TRACK REVIEW: Gianni Paci - In The Middle of the Night

TRACK REVIEW:

 

Gianni Paci

In The Middle of the Night

 

9.5/10

In the Middle of the Night is available via:

https://www.youtube.com/watch?v=JIW75wbgeuI

GENRE:

Alternative

ORIGIN:

New York, U.S.A.

RELEASE DATE:

7th December, 2017

The E.P., I Tried to Right My Wrongs, But I Made a Left, is available via:

https://giannipaci.bandcamp.com/merch/i-tried-to-right-my-wrongs-but-i-made-a-left-ep

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THIS time around…

I get to look at an artist based out of New York who has been turning heads with his unique blend of sounds. I will come to look at Gianni Paci soon but, when thinking about his music, there are a few areas that spring to mind. I wanted to look at recording sessions and how a fertile mind can produce a multi-genre work; the musicians who share the stage with big names at a young age; acts who have everything at their disposal and are on the rise; why those who start writing their own songs young have a natural edge; more on the New York music scene; what 2018 will hold in terms of sounds and talent; a bit on voices that get inside the mind and compel imagination. Paci is an artist who is not exactly new to the scene. He has been performing and writing since he was a child – I shall come to that later – and it seems, now, he has reached a stage where he is producing his best work. There is no need for the New York songwriter to bring too many bodies into his art. The songs on his E.P., I Tried to Right My Wrongs, But I Made a Left, was produced, recorded and performed by the young man himself. Working out of Pine Hollow Road Studios; what came through is an idiosyncratic and stunning set of songs that seem to reflect the surroundings. Oyster Bay. N.Y. is where the music was made: a collection of hamlets and villages that have a certain charm and peacefulness. We all imagine New York as this big monster that snarls with traffic and pollution; there is very little room to move the shoulders- it all sort of gets on top of you and becomes too much. That might be the reality of Manhattan at rush-hour; maybe certain parts of New York are populous with tourists. There are many other areas of N.Y. that are much more clement and relaxed.

Oyster Bay is a town on the easternmost of the three towns in Nassau County. The town has a few-hundred-thousand residents and comprises eighteen villages and eighteen hamlets. There is vegetation and scenery; there are museums and calm spots; there is the view of the water and certain tranquillity. Pine Hollow Road Studios is a charming and well-equip studio but one cannot discount the importance of the environment when it comes to the music that was produced by Gianni Paci. On his E.P., one gets a collection of sounds ranging from exposed and fragile (It’s Always a Perfect Journey) through to abrasive and harsh (In the Middle of the Night) – the uplifting If You Believe It’s Alright and moody Honest Thing add new dimensions and contours. The vertically-integrated vision Paci has is coming to fruition and producing his strongest work. He has released the E.P. through his official site and his new single, In the Middle of the Night, is something that caught my ear. If you feel it will sound like the Billy Joel song, then you might be disappointed – this number is a more Punk/Rock-laden song that has an echo, creep and intrigue. I know the artist had all that talent and variety in his locker but you cannot overlook how a well-located and idyllic studio can provoke some wonderful music. Paci will release videos through the season and continue to cement his reputation as one of the finest new artists coming from New York. I am always looking for musicians who produce work that stretches and provokes; it gets busy and makes its way to some strange places. The more varied and eclectic a record is, the better it can be. I know there are artists who can remain constrained and exceptional but they are few and far between. Gianni Paci is someone who realises a more wide-ranging dynamic is the best way to recruit new listeners. I am excited to see where Paci’s music takes him next and whether his pioneering attitude continues to produce material of this quality!

There are few who can claim they have shared the stage with names as big as Steven Adler and Mike Starr. Those men have performed with Guns N’ Roses and Alice in Chains. Paci has been in the studio with Gail Ann Dorsey (David Bowie, Gwen Stefani) and toured with the Butthole Surfers. That is a rather rich and diverse collection of names. Paci actually appeared on Butthole Surfers’ live album, Live at the Forum London and has got under the radar of some huge names. This would be impressive were Paci in his fifties: the fact he is such a young man makes his achievements exceptional. I am curious how that early exposure can lead to better music and a greater knowledge of the industry. There are some who say it is a lot of pressure and expectation to put on a young person. If you have the chance to take to the stage with giants of music then it provides a window into the realities of mainstream music and the kind of reception afforded the elite. This gives one the determination and passion to strive and aim that high. There are some who would see that as a calling, albeit it one that steals all of their time and means they have anxiety building – keen to get to that level quickly; unable to slow and relax. Gianni Paci is not someone who has hurried into music and is taking his time to craft sounds of the highest quality. It certainly has not hurt his imagination and talent given the people he has performed with. I am impressed when any musician shares time with big artists and has that kind of exposure. Many will claim it can be damaging an stressful but Gianni Paci has learnt from these experiences and instil that time into his own music. One cannot overlook simple nods to bands he has already supported; some of the huge names that he has been in the same venue with. Paci is an original but his levels of confidence have agreed since his earliest work.

PHOTO CREDIT: Ryan Jay

Early E.P.s like Walking Through a Movie Scene were fulsome and vibrant but his latest work, I Tried to Right My Wrongs, But I Made a Left, is the finest yet. Since his debut release; the New York artist has assimilated all his gig experiences and reception into his work. I Tried to Right My Wrongs, But I Made a Left brims with new ventures and possibilities; it incorporates fresh sounds and shows how confident Paci is. Not only has Paci performed with some big names but he has gigged at festivals like Austin City Limits and Zappanale (Germany). He has played at GBGB’s and wrote his first piece of material aged eight. I shall look at writing at a young age but those big festivals and intercontinental dates have made a big impact. The more an artist gets to travel and see new people; the better it is for their music. You can bring new sounds into the fold and have the fresh fuel. Paci has performed a lot around New York but those early times with big names, coupled with the big dates he has played at, have provided a huge kick and given the young man a lot of desire. I shall move on from this subject but I can only imagine the honours bestowed on Gianni Paci are because of his keen talent and natural intuition. There are artists who started writing their own material later in life but, for Paci, that started to happen when he was eight. While most of us are at school learning about things we are not going to use in everyday life: Paci was crafting material and setting his sights on the future. It was never a case of stumbling into music and writing songs for the hell of it. For him; music flowed naturally and came out of him. Maybe it started as poetry but, surrounded by a musical household, it was inevitable those poems would turn into music. In his early-career; Paci released two full-length albums under his pseudonym, The Pine Hollows.

Those early albums meant, soon enough, he was on the cover of magazines and being likened to the likes of Buddy Holly. People were raving and there was the belief he could get to the mainstream very soon. You can trace everything back to that early exposure to music. I am not sure the artists Paci was raised on but I can imagine there was a combination of 1950s – 1970s and more modern artists. The fact he has been compared with Buddy Holly suggests the legend was a part of his early life. I have been around long enough to know how important early experiences with music are to development and inspiration. Who knows what caused the school-aged New Yorker to pick up a pen and start writing his own music. I guess it would have been curiosity and a need to put something out to the world that was not being taught to him. Maybe a certain need to explore his own mind and document a world that was confusing and new. This hunger and ability has grown over the years and now, still growing and exploring music, it seems like there is no stopping the multi-talented artist. Gianni Paci seems to have everything going for him. Not only does he has boyish good looks at a respectable host of reviews under his belt; he is one of the most respectable and hard-working musicians around; someone who continues to grow with every passing year – the signs are all very positive. One can spend hours unpicking the psychological relationship between nature and nurture: whether that early flourish of creativity was a result of parenting and teaching or it came from his own mind. I know the time and effort he spent creating music as a youngster has got him where he is now. Other factors and stimuli have gone into the pot but it is that ripe and early revelation that means, not that many years down the track, the music coming from Gianni Paci is not only exceptional and solid but springing off in all sort of directions.

