reverb were, and I didn’t know plugins existed...

So, if I wanted something to sound like it was recorded in a big hall, I would take my microphone into the shower and record it singing ten feet away from it. That’s how I did all my recordings: just figuring it out on my own like that. My parents said: “If you really want to be a musician, you should move to New York, Nashville or L.A. - because that’s where the music industry will find you...”

So; I chose New York - and I’m still waiting to be found…

What is New York like for a new artist? Is it somewhere that keeps you busy and inspired?

New York is an alright place for a new artist…

I think it’s true it’s the toughest place in the world to make it - and it toughens you up. But, sometimes, it can bring you down. I don’t think it’s the right place to start. Maybe end in New York but start somewhere else. I really like getting on the road and playing shows outside of New York.

I plan on moving to L.A. in January.

IN THIS PHOTO: Alabama Shakes

Who are the new artists you recommend we check out?

I’m not the best person to ask this question - since I mostly listen to old music. But, lately, I’ve been listening to Tame Impala, Alabama Shakes; Foxygen, Whitney; Portugal. The Man and Future Islands.

IN THIS PHOTO: Portugal. The Man/PHOTO CREDIT: Maclay Heriot

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

1.       Abbey Road by The Beatles 

I think it’s the greatest album of all time.

2.       Tea for the Tillerman by Cat Stevens 

If there’s one artist I aspire to sound like, it’s Cat Stevens. So many amazing songs on this album (Teaser and the Firecat is a close second).

3.       Chicago Transit Authority by Chicago

This is their debut album - and it’s an album that is so worth listening to from start to finish. Love the orchestration.

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

Meet as many people as you can and make as many connections as you can, at the lowest level possible, in the music industry. There are all sorts of ways to make it, I suppose, and people have a lot of ideas about success in their heads.

I think the best things happen organically. Meet someone, hit it off and start making music - or collaborating or find someone else through that person that can help you.

Do you have any gigs lined up? Where can we see you play?

I just got back from a tour of the Northeast - so I don’t have any shows lined up right now. But, I’ll probably play a farewell New York show in January.

My guess is at Pianos on the Lower East Side.

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

I’ll be working on a new album with my band, The Surprise Symphony.

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).

How about If I Fell by The Beatles. That song has the best harmonies...

________

Follow Eric Frisch

Official:

http://www.ericfrischmusic.com/

Facebook:

https://www.facebook.com/ericfrischmusic/

SoundCloud:

https://soundcloud.com/ericfrisch

Spotify:

https://open.spotify.com/artist/5a8qAhdGD9Q7tnpBVjXTkL

YouTube:

https://www.youtube.com/channel/UCxnGBfoREo2_N9K22fyfIBw

TRACK REVIEW: Tallia Storm - Everyday

TRACK REVIEW:

 

Tallia Storm

Everyday

9.3/10

GENRES:

R&B; Soul

ORIGIN:

London, U.K.

RELEASE DATE:

16th November, 2017

Everyday is available via:

https://www.youtube.com/watch?v=rzCT8OmIf4I&t=6s

The album, Teenage Tears, is available here:

https://open.spotify.com/album/3ROY6J5LUUPwPp0m0dOwww

__________

THE next few days…

will see me take on more female artists. I have come to the point where I am getting a huge amount of male acts my way. It can be very depressing and frustrating! Things have got to the point where I am rearranging my reviews and going after some incredible artist. Tallia Storm is someone I have been interested in for a long time now. She is an artist whose surname seems to suggest meteorological fever and intensity. There is something about her that gets into the eye, heart and brain. I shall look at her new album – and the current single from it – soon but, thinking about Tallia Storm, I wanted to look at a few different things. Among them is artists who are the ‘complete package’; upcoming Pop and Soul; female artists and why they will have a bigger say in 2018; teenagers and reaching an important stage in life; world-tours and getting kudos early; growing up with attention on your shoulders – getting attention from musicians is something I want to look at, as well. Tallia Storm is an artist who has everything going for her. Not only is she brilliant when it comes to her social media feed – updating her photos and status – but she has so many different sides. I love the fact there are so many updates and images on her social media. One gets into her world and is kept abreast of all her happenings and events. I can go on there and find out what she is doing and how her career is progressing. Now, it can be hard to discover an artist and stick with them. So many are not keeping their social media fresh and showing very little concern for the visual aspect of their music. It is something I have mentioned a lot but Tallia Storm does not fall into this trap. She has that connection with her fans and is always determined to keep them informed and alerted. One gets fantastic images,  great information and all the latest news regarding her new material.

More than that; the music and artistry is rounded and solid. The songs themselves are fantastic but there is something about the personality of Tallia Storm that gets into the soul. She has that captivating personality and allure that melts the heart and fascinates the listener. I will get to this side of things a bit later but there is a rare beauty to the songwriter; in terms of her voice and her image. The latter is insignificant in terms of a career but, when looking at those who have ‘star quality’, she is someone who can go all the way. The market is crammed with young artists who want to remain and inspire for years to come. If they have savviness and get their social media channels in order; they can accrue thousands of fans and become minor celebrities. Tallia Storm has an aura and electricity that will see her ascend to the mainstream and change music. At the moment; there are some interesting Pop artists but there is a shift towards other genres like Hip-Hop. I will tackle this in a feature later but, seeing the nomination for the Grammys - and it appears Hip-Hop is gaining traction and focus. Pop is not in a bad state but it seems big artists like Ed Sheeran and Taylor Swift are appealing to commercial sects – not providing music that is deep and worthy enough to scoop the biggest prizes in music. I feel the reason for this is the production and predictability of their music. Tallia Storm is someone who realises this and bring different sounds and soulfulness into her songs. You get nuance and quality in every note. An artist who can pen fantastic songs and deliver them with force and beauty is rare: having an artist that tops that with a loveable façade and warmth is even rarer. She does not hide herself away and ensures she gets out to the fans and puts her music into the ether. A hard-working and endlessly passionate musician; there is no denying next year will see all of this work and passion pay off.

I have mentioned how Pop is declining in terms of stature and status but there are, as I stated, a few artists that are promising and worthy. Camilla Cabello is someone I have been keeping a watch on as this year has unfolded. It is early days but songs like Havana suggest a Pop artist with a rich sound and colour. It goes beyond the processed, calculated sounds the charts are festooned with. Applying this to Tallia Storm and she has edges of Pop but brings in other genres like Soul and R&B. Pop refers to ‘popular music’ and, as such, the interpretation is it needs to be accessible, uncomplicated and familiar. Artists like Sheeran and Swift – who I have mentioned – have a huge number of fans but their music rarely surprises and elevates the senses. Taylor Swift’s latest album, Reputation, impressed critics but it is not a marked development from previous albums such as 1989. The point of genuinely great music is that which you come back to and that which remains in the mind. Tallia Storm has that crust of Pop potential but a huge quality and substance. Her exhilarating and stunning voice is filled with so much soul and emotion. You get R&B flavours and so many different strands interweaving and exploding. One comes away from her music and it stays in the head. I will remain with Tallia Storm as we head into 2018. Her new album is full of revelation and fascinating songwriting; sensational moments and songs that boast striking compositions and a phenomenal lead vocal. I worry there is still too much dependence on Pop and that empty, shallow music. I get tired of the processed and overly-treated artists who are tinny, generic and bland. You listen to a song and it does something, minor, when you first hear it: one does not remain with it or come back to that song.

The mainstream is still homogenised and unable to break away from the need for marketable and commercial artists. It is not defined by originality and those who challenge the existing order. I feel Tallia Storm is someone who can make big strides next year and get to the mainstream. She can bring her unique blends to the big leagues and inspire others to do likewise. I worry there are few like her that will tackle the boring and lifeless sounds that are circulating around the mainstream. The point of our popular music, as in past decades, is to inspire new generations and create music that stands the test of time. Not only does one need to consider their music but keep their personality and persona in the forefront. Tallia Storm has charm and draw but her music has edge and fascination. It is not conventional and predictable but is popular enough so it crosses boundaries and genres. Its core is Soul and R&B but has flicks of Pop and Alternative. I will come to discuss how her music was discovered by a famous musician but, going forward, there is a desperation and fear among those who want to see the mainstream progress and change. I have been searching for great Soul voices to come out and take the breath away. There are a few interesting ones but none have the same dynamics and contours of Tallia Storm. All her music comes from the soul and takes you off your feet. I am stunned every time I hear her music comes out of the speaker. The only way music will push forward and challenge convention is by promoting those artists who are not beholden to streaming figures and celebrity.

That is not to say Tallia Storm does not have her eyes on how many people are streaming her music and watching her videos. She is a young and ambitious songwriter and, in this age, you need to be aware of the marketing side of the industry. I feel too many are wrapped up in numbers and, as such, engineer their music that matches those with huge streaming/viewing figures. Tallia Storm is a vibrant young woman who is more concerned with getting her music to its finest standard and expanding effort ensuring it is substantial and exciting. I will end the conclusion talking about female artists but, regarding Tallia Storm, she was discovered by a certain Elton John! As a teenager discovering music and making your first step; having someone like Elton John claim you are one of the finest Soul voices of the past two decades is not to be taken lightly. That is a plaudit that nobody else has and should give Tallia Storm the impetus to aim high and keep reaching. I am amazed someone like Elton John – one of the greatest artists alive today – would say that but I am not surprised! Everyone looks at the late Amy Winehouse as the epitome of the classic Soul voice. Although she is no longer with us; her sensational voice has compelled new singers and I can hear her tones in the current set. Tallia Storm sees like someone who can match the grandeur, intrigue and quality of Winehouse – do things her own way and have the same influence. That approval and Elton John recommendation will give her a boost and approval. I hope next year sees the teenage star continue to write and take her voice to new heights. Nile Rodgers has also spotted Tallia Storm and stated she is one of his favourite artists in the world. Elton John spotted Tallia Storm when she was thirteen so, both of those facts together, means she has two of the biggest names in music behind her. I wonder whether she will collaborate with the musicians/producers down the line – that would be an exciting and thrilling proposition!