PHOTO CREDIT: Ryan Jay

How do all these sounds and ideas coalesce on I Tried to Right My Wrongs, But I Made a Left, then? I am not here to review the E.P. but I have heard the quartet of tracks on it – and can recommend everyone goes out and buys the work (from the official website). The music has no real natural tie and each number has a very different skin. There are different sounds – compared to E.P.s like Smoked the Wrong Stuff – and a greater sense of exploration and intensity. One hears the material on I Tried to Right My Wrongs, But I Made a Left and realises that extra touring and performing has impacted the music hugely. Paci is at his most desirous and agile. I will come to look at the current single from the E.P. but, before then, a quick peek at the eclectic ambition and variation one finds on his E.P. You only need to look at the cover-art to the E.P.s – shot by Ryan Jay – and realise Gianni Paci has a visual mind and is not someone who takes the easy war around. That cinematic and bold approach to visuals goes into the music, too. I am excited to see what future E.P.s hold but, right now, I Tried to Right My Wrongs, But I Made a Left is a masterful accomplishment from a songwriter keen to evolve and build. I know Paci has a passion for music but I am curious as to the artists he holds dear. You can hear a bit of Ramones in his single; there are bits of Buddy Holly and Pop acts; some fantastic Rock overtures and Folk strands. It is a busy and colourful collection of songs and it is this broadness that gets into the mind. If Paci were to create a write an E.P. that had the same sort of sounds throughout then one would still be impressed. The fact he takes so many different sounds and makes each song sound different means it will appeal to a broader cannon. Everyone will find something to love and be motivated to revisit I Tried to Right My Wrongs, But I Made a Left time and time again.

PHOTO CREDIT: Ryan Jay

I will come to the actual review soon but I am back in New York and exploring a state that continues to produce world-class music. I know Paci recorded his latest E.P. in a quiet an idyllic part of New York but he thrives off the energy and vibrancy of the people; the busy nature of the streets and the multicultural nature of New York. I have been thinking about next year and what sounds will be favoured. It seems like a lot of poll-makers here are tipping Pop acts for great things. In past years, there has been a nod to Urban artists and genres like Hip-Hop. This year, there are not a lot of bands being mooted but there is the belief some young Pop examples will make some big waves. Things seem to be centred on London and there is not a huge scope beyond there. That is the way the media has always operated and it seems they will continue to take this approach. I am interested going beyond the U.K. and what other parts of the world will amaze and inspire. New York has always been at the forefront of the world music scene and it seems 2018 will be no exception. Gianni Paci figures in that assumption and I know he will continue to make music. I have never been to New York but I am familiar with the music coming out of there. Each of the five boroughs has its own vibe and there are so many different sounds coming from the state. I feel Gianni Paci will be among the hottest-tipped acts of 2018 and put the city onto the map. Not that New York needs that lift but there are many in the U.K. (and other areas) that are unaware of the magic and diversity you can find in N.Y.

I will move on but want to highlight the voice of Paci. I have listened to a lot of his music and am drawn to the timbre and mobility you find. Paci has been compared to Buddy Holly but there are other shades and strands you can find. It is a majestic and graceful voice that, at the flick of an eyelash, can go in another direction and startle the listener. It is an instrument that conveys so much life and knowledge; a big and tremulous sound that can become intimate and strange without warning. This vocal dexterity means the music has the chance to explore and range. You do not have to write simple and limited music when you are Gianni Paci. I hope he continues to push boundaries and takes his voice in all sorts of directions. It is one of his greatest strengths and has gained awed and amazed reception from journalists. I have neglected New York a bit – I started down the path but have wandered into a nearby shop – but it is a part of the world we should all be more aware of. There are few who can deny the cultural significance of the area but many of us struggle to name new musicians from there. That might be a limitation of the media but I hope New York gets into the British consciousness next year. For one thing; the state is a lot more diverse than, say, London and there are artists coming from New York who have the potential to dominate mainstream tastes in years to come. Gianni Paci is one of them and, with all his talents and traits together, is a unique artist that warrants a lot more time.

In the Middle of the Night gets underway with a blast and right under the skin. The percussion is primal and rolls with Neolithic intensity. You do not have time to take your seat before the hero comes in and gets onto the microphone. The percussion roll moves the body and creates that incredible rush. The voice is low-down but has a coolness to it that is matched by the simple, yet intoxicating, video. Despite the fact the production is raw and things are lo-tech; the words are decipherable and you hear the hero look at a love/companion who is looking over the other side – tired of his company and affection. Maybe it is bar-room flirtation or the end of a relationship. You find the hero pensive and a little annoyed. The heroine has eyes elsewhere and it seems that lack of dedication and loyalty might be the result of past events. It is hard to tell in the early stages but the instrumentation and performance is amazing. There is the sound of Punk and The Strokes; the scuzzy and underfed growl that is rare to find these days. The music has a masculinity and sense of danger but there is always melody and discipline at heart. The hero asks what is he to do and where he will go. It seems the girl is alluring and captivating but there are others vying for her attention. The middle of the night has come and that yearning and pining is at its hottest. He is in a world of confusion and unsure whether he should make a move or play it cool. The voice has the sort of timbre and cadence of Buddy Holly but there is unique D.N.A. and flavours that mix with that. Combined with the sturdy and punchy percussion; the feral and exhilarating guitar – the song continues to move through the gears and is an instant success. A lot of songs take a while to bed-in and will not reveal their pleasures upon the first spin.

What you get with In the Middle of the Night is a song that hits straight away and gets right into the heart. There is simplicity to it – the words and sentiments being expressed – but the complexities working underneath start to come to the surface. It is clear there is a desire and confusion being expressed but the composition seems to paint its own pictures. Our hero gets tired of the begging stance and having to try that hard to win her approval. His heart is not available cheaply and he is not going to change who he is in order to win her. I love the chorus and the fact it puts me in mind of The Beatles – one could imagine it fitting onto their debut album, Please Please Me. The guitars strike and rumble whilst the percussion slams and contorts. The hero is aggrieved he is in this state and not able to get satisfaction. Because of that; the song has that Punk swagger reminds you of all the greats. Paci updates the Punk template but keeps the ethos and quality at its very finest. You are reminded of the best around but the music being created is very much his own. Maybe there is a bit of ego at work – he has too much time to lose; take it up with his P.R. team, you know – and there is a reputation on the line. Mixing confidence alongside doubt gives the song layers and difference; each listener will take something new from the song. You are drawn by the energy and addictive nature of the song; the incredible lead vocal and the simple charm of the song – that, when you listen more, reveals a lot and fresh elements come to the surface. It seems the hero will go through the night without the girl but, when you see the video, maybe that is not the worst thing. He will not beg and is unwilling to give his dignity over. In the Middle of the Night is a song that is very much from Gianni Paci but moves on from his previous work. It is a stunning song that jumps off the page and gets the body moving. It would be taken to heart by stations over here and shows he is always looking to evolve and move on. The remainder of his latest E.P. keep the quality-level that high and shows there is endless inspiration in the bones of Gianni Paci. I feel next year will be a big one for him as he takes his new material on the road. I know the great gigs Paci has performed so far and the names he has shared the stage with. All of that experience, and his natural talent, means a song like In the Middle of the Night is far superior and stronger than most of threw music already out there. Long may his success, ambition and drive continue. We need to encourage talent like Gianni Paci and make sure his music gets as far as possible. I would love to see him come to the U.K. and hear In the Middle of the Night performed on a stage near me!

I have spoken a lot about New York, young writers and how varied sounds can impact the mind. Gianni Paci and his peers are providing sensational music and ensuring New York keeps fresh in the mind. I Tried to Right My Wrongs, But I Made a Left is a fantastic E.P. that houses four songs that all have their different skin. In the Middle of the Night is a fantastic number that stands out from the pack but is not that dominating – the rest of the material is incredibly strong and has its own quality. I have been around a bit but have not heard anything like Gianni Paci. What I love about his music is how different it is from anything out there. Look at early Paci E.P.s and you can hear consistency but there are new elements in I Tried to Right My Wrongs, But I Made a Left. I know he will already be looking ahead and seeing what he can achieve in 2018. Maybe there are plans for another E.P. but he will be looking at gigs around New York. I hope Paci comes to the U.K. and takes his new material around the world. It would be great to see Paci come to the U.K. and bring his music to the people here. He would be afforded a great reception and get plenty of gigs. There are venues that seem perfect for him so I hope, when the dust has settled on 2017, he looks around and takes the music across the world. Things are getting bigger and better for the young American: he has the potential to be one of the biggest acts in the world. Right now, with a new E.P. out, there is every chance Paci will be crafted by the mainstream and get the chance to inspire the new generation. I shall end things now but urge people to spend a bit of money on I Tried to Right My Wrongs, But I Made a Left. It is a fantastic E.P. whose qualities and sides are embodied in the fantastic track, In the Middle of the Night. There are many artists who incorporate different sounds and genes into their music, but there are few…

WHO do it better!