One should never be beholden to age and youthfulness but you cannot escape the tender years of Tallia Storm. She was discovered and celebrated by Elton John when she was thirteen but now, at nineteen, she is still so young and fresh to the world. I look at artists who are recording music in their seventies and eighties and am amazed. I feel, not to put pressure on her, Tallia Storm is someone who will progress from a young Soul/R&B songwriter to a legendary Jazz/Soul voice in decades to come. Even now she shows signs her music will endure and survive the test of time. The passion and hunger she has for music is stunning and pure. I wanted to talk about teenage artists because, as the years go forward, the amount of young artists coming into the industry is increasing. By that, I mean there are more acts of a younger age. Maybe that would be too much pressure – for someone so young – but it gives the songwriter a chance to experience music at one stage of their life; learn as they go along and, in a way, grow alongside music. Life skills and attributes can be picked up in the industry and, if anything, one can increase their fortitude, confidence and growth by being exposed to music at such a young age. Tallia Storm has been in music since she was at school and has not yet hit her twenties. In fact; photos of her celebrating her nineteenth birthday have been on her social media feeds. There is a good and bad point about hitting heights so early in a career. Some artists gain focus and popularity when they are in their teens but struggle to evolve and survives years down the line. In a way; there is obsolescence in music that means those artists are not recording music in their twenties. It is harder and harder to ensure in an industry that favours new acts and fast turnaround. The younger you are, the harder it can be to deal with the demands and pressures of the industry. One has to navigate so many different considerations and obstacles and show courage. The fortitude and strength needed to remain in music means so many are falling and failing to survive. It is a worry but, when one looks at Tallia Storm, and you know she has what it takes to carry on. She has been around for years already and has not even reached her peak. The music she is putting out now is amazing but I feel, as she gets into her twenties, new sounds will come in and the sound will grow more confident and stunning! Alongside the attention and popularity; Tallia Storm has embarked on world-tour and already gigged around the world. The young talent has been across the globe and brought her music to thousands of fans. Not many can claim they have been to so many nations and played in front of so many people before they hot twenty. I am not sure whether she has a label behind her already but, so far, she has gained all that footing and popularity on her own. The music she has put out, and how she is doing things, was off her own back. I feel labels can dictate and control an artist to the point they are moulded for the mainstream. Tallia Storm wants to gain huge popularity but not at the expense of her integrity and sound. She is a songstress that pours her heart into raw and real music. I feel, if she were to sign to a major label, they would want to change that and make her music more radio-friendly and less intriguing. That would be a shame but, given her growing stature, she will need some backing and guidance. A young artist who has to perform so often and juggle the career will find some hard times and need a few extra hands. Tallia Storm is a smart and wise woman and not one who will sign her career over to the first label that comes along.

As we go into 2018; the world will watch for those new names and big artists who will define (the year’s) music. Tallia Storm will hit her twenties and she will get demand from new parts of the world. One thing I worry about is how female artists, of a certain age, will be sexualised and subjected to demeaning focus. A lot of sexism circulates around the industry but I hope that is not a fate that befalls Tallia Storm. She is a stunning and beautiful artist and has a sexual aspect that can be misinterpreted. She is an artist who projects confidence and wants to promote womanhood, empowerment and confidence – not someone who flaunts her curves and wants to be cheapened. What we have before us is a very beautiful artist who puts music and her career first. There are Pop artists who lure after the camera and what that cheap fame: Tallia Storm is a respectable and fine artist who wants respect and the chance to perform decades from now. That will happen because she has conviction and a wise head on her shoulders. My favourite album of this year was created by a fellow nineteen-year-old artist, Lorde. Her sophomore album, Melodrama, and has stunned critics with its maturity and quality. Going against the plastic and puerile nature of some Pop: Lorde created an album of incredibly intelligent songwriting that bellies her young years. Tallia Storm is a similar songwriter that has that depth and quality but a slightly different sound. One thinks of Jill Scott and Erykah Badu when listening to Tallia Storm. I think her household would have been buzzing with the legends of Soul and R&B when growing up. Teenage Tears, the album from Tallia Storm, is the culmination of four years of writing and self-discovery. The songwriter went through a raft of emotions and experiences and has poured this into her L.P.

I will come to look at Tallia Storm’s stunning track, Everyday, but I wanted to end this part by addressing why her music stands from the crowd. The heroic songwriter has support behind her and already a popular face in the mainstream media. She has her photo taken a lot and is keen to provide honest and revelation to her fans. Tallia Storm will avoid the tabloids and scandal of the gutter-press but she is someone who will court focus from filmmakers and producers down the line. There is a star-quality and allure to the young songwriter that means her art will get as far as T.V. and film. I can see her acting down the line and know she will be a big household name. The strength and depth of her sounds mean it will gain success in the charts but go further and strike the ears of directors and other professionals. These are exciting times for Tallia Storm and it will be interesting seeing what the next year provides. So far, she has amassed a legion of fans and her album is receiving huge reviews. The way she has conducted her career – without a big label and by her own ways – means it is not a mainstream Pop album: we have a soulful and deep album that gets into every sense and sticks in the memory long after it has finished.

When reviewing a song; I always look for a few things from the off. I want instant hook and production values that draw me in; an original bent and sounds that compel interpretation and imagination. When you hear the song unfold – and get past the annoying adverts on YouTube! – there are luminous strings and elegance unfolding. It is classy and refined and has a genuine sweep. One feels warmed and seduced by the beauty and grace of the composition. It is a start that has all the aspects and qualities of a classic Soul record. We all know those hits that place the listener in a better frame of mind right from the off. On Everyday; there is a shimmer and tenderness come from keys and strings; it is a glistening and wintery backdrop that melts with the luscious heat and passion of the foreground. I was buckled and stunned by the instant appeal and effectiveness of the music. When the heroine comes to the microphone; there are utterances of refusal and dismay. The word ‘no’ is repeated, slowly, and it seems like a bad love is being documented. It seems the sweethearts fight every day and there is that constant stress and tension. The two get up each morning and have their challenges; they say they can handle things and feel they can handle this. I feel there are tensions and struggles that come with teenage years. Both parties are on different plains but it seems like the heroine is more mature and grounded. Maybe the boy is a little immature and wants something quite shallow and childish. These fights have occurred and it appears they go to bed with heavy hearts. Above it all; there is that strong relationship that is not based on sex and hollow values: the two have been together a while and have something deeper and more important. “It’s ok” says the heroine; they have their tough times but it will not burn things.

The vocal has an element of Amy Winehouse – the tone and power remind me of her – but I get impressions of Jazz and Soul greats. I can tell Tallia Storm has lionised these strong women and imbued a little of each into her own music. What I get is someone who has her own mind/voice but is indebted to the legends she fell for as a child. The composition lightens but it continues to appeal and compel with its luminous, swaying strings and keys. It has a stately flicker but a grandeur and urgency that bring your mind into the background. Fear, it seems, is the enemy and these “warriors” have a lot to face. I wonder whether Tallia Storm was referring to women in general or young people in love – maybe both, I guess. Whilst the vocal has Soul/Jazz touches; I got a little fleck of Rihanna and Sia in the vocal. It has Pop sides and this combination makes it an intriguing number. Although the lyrics are kept quite simple, that does not mean the song is for those who want their music uncomplicated and predictable. The words document the strains and struggles of the heroine; how she goes through daily doubts and conflict but is strong and defiant. There is that need to hold tight against the waves and show bravery. As the song grows, and the heroine realises it will all be okay, the vocals multiple and the soulful elements come to the fore. I got touches of D’Angelo and Erykah Badu when the voice is layered and it swims into the bloodstream. The girl is brushing off the past and reaching new heights; not going to let niggling problems and disagreements spoil who she is! The defiant messages – “This is your time to take control” – speaks to fellow lovers and strong women. It is a coda the music world needs and one that fits into the Pop scene – but does not sacrifice its ethics by producing something cheap.

There are female Pop stars who use these messages without any commitment and conviction but you believe every word Tallia Storm says. Beats crackle and the production thickens and heightens. There is a swagger and confidence to the vocal that has an almost Reggae-like vibe and cool to it. It is hard to get past the comparisons to Amy Winehouse and Rihanna but that is meant as a compliment. The listener is brought into the heroine’s world and sees someone who is packing a punch and keen to overcome problems before her. Rather than cry and let all of these problems weigh her down: finding inner-strength and guts is driving her forward with pride and promise. As the song reaches its final moments; you are still hooked and amazed by the confidence and sound. Everyday is a song that could grace the Pop market but it has a lot more depth and meaning. What I got from the track is a balance of sweetness and tough; a woman who has her own voice and is candid when it comes to putting her heart out there. It is a fantastic song that kicks off the album, Teenage Tears. Rather than provide petulance and immaturity: Tallia Storm is a woman of fortitude who is moving on and keen to preserve this love. The desire to remain strong in the face of the weather is something that sticks in the mind long after the song has concluded. A crisp and clean production elevates all the elements without washing out the mood and emotions. It is a perfect score for Tallia Storm to shine and inspire in.

There are two sides to Tallia Storm - that creates a mixture of excitement and concern. On the negative side, there is a bit of the mainstream media attention coming her way; a certain controversy and focus that means a slippery road is before her. One can say her appearing on Celebs Go Dating is a bit of fun and fluff but it is getting her column-inches from the likes of tacky magazines and the Daily Mail. She has shared posts on her social media from that paper and magazines that concentrate on her looks and sex – rather than her elegance and music. She is already being shaped into a sex-symbol and tabloid celebrity. This is a worrying thing to see for someone who wants to create credibility and a genuine music career. She is entitled to go to events and outings but should be refuting puerile headlines that focus on her body and image. It is a bad route to go down and she should be transcending from the days she was referred to as Brooklyn Beckham’s ex-lover to a confident woman dispending with scandal and gossip! I hope this happens when she hits twenty but I worry Tallia Storm is a teenager unironically sharing articles but horrible newspapers and gaudy magazines. I have talked about mainstream Pop and how many artists are selling their bodies and whoring after cameras. The images I have used for this are Tallia Storm creating a professional persona and displaying her femininity. I worry she is taking pleasure from the paparazzi and that way of life. I hope she does not fall victim to that lifestyle and think there is any value becoming a celebrity that is chased by the tabloids! I also hope 2018 sees her do fewer reality shows and actually take pride in what matters most in the world: the music she is putting out there and why she is in my mind.

I hate the way people chase fame and I am keen for a slap of sensibility and focus to come into Tallia Storm’s mind. She is a modern icon but, if she wants to follow the likes of Amy Winehouse and the Jazz great; she needs to focus on the music and rebel against tabloids and their sexist, appalling morals. Those artists would not be seen dead on T.V. shows like that and taking and value from disgusting newspapers and the worst elements of society. Her music is terrific and she is a genuine artist who will remain for years. Even Elton John – who backed and discovered her music – is not going to find any value from appearing in tabloids and hollow celebrity. Maybe it is a downside from the social media times where artists need to get as many hits and streams as they can. It sounds like I am Tallia Storm’s dad here but I want to see her find a better balance when it comes to music and horrendous media – get her name featured in the pages of The Guardian and Drowned in Sound rather than the Daily Mail and Heat (or whatever crap magazine people read). Tallia Storm is someone destined for classy photoshoots and respectable broadsheets. Maybe this is a phase she needs to go through but there is a chance succumbing to this way can cut her career short. The good of Tallia Storm vastly outweighs the bad and questionable. Her music is fantastic so let’s hope she puts her all into that. I do not care who she dates – if she can find a proper, non-famous man to keep her grounded; that would be better than some idiot celebrity who wants sex – and what she is wearing; what she thinks of Ed Sheeran’s latest single or whether she rates the latest hunks. That is the sort of shallow nonsense young women want to hear: proper music-lovers want to discover what comes from her heart and mind. Tallia Storm is mature and she is doing certain shows/shoots to add some new elements and attention to her career.