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Follow Gianni Paci

Official:

https://giannipaci.bandcamp.com/

Facebook:

https://www.facebook.com/giannipacimusic

Twitter:

https://twitter.com/giannipacimusic

Instagram:

https://www.instagram.com/giannipaci/

YouTube:

https://www.youtube.com/channel/UC9X7oMsHfvgE7WoqHITYQzw

INTERVIEW: Louis Brennan

INTERVIEW:

Louis Brennan

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A song about the capital of the United Kingdom…

is nothing new, we know. Artists such as from The Clash, Pulp and Wiley have expressed their opinions on London – or certain parts of it! I was excited to ask Louis Brennan about his take and what his new single, London, was all about. He talks about the album, Dead Capital, and whether there is a financial leaning; maybe a nod to London being strangled and distilled – and whether there are going to be any gigs to accompany it.

Brennan talks about his music tastes and past; what he has planned going forward; whether songwriters such as Nick Cave and Father John Misty are influences – the three albums that mean the most to him, too.

________

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

Hi. I’m fine, thanks. I still have a pulse, thankfully - which is as much as you can ask for on a Monday morning. I haven’t been out of bed long...so, my week could go either way, really.

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

I’m a songwriter from Dublin, based in London; I write songs rooted in the Folk tradition - although purists would probably disagree.

Tell me more about London. What is the story behind the track?

London is, basically, me commuting back and forth from a job I hate whilst stewing in my own self-loathing - and musing on the absurdity of some our commonest pursuits.

The video looks like it is straight out a 1980s hipster’s drug-addled dream – in a good way! It is pretty old-skool, no?

I wanted to shoot a sort of tourist/holiday-style video and present images that were recognisably ‘London’ to someone who may never have visited. I bought this camcorder and five blank tapes off eBay for £15 and decided I’d go on one of those open top tourist buses. About five minutes into the journey, the camera died. Having spent £27(??!!!) on the bus ticket; I was somewhat crestfallen!

Numerous breakages and repairs later; I somehow managed to cobble together the final thing. All the static and degradation are a result of the piece of crap camera. The subtitles I had initially wanted to make the bouncing ball karaoke type - but it was beyond my technical know-how.

It seems like you have a bond with older technologies and ways. What is the reason for that?

I like the limitations of older technologies or ways of working: it definitely makes you have to make decisions at the input - rather than output - stage. I think that adds a certain spark to the creative process - knowing that you’re capturing a moment rather than reverse-engineering it. By and large, digital culture seems to engender a disposable attitude towards art which renders it somewhat hollow - and probably has changed how much value younger generations are inclined to attribute to it.

I’m, also, just a curmudgeon…

London is from the album, Dead Capital. Is that title an allusion to the decreasing all-inclusiveness of London – or does it have a financial basis?

It’s both!

‘Dead capital’ is an economic term referring to assets which are often informally owned - and, therefore, cannot be leveraged. In the developing world, particularly, this means only the already wealthy can create surplus wealth to invest etc.; thus creating a self-perpetuating cycle of inequality. Ostensibly, the whole legal framework of property and capital is written by those at the top for their own benefit.

I feel like this could equally be applied to ideas and that we’re all walking around with heads full of dead capital; unsure how to escape an overarching clusterfu*k seemingly imposed upon us from ‘above’.

What subjects do you broach and examine on the record?

White privilege, sexual confusion; substance abuse, public transport; identity, interpersonal claustrophobia; the failure of the left – to name but a few!

You have the look of Father John Misty but the sound of John Grant and Nick Cave (fewer facial hairs but along the same line!). It seems like you have a lure towards bearded musicians but, more importantly, quality stuff! Are they important artists to you?

I’d like to consider those guys my peers - albeit a lot more successful than me! I’m a big admirer of all of their lyrics and all three are artists who seem to be on a ‘journey’ - which is something I can totally identify with.

Your music has a cerebral and witty edge. Is it important conveying something deeper in your music? What is your view on the mainstream and the music coming from there?

I get the impression that most mainstream Pop is just music by committee - where a whole load of producers sit around and focus-group songs into existence...

Obviously, there’s a huge amount of talented people involved who all work very hard but, ultimately, it’s just a commercial enterprise and bears little in relation to what I do. Like I said; I consider myself a Folk singer, so I sing about people and their experiences - and try to imbue them with some sort of meaning where often no meaning exists.

Really, nobody cares about my commute or whatever but, with humour and analysis, we realise we’re all on the same meaningless merry-go-round and, for a couple of minutes, you might have a real connection and feel a little less alone in the world

Dublin is where you started out but you are in London? What are the main differences between the two cities – in terms of their music and people?

London is probably the epicentre of European free-market capitalism - so that has is affect on the music and the people. Music is ‘the next big thing’ or something you never knew you needed in your life - but that you’ll struggle to remember in eighteen months time. Likewise, people are always busy-busy; swimming upstream, building up to the big tomorrow. British people really place a lot of value on hard work for its own sake and being ‘productive’: whereas Irish people are more likely to place value on good times and enjoying life.

Music-wise; Dublin is possibly more disposed to narrative songwriting and less fashion-led: however; the flip-side of this is an earnestness and celebration of mediocrity.

IN THIS PHOTO: Candice Gordon/PHOTO CREDIT: Maren Michaelis Photography 

Who are the new artists you recommend we check out?

My good friends Candice Gordon and A.S.Fanning have both recently released stunning albums well worth checking out. I was lucky enough to work with both of them on the recording of Dead Capital - and look forward to doing so again

IN THIS PHOTO: A.S. Fanning/PHOTO CREDIT: Tom Taylor

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

Dick Gaughan – Handful of Earth

The high watermark of hard-left-hard Folk!

Bob Dylan – Blood on the Tracks

The first Dylan album I ever bought - and which I subsequently worked backwards from without ever achieving the completest fervour of some people I know! Not much else needs saying about this album, really, except that it’s some of the finest songwriting ever committed to tape.

Nina Simone - Nina Simone and Piano

A masterclass in how to perform solo…just perfect.

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

I’ll be performing an Album Launch show at the Sebright Arms (in London) on 28th February - and expect to be announcing more tour dates over the next few weeks.

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

Stay hydrated.

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

I’ll be back in the loving bosom of my family in Dublin for a few days at Christmas - hopefully, enjoying some fine festive fare and libations.

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).

Frankie Goes to Hollywood – The Power of Love

________

Follow Louis Brennan

Official:

http://www.louisbrennanmusic.com/

Twitter:

https://twitter.com/loubrennanmusic

Facebook:

https://www.facebook.com/loubrennanmusic/

Instagram:

https://www.instagram.com/loubrennanmusic/

SoundCloud:

https://soundcloud.com/loubrennanmusic

YouTube:

https://www.youtube.com/channel/UC5eRh5Xg_elT5iPUgc_cmiQ

Spotify:

https://open.spotify.com/artist/3YLTIRLHAYjQKqoLC4PJjd

INTERVIEW: Mereki

INTERVIEW:

 PHOTO CREDIT: Lindsey Byrnes 

Mereki

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MOST of us would struggle, if we lived there, to move…

 PHOTO CREDIT: Lindsey Byrnes

from Australia to another part of the world. To be fair to Mereki; she moved to L.A. – and seems rather at home there! I ask the songwriter about the move and her new E.P., Beach, and which of the songs is her favourite; what it has been like putting it together; if we can see her perform anytime soon – and what it is like gigging alongside Dhani Harrison!

Mereki tells me about the albums and musicians who mean the most to her; why there is little time for relaxation before Christmas; what she would tell new songwriters as they embark on their first steps; a few albums that are especially meaningful to her – and a few new acts that are definitely worth some time and attention.

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

Hello! I’m great.

My week has been lovely. Just back from tour and settling back into L.A.

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

Hi. I’m Mereki. I write songs that I mean and put them to music that I like - and then I try to sing them in public spaces.

Beach is your new E.P. It is an exciting and original release. What does it feel like having it out there?

It feels like freedom.

I’ve been working on this E.P. for a long time now and I’m very happy to have a cohesive piece of work in the world - I have so much more coming!

What sort of times and themes inspired the songs? Do you have a favourite number?

Mostly hard times that forced me to become a better human being, to be honest.

My favorite track is It Will; which is all about surrendering our ‘control’ gene and allowing the universe to do its thing. I also love the drums on this track and am really proud of myself for making a song with positive messaging that actually sounds cool (I think) and not cheeeeessyyyyy.

I like French Kissing. It is a strong and compelling opener. Is that based on personal relations and experiences?

Oh yes, they all are (smiles).

Thank you! I was falling in love and, therefore, feeling the full spectrum of human emotions - from romantic, gooey heart flutters to utter fear; pain and vulnerability. Ha.