The music is what stands out and is why I came to the feet of Tallia Storm. There is no sense of a mainstream artist when you hear songs like Everyday. The Teenage Tears album is the summation of some tough years where she has fallen in and out of love; had some bad patches but risen above it all. It has been tricky but there is a sense of catharsis and release in the record. It is wonderful hearing a young artist who can continue to inspire and produce music of the highest order. I will forgive a grammar slip in her single – think it should be ‘Every Day’ rather than ‘Everyday’ – but I am glad there are contrasts and different sides to Tallia Storm. She is never dull and someone who has the looks and hooks of a modern artist but the depth and songwriting of the legends of old. I hope the scales tip from the former to the latter and she plans her 2018. I shall end this by recommending people get involved with Tallia Storm’s music and discover an artist who will be around for years. Dispose with all the reality T.V. and tabloid stuff and get down to her core and heart. I know, when she is alone at night, she dreams of music success and getting her sounds to the world – rather than anything on social media or dating sites! Tallia Storm is a confident and extraordinary artist who has the chance to lay down her marker and make changes to the modern music scene. It has been a bit of a quiet and unexceptional one for mainstream music and Pop; there have been a few great Soul and R&B albums but most have been created by established U.S. artists. We need a British alternative who has the chance to challenge the bigger acts and inspire new artists. Teenage Tears is a fine album that showcases an exciting voice in new music. The New Year is almost upon us and, when it comes to artists to watch closely…

TALLIA Storm is a force of nature you cannot overlook.

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Follow Tallia Storm

Official:

http://www.talliastorm.com/

Facebook:

https://www.facebook.com/TalliaStorm/

Twitter:

https://twitter.com/Tallia_Storm

SoundCloud:

https://soundcloud.com/tallia-storm

Instagram:

https://www.instagram.com/tallia_storm/

YouTube:

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

Spotify:

https://open.spotify.com/album/3ROY6J5LUUPwPp0m0dOwww

INTERVIEW: Adrian Underhill

INTERVIEW:

 Adrian Underhill

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SUBJECTS such as balancing a heavy workload and the 1970s…

are explored in a revealing interview with Adrian Underhill. The talented songwriter tells me about the new video for CU Again and his single, Weather. The video for CU Again was created with two of his friends from film school. I ask about the concepts behind his songs and whether there is going to be more material coming – despite this being a very busy time for Underhill.

CU Again is also the name of his debut album. I ask him about working with producer Adam Bainbridge and channelling the 1970s in his music; whether there are any tour dates for him outside of North America; how he got into music in the first place – and whether Christmas is going to be a relaxed, family-orientated time for the productive songwriter.

PHOTOS: Riun Garner

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

It’s been good, thank you!

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

Sure. My name is Adrian Underhill. I’m a singer-songwriter interested in Pop songwriting, creative production and songs that come from the heart.

The video for CU Again is out. Can you talk to me about the video and what it was like seeing it come together?

Yes! This was a really fun one to do because I worked with two of my good friends from film school, Evan Crowe and Tony Massil.

Did the simple concept – a songwriter singing his own song – suit the mood and nature of the song?

Yeah, I think so!

This song has a very simple concept - it’s about this universal feeling of missing someone, and so, I wanted to try to conjure that type of connection between the singer and the listener.

It is a busy time for you! The new single, Weather, is out. What is the tale behind the song? What inspired its creation?

Yeah. This song was written quite quickly but one thing I really love about it is the production. Adam (Bainbridge) took my original demo and just kinda warped it and morphed it, almost like a remix, adding new drums and changing the keyboard sounds I had played. Then, we added the live piano and synth-bass from Brandon Coleman and Keith Eaddy.  

In the end, it’s quite playful and strange - it’s a great combination of sounds.

I know the songs will appear on the album, CU Again. It is out on 9th February. What kind of songs and themes can we expect to hear?

Yes. I’m very excited to have this album out. There’s a number of different thematic directions. I think the through-line is that the songs are about things that really matter to me.

It was produced by Adam Bainbridge. He has worked with the likes of Solange! Was it important to have him involved? What did he bring to the record?

Working with Adam was really exciting for me.

I’m a big fan of his project (Kindness) and it was amazing to have his ears on this. He did a lot of crafting of drum and keyboard sounds - and also brought in an amazing live band to play overtop of the more programmed Electronic elements.

The songs have that 1970s singer-songwriter vibe. Is that a decade you have investigated a lot? Who are your main musical influences?

I wanted to write all of these songs on keys and see where that would take me (I used to play a lot more guitar). I think one of the results of that was finding all of these chords and changes that are classic in the sense of Carole King, Emitt Rhodes or Todd Rundgren (or something like that).

Do you remember how you got into music? Was there a moment you realised that this is what you want to do?!

I’ve flirted with wanting to be more serious about making music (whatever that means!) for a long time. Sometimes, it seems like it’s taken a long time to get to this point: I’m thirty-one this year and I’m putting out my first record - but I’m trying to be ok with that! 

Music (and life) is a long journey.

IN THIS PHOTO: Amber Coffman

Who are the new artists you recommend we check out?

Some new artists I’m loving are Rex Orange County, Jaunt; Amber Coffman, Daniel Caesar; Charlotte Day Wilson and Bernice.

IN THIS PHOTO: Charlotte Day Wilson

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

Well; here’s three things I’m listening to right now! 

Rostam - Half Light

Sasac – Hyperion

Toro y Moi - Boo Boo

Can we see you perform anywhere soon? What gigs do you have lined-up?

Yes. I have some shows planned around my album release. So far, it’s:

Feb 6/2018 - New York, N.Y. - Rockwood Music Hall

Feb 8 - Toronto, ON - The Drake Underground

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

Hmm; well, that’s like giving advice to myself! I guess just try to do something that is true to you - try to find honesty.

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

Yes! I will be home for a good stretch with my family in Vancouver.

Do you have a gameplan for 2018? What are your ambitions for the year ahead?

Release my first record on Feb 9th, play some shows; writing some more music and try to have fun doing it!

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

Bobby Caldwell - What You Won’t Do for Love

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Follow Adrian Underhill

Official:

https://www.adrianunderhillmusic.com/

Facebook:

https://www.facebook.com/adrianunderhillmusic/

Twitter:

https://twitter.com/atunderhill

Instagram:

https://www.instagram.com/atunderhill/

SoundCloud:

https://soundcloud.com/adrianunderhill

YouTube:

https://www.youtube.com/channel/UC22MOWAgH_Fr_DREx0do8VA

Spotify:

https://open.spotify.com/artist/4cxNlCYxlWWtkYRkNk04CN

INTERVIEW: Tiana Major9

INTERVIEW:

Tiana Major9

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AS I crane my neck in the direction of 2018…

my mind lures after the artists who will make an impact. Tiana Major9 sounds almost super-futuristic and intergalactic in some ways. In fact; her music perfectly balances future beats and classical Soul/R&B sounds. There is a fusion of Jazz and sensuality; vivacious vocals and a compelling mix of sounds and smells! I ask the East London-based songwriter about her British-Jamaican heritage and growing up three siblings. She talks to me about her new song, Levee (Let It Break) and getting support from some of the nation’s hippest and finest radio stations.

Tiana Major9 discusses her pursuit of music and the sounds she was raised on; a few new name that have caught her eye; how she will end 2017 - what it is like having so many dedicated and passionate fans around the world.

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

I’ve been well, thank you! Been busy, as per. Ha.

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

Hey newbies! My name is Tiana Major9. I am a singer-songwriter from East London. I fuse Jazz with R&B - and I style myself.

Levee (Let It Break) is your new track. What is the background of this track?

So. Levee (Let It Break) is about the art of being vulnerable and how I generally hate it - but understand that it is necessary when you love someone. In the song; I admit that (I know that) I can be reserved when it comes to expressing my true feelings - but I’m willing to do better for the sake of keeping those that love you around.

Levee (Let It Break) was also produced by Prgrshn (@Prgrshn)!

Stations like BBC R1Xtra have thrown their weight behind it. Does it give you energy and inspiration knowing your music connects?

Having stations like BBC 1Xtra backing my music is really a dream because it gives me the confidence to know that my music has the ability to connect with a wider audience.

This is your second single – it seems like are already fully-formed and commanding! Do you feel your yourself growing in confidence and status?

Slowly.

I’m becoming more confident in my ability - now that I know the songs I write aren’t only loved by my friends and family.

Did you experience a lot of different sounds? Who were the artists you grew up with?

I grew up listening to artists like Yolanda Brown, Bebe and Cece Winans - but also Chris Brown, Amerie; Brandy and Lauryn Hill.

What comes next in terms of singles and moves? Do you have plans for next year?

I plan to continue releasing music, visuals...more shows, of course! 2018 is gonna be a good year for Tiana Major9 music.

IN THIS PHOTO: Iyamah/PHOTO CREDIT: @emarsdenhill

Who are the new artists you recommend we check out?

You have to check out Iyamah, Cari; Knucks, Taliwhoah and FLOHIO. All amazing; all very talented.

Thank me later!

IN THIS PHOTO: Taliwhoah

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

Lauryn Hill’s MTV Unplugged album helped me with my writing; Voodoo by D’Angelo helped me with my musicality and In a Dream by Gretchen Parlato helped me improve my vocal technique.

All amazing albums that I highly recommend you get into...

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

My advice to upcoming artists is to stay true to yourself, make the music you want to make and enjoy the journey.

On top of that: practice like there’s no tomorrow.

Can we see you perform anywhere at the moment? What gigs do you have coming up?

I have a gig at Jazz Cafe on the 20th December - presented by Muzikal Seduction. You can find all the details on my socials!

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

I work part-time, so I’ll be working - but I will continue to write (of course).

You have a lot of dedicated fans out there. How important are they to you? What message would you give them?

Yo. It’s crazy that people actually mess with my music. L.M.A.O. I just wanna say thank you to everyone that shows support to the movement. I won’t disappoint.

2018 will be an amazing year…stay tuned!

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).

 D’Angelo - Spanish Joint

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Follow Tiana Major9

Facebook:

https://www.facebook.com/TianaMaj9/

Twitter:

https://twitter.com/TianaMajor9

Instagram:

https://www.instagram.com/tianamajor9/

SoundCloud:

https://soundcloud.com/tianamajor9

Spotify:

https://open.spotify.com/artist/1Naqgo0HMRoumRP0e2MXD9?play=true&utm_source=open.spotify.com&utm_medium=open

FEATURE: Bonnie and the Clyde: The St. Andrew’s Day Playlist

FEATURE:

 

Bonnie and the Clyde:

 PHOTO CREDIT: Getty Images

The St. Andrew’s Day Playlist

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PERHAPS doing a pun about notorious…

IN THIS PHOTO: CHVRCHES/PHOTO CREDIT: Getty Images

and ill-fated criminals is not the most logical way to endear myself to the nation of Scotland! Regardless; it is St. Andrew’s Day and, thinking of Scotland, it brings me to the musicians from the country. I feel Scotland gets overlooked when it comes to attention and focus. I think England - London especially - is the centre of attention and takes most of the spotlight. I realise Scotland is a long way away - but that does not mean it should be out of the critical gaze! Over the past couple of years; there have been some fantastic Scottish artists emerging: it is quite disappointing having to find these acts through websites and chance. One would hope there’d be a more proactive and concentrated method of promotion. The Scottish artists making waves right now have the potential to be big-league stars very soon. I am concerned there is not enough focus on them as it stands – meaning they have to graft a lot harder than most…