It Will, which closes the E.P., is an interesting nod to the future. Can you tell me about that song and how it came together?

I had just gotten back from a songwriting trip to Iceland that had kind of shaken me back to my core - and this was actually the first song I wrote for the E.P. with a dear friend of mine, Nate Donmoyer. As I mentioned; this song is about life and letting go. Sometimes, I realize that I write songs to remind myself of what I need to remember later...

I could do with remembering the chorus of this song every day for the rest of my life, probably – “If it’s meant to happen, then it will/If it’s meant to be mine, then it will”. It’s kind of like a mantra, I guess. We humans are so silly thinking we have control over stuff all the time - and assigning so much importance to so much sh*t that doesn’t matter. Let it go! Jump in the ocean! Hug your friend! Make a joke!

Life’s too short and precious to be spent dwelling on the things we can’t change.

Los Angeles is where you are based. What is the music scene like there? Do you feel like it is the perfect place to watch your music grow?

Definitely. It’s very fertile ground to create music in; loads of amazing people to collaborate with and lots of wonderful opportunities. We (just) need to make sure you don’t drink the Kool-Aid. Stick to your guns and don’t let others tell you what your music should sound like - you’re the only one who knows that…

PHOTO CREDIT: Work Horse Studios

You were born in Australia. What was the reason for moving to the U.S.? Is there a big difference in terms of the music scenes?

Music and (just) a much bigger pond…

I like being a little fishy. I love the Australian music scene because it’s very organic and creative: I love the U.S. because there are just endless opportunities.

Who are the artists you grew up listening to? What are your early recollections of music?

My first cassette was (by) Angelique Kidjo and I would listen to it every single night to fall asleep to. After that; I became a bit of a teenybopper listening to Aqua and the Spice Girls before moving into Jewel (bless) and, eventually, Elliott Smith, The Get Up Kids and Roxy Music in my teens. Classic Aussie rock bands like INXS and Midnight Oil were kind of the soundtrack to my upbringing (by default), though; so my taste, still, is extremely varied.

My earliest recollection of music is, probably, my dad strumming on his guitar to nothing in particular.

IN THIS PHOTO: Miya Folick/PHOTO CREDIT: Maya Fuhr

Who are the new artists you recommend we check out?

Empress of. Her record, Me, that she wrote, produced; recorded and mixed herself is very close to perfection to me.

Also; Miya Follick and Tei Shi are ones to watch out for….

Oh…and that Phoebe Bridgers record!

IN THIS PHOTO: Phoebe Bridger

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

Oh man; that’s rough!

Either/Or OR Figure 8 by Elliot Smith

Because they’re STILL THAT GOOD.

Heaven or Las Vegas by Cocteau Twins

Because it’s so special and perfect.

All Things Must Pass by George Harrison

No explanation needed.

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

Eek. I just finished a tour - but I’ll have some shows lined up in L.A. for February!

PHOTO CREDIT: Steve Rose

You are the opening act for Dhani Harrison. How did that come about?! What is he like?

We were introduced by his manager, David Zonshine, because he was looking for a female vocalist for his forthcoming record - which I ended up featuring on. He’s a very wise, intelligent; unique, deep and caring soul with a huge heart. I feel very blessed to have met him and his beautiful family - think I might have known them from another lifetime actually…

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

Be open - but not so open that you become closed. Be strong but soft. Be kind to yourself and to others. Listen to the little voice inside your heart that always knows what to do.

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

YES! I have my annual holiday benefit coming up this Friday for my fave women’s shelter, Alexandria House. So; I’ve been working round the clock since I got back from tour - on the decorations - and making sure everyone knows what song they're singing - and figuring out if Santa’s coming! Ha.

AND I’m releasing my first-ever original Christmas song this week...and then, next week, I’m recording the six songs I sing on Dhani’s record at a live recording of his record at Henson Studio...and THEN my family are coming and it’s all soaking in hot-tubs and drinkin’ hot chocolates from then on...or soaking in hot tubs WITH hot chocolates, if I’m lucky.

I’M WILD LIKE THAT.

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).

Jai Paul - Jasmine

THANKS! HAPPY HOLIDAYS!

________

Follow Mereki

 PHOTO CREDIT: Lindsey Byrnes

 Facebook:

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INTERVIEW: Fergus

INTERVIEW:

Fergus

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THE debut single is a hard thing…

to get right (and predict). Every artist is nervous when it comes to putting out that very first effort – the world is watching and it is quite nerve-wracking! Luckily, when it comes to Fergus; here is an artist who strikes hard with You or Nothing - it is a song I was keen to find out about. He discusses its conception and story; the sort of music he grew up listening to – and whether there are any gigs before the end of this year.

I ask Fergus how he feels this year has panned out; a few of the records that have shaped who he is today; a collection of new artists he has been following; whether there are plans in place for 2018 – what Christmas has up its sleeve for the young songwriter.

________

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

Hey! I’m well, thanks - hope you are too...

It’s Friday evening and I’m about to have breakfast for dinner. I’m actually moving at the moment so it’s been an eventful but exciting week; topped off yesterday by seeing the grading for my first music video (coming in January).

Super-surreal! 

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

Ok; so, I’m Fergus (hi). I’m a singer/songwriter from Cambridge - now based in London. I’ve been writing songs for about four years. I tend to write based on my mood and often find my imagery and inspiration in nature. I hope people find some meaning in the songs which is relevant and personal to them.

That’s my aim, at least…

 

You or Nothing is your latest single. What is the story behind it?

My first! (Smiles).

I wrote You or Nothing almost three years ago - during a particularly low time. I never even uploaded or performed it. I was living in Bristol with a friend in a mouldy flat. I’d been trying the singer-songwriter thing there and felt I’d failed. We were both super-down - no friends (apart from our kind neighbours); no direction, no love - and we both ended up moving away a couple of months later (still best friends!). So, I think that’s where the desperation and craziness come from, lyrically.

It feels nice and poetic to me that this song is now the first of what is, honestly, my rebirth.

Jake Gosling produced it. What was it like working with such an experienced producer?

An embarrassment of riches - this was my first time working with any producer. Jake is such a warm and insightful guy; my nerves melted away and the whole process was just…easy….and fun!

I think we worked really well together - and can’t wait to start on the next songs.

I hear there is an E.P. due early-2018. Can you reveal the sort of songs and themes you document on the E.P.?

Ah, yes; you hear very well.

So far there’s going to be another song from around the same time as You or Nothing called Sinking. It’s about feeling helpless; like you’re not in control anymore. There’s quite a few in that vein we could use but I think the other songs will be a mixture of old and new; still reflective, acknowledging the past and present - but looking ahead to the future with hope.

How do you feel about 2017? Has it been quite an exciting and productive one?

2017 has been weird: a tale of two halves, really. The first was relaxing and indulgent; almost like I was getting all that out of the way - the calm before the storm, if you like. I met Jake in August…

Since then; everything’s happened so quick it’s been hard to keep track. But; I’m taking stock now and relishing it - because next year and beyond will be go, go, go!

Tell me about the artists you followed at a young age. Who were your early idols?

So; my dad has been known to occasionally display some pretty bad taste - fashion, jokes etc. - but his music taste has always been great. When I was really young, the house was often filled with stuff like Al Green, Simon & Garfunkel; Norah Jones, Pink Floyd and The Jam (and Stiff Little Fingers - when my mum was out).

The first artists I remember really getting into myself were Natasha Bedingfield, KT Tunstall and Goldfrapp.

Your voice has its own personality – but seems to have shades of some classics figures. Has it taken a lot of patience and work getting your voice that good?

Wow, thank you so much! I think it has taken some time to evolve (or devolve) - I had a lot of training when I was young and singing in choirs. Looking back now; to forget all of that and find my own voice has taken years.

The way I sing now is how I sing to myself - which is something I never used to do.

IN THIS PHOTO: WILSEN/PHOTO CREDIT: Shervin Lainez

Who are the new artists you recommend we check out?

WILSEN have been around for a few years but they’re new to me (and I love her voice). The video for Final is beautiful.

Soccer Mommy has a couple of nice tracks off the album (up at her Vevo). She did an Audiotree Live session recently, too, and Inside Out - on that - is really great.

IN THIS PHOTO: Soccer Mommy

Gotta check out NUXXS. Her E.P., Pearl, was released a month or so ago and it is gorgeous. Also; give Out the Blue a listen – tune!

If you haven’t already discovered Siv Jakobsen...I saw her play back in May and she’s totally magic.