IN THIS PHOTO: Honeyblood/PHOTO CREDIT: Getty Images

If one looks at historical subjects from the nation; there is a banquet and bouquet of world-class music. The first song I ever heard (Everybody Wants to Rule the World) was from a Scottish act (Tears for Fears). It is a nation that has been with my since my childhood – celebrating and recognising their music is essential and much-warranted. Today is a day designed to recognise a Scottish saint but, more importantly, the importance and wonder of Scotland. From my perspective; the fantastic music that has always been bubbling in Scotland deserves exposure! I have mentioned how the media is a little slack when highlighting all the brilliant artists there. Maybe that (comparative) negligence spurs the Scottish creatives to define their own path and show little concerns for the rigidity and fabrication of the mainstream. It is the natural characteristics and perspective – from artists of Scotland – that makes me pine for their music. If many of the best acts from here are locating to other cities: it does not mean they are all emigrating to the South of the U.K. I want to expand on this theme and, time-permitting, write a feature on all the fantastic Scottish music right now...

IN THIS PHOTO: Monkoora/PHOTO CREDIT: Getty Images

Another aspect of Scotland that gets into my heart is the personality and humanity of the people. They have that bonhomie and brightness – unless they are a grump cu*t...in which case, they do not really fit into the model – and swim into the heart. The honesty, integrity and friendliness mean more people should be aware of the Scottish music scene – and the people themselves. I realise few celebrate their national days – the English not too worried about St. Andrew’s Day; the English not fixated on St. David’s Day (there is a pattern emerging!). I hope, in 2018, this is a national resolution we all stick to (paying attention to Scotland more). I have never been to Scotland but have heard wonderful things. Everyone I know who has gone there has come away with the same impression: it is a wonderful and awe-inspiring nation whose nature, people and culture seduce and drops the jaw. All of this considered, combined with the incredible music, makes me wonder why there is an absence of mainstream media coverage. Those classic acts are not the only reason Scotland has a proud and dignified musical legacy!

IN THIS PHOTO: TeenCanteen/PHOTO CREDIT: Getty Images

With that in mind, as it is St. Andrew’s Day, a collection of fantastic songs from Scottish artists, past and present. This list contains those icons and epic songwriters we have all come to treasure –including Mogwai and Tears for Fears – and the newer breed emerging – Monkoora, TeenCanteen and Honeyblood among them. It is a varied and eclectic list that spans genres, cities and styles. It should be enough to slake the thirstiest and most curious music-lovers around. I, in the course of writing this, have stumbled upon artists I was not aware of - artists I will stick with and chase down. Not to return to my earlier point/rant, but I feel the media is missing out on so much treasure! Not to obsesses over issues like this so, stepping away, let us investigate a long and fantastic list of Scottish music – from artists who started their careers there; others who are coming through and taking advantage of the phenomenal venues and crowds. Get the headphones on, read up about St. Andrew; immerse your senses in the smells, horizons and sounds of Scotland. It is a playlist that proves…

PHOTO CREDIT: Getty Images

WHAT a breadth of talent the nation has.

INTERVIEW: Sam Segurado

INTERVIEW:

Sam Segurado

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WITH Looking for the Fox out in the atmosphere…

I had to ask Sam Segurado about its stories and creation. He talks about the themes on the record and working with Stephen Lovatt. Segurado tells me whether it has been a productive and revealing process; whether he was around music a lot as a child – and recording new material in the wilds and scenery of his surroundings

Sam Segurado has lived in Paris and Ireland – he now resides in St. Petersburg. I ask whether he feels secure in the Russian city; if there is a great music scene there; what his plans are regards touring and 2018 – and the artists/albums that mean the most to him.

________

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

Pretty restoring. I had some time for songwriting, for practising; for catching up with friends – all that good stuff.

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

I’m a Portuguese-Irish songwriter and singer. The genre that best fits my music right now is Indie-Folk. I’d say my biggest influences are Jeff Buckley, Justin Vernon and Josh Ritter – I like to call them my ‘trinity of Js’.

So far; I’ve made one album (out of a planned nine).

Looking for the Fox is out. Can you tell me about its creation and how it came together?

I started writing the songs about four years ago and it took about a year-and-a-half between starting recording and releasing it – so, it’s pretty satisfying to know it’s finally out there in the world at long last.

Can you tell me the themes and topics you tackle on the record?

The songs on the record were written through some of the best and most difficult times in my life. Love is the overriding theme, without a doubt. What it means to love, to lose; to break, to cross; to win in love. But, it’s not so much a roadmap of love: more, its shredded remains.

I hope people find a lot of different ways of putting it back together...

What has it been like recording the album? Is there one song that stands out above the rest?

Making this record was pretty incredible.

To invest a part of yourself in the making of an album is unlike anything else, I think. There’s something very Potteresque about the whole process - which is why I want to do it eight more times. These records will be my Horcruxes after I’m gone...

I don’t think I can ever pick a favourite: every song has its place on the record. I would probably choose Live Wire as a stand-out track, though - because it’s the last song I wrote for the album. I was going through some emotional turbulence and that song guided me out of it - and straight to the realisation that it was time to lay these songs down.

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Is there significance behind the title of the album? What does it symbolise to you?

It has significance for myself - but I think people can choose whatever meaning fits them. I liked Stephen’s interpretation a lot: “The Fox is an elusive and beautiful creature that is all around us but rarely seen. So looking for the fox is like looking for the beauty in a world where it’s rarely actually seen. And appreciated. Or maybe it’s just about girls and shit. Who knows.”