He’s not a new artist but Fog Lake always puts out great stuff. I like keep a light lit, holy cross and rattlesnake (to name a few).

IN THIS PHOTO: Fog Lake

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

This has been really tough!

Al Green - Let’s Stay Together 

This was always playing at home in my earlier years. Hearing it takes me back to those days: when times were simpler and we were all together. It’s warm, full of life: timeless. Always brings a smile - happy or sad.

Sharon Van Etten - Because I Was in Love

Sharon is my favourite artist. This album can be hard to bear sometime - which is a good thing! It’s incredibly cathartic. Her voice is rich and heavy with emotion but still soars. Her songs are raw and vulnerable, but still sweet. I love her completely.

Rhye - Woman 

An education for me - that it was not only ok but actually sexy to have androgynous vocal vibes going on. The songs and arrangements are so luscious. When The Fall dropped…it was life-changing.

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

That’s it for the year, I’m afraid.

Hopefully, we’ll get some lined up in the New Year and hit the ground running - when the next single comes out.

I believe you played at St. Giles-in-the-Fields. How did that gig go?!

Ah; it was so great. It’s a beautiful old church and a real oasis of calm - in a busy part of London. (I actually saw Rhye play there a few years ago). I feel very lucky and grateful to have been able to perform there, too. It was my first time up under the lights for about six months; so there were one or two cobwebs that needed blowing away.

I had a super-friendly crowd and it was the day of the single release - so there was a real buzz in the place that helped me out a lot.

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

Not sure how qualified I am to give advice at this point…but I’ll give it a go!

I guess what I’ve learned, from my experiences so far, would probably be more useful for aspiring artists. Firstly, I’d say practice, perform and persevere - it may take time for things to align for you, but when they do, you need to be ready to make the most of it. So; practice your songs, perform them - a bedroom is not a stage - and keep doing it...

Secondly; if you want other people to believe in your music, you need to believe in your music. (And you should). But, what I really mean by that is you need to appear to do so. You need to take that inner-belief you already have and make it visible to everyone else…which might mean sometimes not being modest and not downplaying your talent (which is scary to do).

Be brave, put yourself out there and don’t be afraid to ask for help. Be protective of your work but also receptive to new ideas, different perspectives and any feedback. Collaborate or don’t...whatever works for you. There’s no right way - you’ll only find yours by trying the wrong ones first.

I don’t know if this is helpful or not. These things weren’t obvious to me and didn’t come naturally: it’s advice I’m sure I was given and wish I’d received.

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

Every year it creeps up. Aside from the usual festivities, I’ll be working on E.P. hopefuls - before heading to my parents’ for a quiet one with our family.

We all have things to celebrate and for which to be thankful (smiles).

Is there a single highlight that stands out from the rest this year? What has been your proudest moment?

It’s got to be standing up in front of my family and friends; feeling their love and support and finally playing them my single…twice!

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).

Awesome. Thank you so much for your questions!

Please play Science Magpie - Here Too. 

I’ve been listening to this every day. It’s sunny, sexy and smooth as silk.

________

 Follow Fergus

Facebook:

https://www.facebook.com/intofergus/

Twitter:

https://twitter.com/intofergus

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SoundCloud:

https://soundcloud.com/intofergus

INTERVIEW: JohnlikeJohn

INTERVIEW:

JohnlikeJohn

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AS the title of the latest E.P. suggests…

JohnlikeJohn have their suspicions regarding vegans! Their Vegans Are Evil Too looks at hypocrisy and meditates on the cruelty of the world – adding laughter and a dose of depreciation. I speak to their leader, John (oddly), as he explains how the band came together; the themes and ideas that are expressed in Vegans Are Evil Too; whether comparisons to Tom Waits and Joanna Newsom are welcomed – and how his/the band’s music differs from what is already out there.

I ask whether there are any gigs coming and why there is theatricality and drama in the live shows; some great new musicians we should check out and get behind – and why John’s Christmas is going to be a rather rustic and ‘unusual’ occasion.

________

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

Not too bad…umm; what's happened?!

I finally wrote a new song after the longest creative drought so far. I got a good idea for a music vid for it too - though it does mean saying goodbye to my hair.

At least it can be made into a scarf or a paintbrush (or something).

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

My name is John. 

Vegans Are Evil Too is the new E.P. What sources of inspiration go into it?

So...Vegans Are Evil Too, for me, is like a saying that isn't a saying - but it should be. A sort of statement to say, ‘don't take yourself too seriously: we’re all equally ridiculous’.

A generation of try-hards, though - I do include myself in that.

Are you guys big, hungry meat-eaters? Do you think vegans have a sneaky dark side?!

Well; from the age of...well; until the age of seventeen, I was a strict vegetarian, born and bred. It was only until my friend tricked me into eating a chicken fajita (told me it was Quorn) that I started eating meat.

It was like Eve biting into the Fruit of Knowledge; though it didn't enlighten me: it just made me hungry. I still hold a lot of the same morals towards meat, but I'm a hypocrite. Haha.

It's not just vegans who have a dark side: it's everyone. 

It seems like Tom Waits and Joanna Newsom are influences. What is it about their music that draws you?

Joanna Newsom has that voice that makes you sad you’re not five anymore. I really like the contrast between her sweet somewhat naive voice and the darkness in her music. It's pretty much the same way I tackle hard issues - except I use comedy to soften the blow.

Tom Waits inspires the more theatrical side of my music; especially when we perform live. He's a proper song-and-dance man.

Your music has a quirky but accessible sound. Do you think too many modern bands are safe and predictable?

There's no doubt that music, these days, has become pretty vanilla (for the most part).

After decades of intricate musical and cultural evolution - from beatniks, boppers; Blues and beyond - we've ended up with Simon Cowell in charge. Oh, balls. So, yeah, artists definitely play it safe - but probably because, if they stray from the status quo, they won't make any money. But I get it. Kind of. We are continually being fed music and film that is so limp and unchallenging.

It's bland and tastes a bit like chewed gum.

As a result; people are genuinely becoming illiterate to the arts. This isn't to say there's not good work being done - there's plenty - but it lives in the shadows of the all-powerful combine. 

Do you have favourite tracks from the E.P.? Is there that one moment that stands out?

Probably my favourite lyric in the whole E.P.: "Chicks just dig emotions" (from A Slice of Culture). It is something I used to say to my ex to get her angry.

Maybe it just works with exs… 

Can you tell me how JohnlikeJohn came together? Is there a story behind the name, too?

Back in St. Ives, there was a guy named John. John couldn't go five seconds without saying “Like. What's your name? Umm, well; like, it's, uh John; like, um; John...like”.

Plus; it's a nice note on my own narcissism.

It seems like you have varied tastes. Who are the artists you grew up on?

Both my parents are mad on music. I don't think I know anyone with a more extensive vinyl collection than my dad. From post-War Jazz to Post-Punk; Surf-Rock and Samba. I honestly couldn't pinpoint a particular style that's directly influenced my music. It would be easy to say that British/American Folk is my main source of inspiration, and to be fair, artists like Bob Dylan, Joni Mitchell and Sandy Denny have shaped a lot of my style - but the same could be said for the The-B52’s and Frank Zappa. 

Folk music is (just) the music of the people: it’s an art form that needs to be contemporary and full of new voices and opinions – otherwise, rather than being the voice of the people, it just becomes warm larger and Pete Seeger…and that's a tragedy. 

 IN THIS PHOTO: King Krule

Who are the new artists you recommend we check out?

King Krule is pretty cool...

Connan Mockasin is another one to check out. He looks like a blend between Andy Warhol and Philip Seymour Hoffman.

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

Quadrophenia by The Who

It is such a powerful and beautiful album/film; so much so that I started wearing Ben Sherman and drawing the Mod sign in felt-tip pen on my bike helmet...

“We are the Mods; we are the Mods”. 

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

I don't think I'm in the position to give anyone advice…well, not useful advice at least.

Just don't write shit*y songs about your ex-girlfriend who dumped you. But, if you do; write about how you pissed yourself you were so sad or how you put on all her clothes she left - and you kissed yourself in the mirror pretending to be her. At least it's real and makes you feel something.

The more embarrassing and frank you are about your own feelings; the more people will respond – because everyone's embarrassed. 

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

We play at The Islington (in Islington) quite a lot: it's a really good vibe and they have red-velvet curtains. So, it's a winner in John’s book. We've got a secret gig in the works. It's a biggie, so I can't say much.

Keep your ears pointed to my socials for more updates…

Your live shows have been noted for their sense of theatre and the peculiar. Is the stage somewhere you feel your music can speak without limits?!

At every gig, I imagine I'm the creepy compère from Cabaret - and that the rest of my band are sexy Parisian femme fatales. The reality is I usually look like a homeless cowboy at gigs - and the rest of my band are as much femme fatales as I am a teapot. My ‘origins’ are from working in theatres; which has shaped how I go about performing and preparing for a show. Usually, I decide on a character for the show. My favourite at the moment is Truman Capote (the excessively camp artist).

But, for the most part, I just get up on the stage and leave most of who I am in the wings - and (just) go crazy in front of the crowd and hope they like it.

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

I shall be returning to Cornwall to spend Xmas in my mum’s caravan; looking forward to bathing in an oil drum full of rainwater.

Yay. 

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

B-52’s - Strobe Light  

________

Follow JohnlikeJohn

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   Facebook:

https://www.facebook.com/JohnlikeJohn/

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 SoundCloud:

     https://soundcloud.com/user-576372009

YouTube:

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Spotify:

https://open.spotify.com/album/354deEsjQSzsPNHB60WZhF?play=true&utm_source=open.spotify.com&utm_medium=open&play=true

INTERVIEW: Ashes and Dreams

INTERVIEW:

 Ashes and Dreams

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THE amazing duo Ashes and Dreams certainly…

distract one’s mind from the cold and wind with their hot single, Havana. It puts the mind and body in the Cuban capital and erases the sensation of a cold winter. Lisa (from the duo) talks about their formation and what other music we can expect from them; the sounds and artists that have influenced their own music; the festivals and dates they are involved with this/next year – what Ashes and Dreams hope to achieve next year.

I find out whether the guys will perform in the U.K.; whether the long-distance duo (they are split between the U.K. and Canada) have any ambitions already for 2018; some new artists we should get behind – and some useful advice for any ambitious songwriters coming through right now.

________

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

Hello, Sam! Our week has been fantastic – thank you.

We just finished performing our Chillout Groove Experience show at Selkirk’s Holiday Alley on the weekend with bass player Kris Kosie and keys player Paul Claxton (an outdoor festival – even frozen fingers and lips didn’t stop our performance!). 

Liv and I also released a new episode of our Indie-Dance/Deep-House podcast, The Dream House…and we are, of course, busy promoting our new album, Havana.

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

We are Ashes and Dreams; an Electro-Chill project originally started by myself (Lisa Saunders) and my lovely, talented bandmate, Liv Mircea. I live in Winnipeg, Canada - while Liv lives in Weston-super-Mare, U.K.

Despite the distance, we make our project work (and communicate daily).

Havana is the new track. What is the tale behind it?

Havana is the tale of two lovers dreaming of an escape to the sunny city of Havana. Lyrically, it’s based around a real-life trip my partner and I took to Holguin, Cuba, a number of years ago. Since then, we’ve had two children - and leisurely escapes to exotic destinations aren’t as often. It’s a wistful song of reminiscence.

Musically, I love hearing Liv’s influence, as he grew up in a one-time communist country (Romania) - and his father was a great admirer of communist leaders like Fidel Castro and Che Guevara.

It seems the track implores people to get away and experience something hot – like being in the Cuban capital! Was that thought in your mind when writing this?

The lyrics were written during the biting-cold Canadian months during a challenging day...

I felt like grabbing my partner by the hand and taking him on a last-minute flight to Cuba to get away from here for a bit. However, that’s not so easy when you have many obligations. We probably went skating or tobogganing instead. L.o.L.!   Musically, even though it is a Chillout-Dance track; Liv said he channelled a Led Zeppelin vibe into the production of this song.

Will there be any more material coming from you guys? What are you working on?

Yes, always.

We have been experimenting with more of a Deep-House sound this past year and hope to debut some of that work in 2018. We’re also busy lining up our 2018 concert-season and will be looking forward to playing the festival circuit next summer. It’s so much fun taking our music on the road: you really do get energized by the crowd.

Aside from that; we’re super-busy with our podcast, The Dream House.

Can you tell me how you guys got together at the start?

Certainly.

Liv and I were originally in a different band together years ago - when we both lived in Toronto, Canada. I have so many fond memories of hanging around with Liv, rehearsing at Wallace Studios; writing and hanging out at his place with his then-partner (both of whom are fantastic cooks). We reconnected in 2013 and decided to start a new project, Ashes and Dreams, as a long-distance songwriting collaboration.

Liv and his new partner, Ana, are our best friends.

What sort of music did you grow up with? Do you have quite varied tastes?

Liv certainly does! He counts Eagles, Queen; Rachmaninov, Led Zeppelin; Mussorgsky, Tchaikovsky; Yes and Genesis as major influences growing up.

Personally, I was raised in a family that treasured harder Rock & Roll music (my dad and older sister loved Led Zeppelin, Pink Floyd; Heart, etc.) and for my mom, Christian music (I must know the lyrics to hundreds of Christian hymns). We would, literally, have Christian programming like Focus on the Family airing on the kitchen radio; then Living Loving Maid (She’s Just a Woman) blasting out next in the living-room. However, one day my dad played a record by Kraftwerk (The Robots, purchased from a garage-sale), and I was immediately scared, intrigued and hooked.

I love Electronic music and was more drawn to Devo, The B-52’s; then Depeche Mode, Kate Bush; Bronski Beat...anything that created a sonic atmosphere with innovative synths and melodies.

I am interested finding out what is the music scene like in Canada. Does it vary a lot depending on state and province?

As Canada is a mosaic of many different cultures; you can find literally any kind of music being performed here. That’s one of my favourite parts of living here. We have a francophone festival (Festival du Voyageur); multi-cultural festival (Folklorama - with the Indian pavilion being my favourite) and Winnipeg Folk Festival that showcases artists from around the world - from African to Australian acts.

In the Canadian Prairies, where I live, a lot of people like Country and Western music, Classic Rock; plus, like everywhere else in the world, Top-40 music. But, we also have a great E.D.M. scene and quite a few Electronic music festivals scattered throughout the country like Connect Festival in Saskatchewan - that Ashes and Dreams performed at last year - and MEME Festival here in Winnipeg.

IN THIS PHOTO: Skreamz

Who are the new artists you recommend we check out?

Oh! Where to begin?

Liv and I are doing a new podcast where we dig up new treasures to listen to.  For new Indie-Dance acts, we really like Mert Omd and Skreamz’s new C.D.s; plus Mr. Agabiou, Ragasur and Chinmayi Tripathi.

Also; Litany, Nora En Pure and Dragonette.

IN THIS PHOTO: Nora En Pure

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

Liv says Relayer by Yes - but can’t explain why. Knowing some of Liv’s work as a painter; I can see why he’d select a Progressive-Rock album.

I find this such a hard question to answer - as there are so many. If I had to pick one, though, it would be Reach the Beach by The Fixx.    

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

We are taking our Ashes and Dreams Chillout Groove Experience show to the St. Amant FM Café on Feb. 2 and Portage la Prairie Concerts in the Park series on Aug. 2. Still signing the ink on the rest of our upcoming shows - but you can follow us on BandsInTown as we add them.

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

Yes. We were there in 2015 for a trip to Liv’s daughter’s wedding. Hopefully, will be there soon to play some concert dates. 

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

Liv says: “Work, work, work! No pubs, no cinemas; no holidays, no booze; no drugs. Be ready for a lifelong battle. Haha”.

Dedication definitely is a virtue when it comes to creating music. Please make time for your music, despite life’s challenges and your own self-criticism. Embrace the fact it is so easy to record music now and do it!

This is the spirit of our song, Voice Inside.

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

Liv will be taking the time to get some work done - especially as he was just home to Cluj in October I can’t wait until my sister, Christina, gets here with her three boys - so we can enjoy a big family Christmas at my sister Julie’s place.

Do Ashes and Dreams have a plan for 2018? What do you have in mind?

Work as hard as possible to promote our new album, Havana; perform as many gigs as our schedule will allow, song-write for our next album; produce our monthly podcast and explore more collaborations with fellow artists...

On a personal level: approach each day with gratitude. 

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).