Stephen Lovatt is a producer you met in Ireland. What has it been like working with him?

Working with Stephen was the best experience...

We met at an open mic. he was doing sound for, got to chatting afterwards, and decided we both wanted to get far out of Dublin to start recording. We ended up driving out to a place called Bastardstown on the south-east coast of Ireland and spent a week in a cottage by the beach. That was a pretty exceptional experience - of getting to know someone through making music together. We became fast friends over the (following) months it took us to complete the album. Stephen and I just clicked, which was something I was always apprehensive when looking for a producer.

I think there’s plenty of people in the industry who treat it as a simple day-job: with Stephen, I felt like he was investing himself in the record as much as I was - the whole process felt no less creative than writing the songs themselves.

I believe you are based in St. Petersburg. Was it an easy decision locating there? Is there a viable music scene where you are?!

The decision to move to St. P. was important and necessary to every aspect of my life except music, I think. No regrets; but, for my kind of music, there’s not much of a scene here - even open mics are far-and-few-between…so, I don’t get a lot of opportunities to play live.

The dark winters have been pretty conducive to songwriting, though...

You have lived in Paris and Ireland. Did you learn a lot from each nation? It seems like Ireland holds a special place in your heart! What is it about the nation that resonates inside of you?

The main thing I’ve learned moving from place to place is that people everywhere are a lot more alike than they might realise - it’s put me in touch with everyone’s common humanity. I grew up in Portugal but Ireland’s where my mother’s from; it’s somewhere I’ve always come to visit but, at the same time, never really felt like I belonged - even having lived there for four years.

In a lot of ways, I feel like I’ve always lived in a foreign country...

Among the moving and dislocation; did you experience a lot of music growing up? Who were the artists that struck you from a young age?

I had a pretty quiet upbringing, musically. It was my older brother who started encouraging me to engage with artists I liked when I was around twelve/thirteen-years-old and introduced me to other similar bands he thought I might like.

The first album I heard where I had that feeling of ‘if I wrote a song, I’d want to capture something like this’ was Evan and Jaron. That feeling, of ‘maybe I could write a song like that’, is something I’ve been chasing with artists ever since.

IN THIS PHOTO: Scared to Be Seen

Who are the new artists you recommend we check out?

Some of my favourites from my time on the Dublin open mic. scene include Scared to Be Seen, Junior Brother; David McGeown - and his project BODIES - and Daniel Vezoja - who released his own (great) first album a year ago.

For my album launch, I had Emily Gahan supporting me - a really talented friend of mine. (Imagine Leonard Cohen with the most beautiful, ethereal voice).

IN THIS PHOTO: BODIES

Another of my friends who joined me on the night was Hugh Clarke whose project, 93 Acres, has produced some really beautiful songs (LoveYa is gorgeous).

 IN THIS PHOTO: Emily Gahan

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

Jeff Buckley’s Live at Sin-é blew me away when I first heard it - it shows what a voice and a Telecaster can accomplish when wielded by such an excellent musician. That album was an inspiration to how I wanted to approach playing live; while Bon Iver’s For Emma, Forever Ago blew my mind about the perceived limits I had when it came to recording music.

Astral Weeks by Van Morrison is still an inspiration to me for the kind of band I’d like to play with; the freedom I’d like to achieve in recording, the electricity I want to capture.

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

Read as much as you can about every aspect of the music industry.

Go through the realisation that none of it will be easy; that an artist these days starting out needs to do a lot more than just write, play and record. Believe in yourself, have a plan and don’t lose sight of why you’re doing this...

I think Letters to a Young Poet by Rainer Maria Rilke should be mandatory reading for anyone trying to be an artist of some kind.

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

The last month of the year will be spent planning our tour for next summer: Stephen and I want to take the album songs right across Europe. Right before I moved to Russia - a year ago - we played together live at an open mic. and we realised that our connection worked just as well outside the studio.

He joined me on stage for the album launch this October and, in rehearsals, we both realised there’s still a lot more we can do with these songs in a live setting; a lot more places we can take them (which is pretty exciting).

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

Here in Russia, Christmas comes a little bit later, but in a bigger way - most businesses shut up shop for about ten days at the beginning of January. I hope to take advantage of that time in as creative a way as possible - be it storyboarding the next music video or starting to record rough demos to send to Stephen for Album II.

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

I’m going to choose She Looks Like a Rosieby Scared to Be Seen

The first time I heard this was one of those rare jaw-dropping open mic moments. I completely fell in love with the song. I went up to him, after he finished playing, because I needed to know more and he was kind enough to send me a copy before it even came out. This song is from his first E.P.

He’s released a second called Take Care, Be Well which is just as beautiful.

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Follow Sam Segurado

Official:

http://www.samsegurado.com/

Facebook:

https://www.facebook.com/samsegurado

Twitter:

https://twitter.com/SamSegurado

Instagram:

https://www.instagram.com/sam_segurado/

Spotify:

https://open.spotify.com/artist/4MKUSoDkEETk6zhrnFi6sj

YouTube:

https://www.youtube.com/channel/UCoODl6ppaGrMRtilVQO0G5A

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.

________

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…

_________

Follow Rookes

Facebook:

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

Twitter:

https://twitter.com/iamrookes

Instagram:

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YouTube:

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

SoundCloud:

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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:

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Twitter:

https://twitter.com/afrancismusic

Instagram:

https://www.instagram.com/alexfrancismusic/

YouTube:

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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

________

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 

________

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’.

________

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

________

Follow Tall Poppies

Official:

https://www.thetallpoppies.com/

Facebook:

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Twitter:

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Instagram:

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SoundCloud:

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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

___________

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!