Liv: Say My Name – ODESZA (ft. Zyra)

Lisa: Litany - Bedroom

________

Follow Ashes and Dreams

Official:

http://www.ashesanddreams.com/

Twitter:

https://twitter.com/ashesanddreams1

Facebook:

https://www.facebook.com/AshesAndDreams1

  SoundCloud:

https://soundcloud.com/ashes-and-dreams

 YouTube:

https://www.youtube.com/channel/UC5AxSYM06KfiDgw3GuPUOFw

Spotify:

https://open.spotify.com/album/3i5CLDx6n1rG0EIwYrO4eX

INTERVIEW: Tatyana

INTERVIEW:

Tatyana

___________

IT is rare discovering an artist…

who can be found on stage with a laptop and harp! There is nothing predictable, ordinary or boring about Tatyana. I speak with the itinerant songwriter about her upcoming single, Runaway, and whether there is going to be more material soon. She is based in the U.K. but has spent years abroad in Boston and Singapore – and she is half-Russian.

All of this brew and worldliness combines in her music: a rich and fascinating concoction that mixes Pop and Classical strands into something fresh and alive. I speak to her about her blossoming and evolution in music; whether she has clear plans for 2018; if the Christmas period is going to be a tranquil one – the music she loves and is influenced by.

________

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

Hi, Sam! I’m very well, thanks.

My week was great – I got to see some old friends and my dad was in town for a few days, too.

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

I’m a harpist, singer-songwriter and producer. I like to combine all of it together – running my harp through all sorts of crazy effects; adding lots of lush vocals and electronic production. I call it ‘Harp-Pop’ - a genre I don’t think really exists yet.

My background is pretty mixed-up, too – I’m originally from London but have spent the last seven years abroad in Singapore and Boston, U.S.A. I’m also half-Russian, hence my name (Tatyana).  

Runaway is your forthcoming single (out in December). Can you reveal the story and background of that song?

Runaway came out of a jam with some friends from Berklee.

We were in a rehearsal and started messing around in Ableton – the main groove came from that. I wrote the lyrics that same night. A lot of my songs deal with transitions, escapism and identity. I’ve lived in a lot of different places and that means I’ve had to leave lots of good friends behind when I move.

Runaway is about taking that special someone with you into the next phase of your life.

These are early days but is there going to be more music coming down the line? What are you working on?

I’m sitting on a lot of new music that I’ll be drip–feeding my audience over the next few months. Since I left Berklee (two months ago), I’ve gone through a total creative shift which has opened me up to new possibilities in my sound. I’m keen to capitalize on that - so I’ve been working on new material that feels like an evolution from my older music.

There’s a very natural progression which I think is important for my audience to see. They can follow my musical journey on Instagram and see how I develop.

You are a classically trained harpist. When did you first take up the instrument? What is it about the harp that attracts you?

I was a Classical pianist first – and started playing when I was three-years-old. When I was about ten or eleven, living in Moscow and attending a Conservatory there, I decided I wanted to play another instrument. They only had a few options for me: one of which was the harp. After seeing it for the first time, I just knew that I had to play it. I love the harp.

There’s so much beauty there - not just in its timbral qualities, but in the aesthetic of the instrument itself. I find it incredibly calming and therapeutic to play and to listen to. There is also a rich history connected to the instrument – there is some form of a harp in every culture and society throughout time.

I think that’s really special.

The Classic sounds fuse with a dark atmosphere and modern production. Are there are particular artists, doing similar things, that inspired you to take that approach?

Electronic-Pop is having a moment right now...

There are lots of amazing artists out there who are absolutely fantastic. I find James Blake, Grimes and Kimbra are some of my biggest inspirations. They are all self-produced artists which I think we will be seeing more and more of now - that it’s become increasingly easy to make music in your bedroom.

I love having total control of my output and being able to create something exactly how I hear it in my head.

I believe you are back in London – having studied Electronic Production and Sound Design/Performance at Berklee College of Music. What was that experience like?! Have you learned a lot you are going to bring to your new music?

Berklee is an incredible place – there are four-thousand musicians in the college, which means that you’re surrounded, supported and challenged by some of the most talented musicians in the world. It was an intensive program and I got so much out of being in that environment.

Having said that; I’m quite keen on ‘de-programing’ myself now - and learning to look at music through an emotional rather than an analytical lens again. Berklee gave me many tools, including a deep-rooted love and understanding of Jazz harmony, improvisation and production.

All of the things I’ve learnt and studied will have a ripple-effect on my musical output - but we will have to wait and see as to how exactly it will manifest itself!

What is the scene like in Boston – where the college is located – compared to the U.K.? Did you get a lot of time to play whilst over there?

I’m very new to the U.K. scene, so I can’t make a comparison quite yet…

But, Boston has a thriving local music scene, as well as being a funnel into the N.Y.C. scene also. I played in a few different bands, including a staple of the Boston scene – Jaggery – an Avant-Garde/Rock-Chamber group featuring viola, double bass; harp, voice; drums and keys. Boston (specifically, Allston) also has a unique underground basement show scene - which was a lot of fun to be around and to play in. Although it tends to lean towards Rock/Punk genres, there has been a recent surge of Electronic music being showcased, too.

Some of my favourite shows I played were in Allston basements!

Often, there is a difference between being a musician and artist. Do you feel you have had to learn new disciplines to transition to a fully-fledged artist? Has it been a hard transition?

I feel like I’ve always been an artist first - it was really at Berklee that I started to take on a ‘musician’ role – from being a side-woman in other people’s bands; to playing background music gigs with the harp or working as a session harpist. I feel like in those sorts of situations your duty is to serve the music; whereas an artist’s role is to create a mythology and embody the music you create.

I’m coming back to that feeling more and more now - and I’m finally in a place to actualize it.

IN THIS PHOTO: Tirzah

Who are the new artists you recommend we check out?

I’ve been listening to this artist, Tirzah recently - a track I really like is Make It Up. Someone else I like is Yaeji (from N.Y.C.).

Just dope women making amazing Electronic music.

IN THIS PHOTO: Yaeji/PHOTO CREDIT: Lydo Le

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

Oooof. That’s a hard question! Okay...

Currents – Tame Impala

I just love this album so much. It’s one of the few albums I have saved on my phone - I always listen to it when I’m travelling. Just perfection in the production, songwriting and arrangement.

Black Radio – Robert Glasper Experiment

A friend showed this to me during my very first week at Berklee - and it changed my life. I’d never heard harmony like that before. It sort of shaped my path at Berklee and opened up my interest in Jazz.

Begin to Hope – Regina Spektor

I don’t really listen to this as much anymore because I beat it to death when I first discovered it - but Regina was really my first deep musical love and a huge inspiration to me growing up. She’s half-Russian, like me, and also comes from a Classical background. I learnt how to play all of these songs and I think there’s still a (cringeworthy!) cover of Us on YouTube somewhere.

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

For now, I’m taking some time off to reconfigure my live set; so you won’t be able to see the Electronic set until the New Year. Until then, I’m doing open mics to test out some new songs I’ve been writing. In the New Year, I’m going to Sweden to play a show with a dear friend and collaborator, Matilda Gratte.

She’s amazing; check her out, too, if you get the chance!

I can imagine your live set consist a laptop/technology with the harp. What can we expect from a live show? Is it quite a modern set-up (on stage)?

I run my harp through Ableton on my MacBook and have a couple other pieces of gear like a vocal harmonizer and some Midi controllers. I’ve got a new addition, too, which is my Korg Minilogue. I can’t wait to incorporate it into my live set-up. It also depends…I perform solo but have also performed in duo and trio configurations - which means I change up my set up to accommodate the other musicians.

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

Turn off your phone and focus on your art.

There are so many distractions in the world right now and there’s a pressure to be always available - but that can be a difficult environment to create in...

Without focus, it’s impossible to get better.

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

I think this will be my first Christmas at home with my family in London for a while. I’m really looking forward to it.

But, other than Christmas Day itself; it’s going to be the same old grind for me!

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).

Shake Em Off by Syd

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Follow Tatyana

Twitter:

https://twitter.com/blueharpgirl

Facebook:

https://www.facebook.com/blueharpgirl/

Instagram:

https://www.instagram.com/blueharpgirl/

SoundCloud:

https://soundcloud.com/tatyana

YouTube:

https://www.youtube.com/channel/UCedZyvzTYsPlxNAv3p0uqkg

INTERVIEW: AVEC

INTERVIEW: 

AVEC

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AUSTRIA is a nation I have not visited…

for quite a while. I am excited to discover a great songwriter from there - AVEC is someone who excites me and has released the remixes of her song, Waiting For. The E.P. includes versions by Electronic producers Alex Schulz, HOUT and Nora Medin. First to rework the track was acclaimed producer Alex Schulz, who has a string of successful remixes in his wake. I ask AVEC about the remixes and why she decided to release the E.P.; the artists who inspired her to get into music; whether there are any tour dates coming this/next year – and what plans there are for new music.

She tells me about her current material and how it differs from 2015 E.P., Heartbeats; a couple of new names we should all keep our eyes on; the three albums that mean the most to her – and whether this Christmas will provide a chance for rest and reflection.

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

Heyya. I am fine, thank you - and my week has been great so far!

How are you?

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

My name is AVEC. I am a singer/songwriter from Austria.

I started writing my own songs in combination with the guitar when I was about fourteen-years-old. In 2015, I released my first E.P., Heartbeats,  followed by the debut record, What If We Never Forget, in 2016.

I have been touring in Europe with my band and now we’re working on the second record - which will be released in 2018.

Waiting For (Alex Schulz, HOUT and Nora Medin Remix) is your new single. Can you tell me about the song and how you came to work with those guys?

I wrote the song, Waiting For, during a car-ride with my best friend. The clouds were impressive that day and we were like driving right into the sunset - it was such a pretty atmosphere. 

The main topic of the song is, probably, that our entire human journey through life is somehow about  'waiting‘ - it’s like a constant condition - we are all kind of waiting for something or someone - and this can sometimes be really depressing and disappointing.

We connected via Facebook. They were all interested in the song and had the idea of remixing it; so I thought, 'why not‘ - let’s try this and it worked out pretty well, I guess.

This is the latest release of the remixes selection. What was the reason behind bringing in other producers/artists to rework the material?

It was actually just kind of an idea to try something new...

I really like to listen to remixes of artists or songs I am into - it’s interesting how a remix can change a song in a good way or in a way you never thought of it before.

Is there a particular remix that stands out? Is there a single song that, you feel, has been heightened and improved?

I really like all of them. It’s kind of hard to say which is my favourite one - cause they are all different.

Your music reflects heartbreak and life experiences. Is it quite cathartic putting these subjects into your music?!

It is, actually. I am not really good at talking about my feelings and thoughts; so my music helps me out with that. Anything that kind of bothers me or is on my mind, I try to put into my lyrics and music.

I notice a development between your 2015 E.P., Heartbeats, and your latest work. Do you feel like you have grown as a writer/singer?

Definitely. At the time we recorded the E.P. I was nineteen-year-old and I didn’t know anything about music or the music-business – so, it was like jumping into cold water. Now, I know a lot more about how I want my record to be, how it should sound; how I want the lyrics to say what I mean and so on – so, I definitely grew with every year.

Is there going to be a new release next year? What are you working on right now?

There will be a new record 2018 and I am more than excited about it - I am currently working on it.

IN THIS PHOTO: Max Parvosky

In terms of the musicians you are inspired by: do you take great guidance from new talent or older sounds? Which artists do you admire most?

I think I am more into older sounds: I love Michael Jackson for example, or B.B. King; Prince... 
I admire Bon Iver, Ben Howard; The Lumineers and Keaton Henson (and, of course, many more...).

These are amazing artists with a lot of emotions and love in their songs and music.

IN THIS PHOTO: Jade Bird

Who are the new artists you recommend we check out?

Jade Bird and Gordi.

IN THIS PHOTO: Gordi

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

Oh; that’s a tough one!

Bon Iver - For Emma, Forever Ago

I love this one because of the lo-fi-recording and the ton of emotions and feelings Justin Vernon captured. I can listen to the record over and over again and I still get goosebumps - it’s perfect.

Michael Jackson – Thriller

Well; this was probably the first record I’ve bought and it is still amazing - my two favourite songs from this album are Human Nature and P.Y.T.

Kings of Leon - Only by the Night

K.O.L. are one of my favourite bands and, even though I like the older records way more than the new ones, this one is very special to me because of the last song, Cold Desert - it means a lot to me!

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

I think the most important thing is to love and to enjoy what you are doing and to believe in yourself.

Be yourself and don’t try to be somebody else.

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

I am going to play at the Eurosonic Festival in January; a few concerts in Austria during the year, and in autumn, I and the band will be on tour with the new record (but there are no explicit dates yet).

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

I’ll spend the days at home with my family - and probably work on a couple of new songs.

What are your aims for 2018? Do you have a game-plan you hope to fulfil?

First of all; I will release my album and play a couple of nice gigs...

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).

Boots of Spanish Leather by Bob Dylan 

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Follow AVEC

Official:

http://officialavec.com/

Twitter:

https://twitter.com/avec_music

Facebook:

https://www.facebook.com/officialAVEC/

Instagram:

https://www.instagram.com/officialavec/

SoundCloud:

https://soundcloud.com/avec_official

YouTube:

https://www.youtube.com/channel/UC4vbbYmRRVuXGPlagPGIS6g

Spotify:

https://open.spotify.com/artist/6N8vbhxZ0CYJHd8WGJ9Snf

INTERVIEW: IYKZ

INTERVIEW:

IYKZ

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IYKZ is a promising and talented…

Rap artist who has revealed his mixtape, Kings Crescent on Queens Drive, to the world. IYKZ has Nigerian roots but was born and bred in Hackney. It is a part of the world that rings true and remains in his heart – growing up on the council estate, Kings Crescent. IYKZ started as a Garage M.C. at fourteen - and has since blossomed into one of the capital’s hungriest and most exciting young artists.

I learn more about the mixtape and the influences that go into it; whether estates are becoming gentrified, or it is important they retain their roots; what comes next in terms of plans and any potential performance dates - and a few great albums that have inspired his own music.

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

I’m good. Thank you for asking! It’s been a rollercoaster, but what’s new? Haha.

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

My name’s IYKZ. I’m a Rap artist and songwriter from the north-side of Hackney, London (U.K.).

Kings Crescent on Queens Drive is your new mixtape. What sort of sounds, themes and stories inspired its creation?

This project is about my roots, the estate where I grew up; the streets that raised me - so it was only right that went back to the art of Rap music on East Coast production. That is what I grew up listening to; mainly via artists like Nas, Wu-Tang Clan; Jay-Z and Bone Thugs-n-Harmony.

The mixtape follows the song, B-NO. What is that song all about? How did it come about?

B-NO’s is the ultimate reminder.

Even though it’s been a busy year for me; I’m still a new artist to most people and they tend to always ask “Why don’t I know about IYKZ?”. L.o.L.

So; I’m just saying that I’ve been here all along in my own little corner grinding away…earning my own stripes….

Are you already working on music for next year? What is in your mind right now?

I am! I’ve already written my next project - which will be my most personal and honest project to date. Can’t say too much right now, but it’ll be out before you know it!

It seems like you take inspiration from modern Rap/Grime artists. Which artists are you inspired by? Did you grow up with a lot of different music?

Yeah. I’m inspired by anyone doing great things, nationally or internationally. I like Skepta and Stormzy to Big Sean and Travis Scott; to James Blake and 6lack.

Growing up, I soaked in a lot of African music; just around the house and at parties but, also, a lot of Michael Jackson, Phil Collins and Tracy Chapman…hence, my wide range in taste.

Tell me about Hackney and your connection to it. How integral is the heartbeat of the street to your personality and music?!

Hackney is home.

I lived there for twenty-one years and still visit often: it’ll always be home to me. That’s where I learnt how to walk, talk - and many other life lessons I just don’t think could’ve got elsewhere. I’m very grateful to have Hackney in my heart - and it shines through in my music.

It gives me that raw edge others may not have.

It seems like the vivid scenes and social poverty of the estates affected your drive and outlook. Living in the ends; being around that much danger; what has the major impression been on you? Does it make you want to tackle the problems in estates – or is it a way of life that should remain?

It definitely did, but it’s not the same around there as it was when I was growing up. The things I was surrounded by, such as daytime prostitution and other crimes, are no longer. Most of my estate-blocks have been knocked down and there’s a big development process going on there. Gentrification has played a huge part - and it can only be a good thing.

I can only be grateful for taking the elements I needed from it when I did.

The likes of Charlie Sloth and DJ Target are among your supporters. How important is their backing?

We live in an influencer world now, with the emergence of social media and streaming platforms. There are so many artists trying to make it more than ever; so, these key figures are of even more importance now - to let people know who they should be listening to.

I just pray they continue to support and, hopefully, I’ll grow more of a platform from there.

What message would you give to your supporters out there?

Thank you for your patience and all your support. I may not have the biggest fanbase or platform right now - but I’m gonna keep working to realise my dreams.

So; stay tuned!

IN THIS PHOTO: PnB Rock

Who are the new artists you recommend we check out?

Check out A2. A dude from London. He got bars, for sure. PnB Rock has got those dope melodies on Rap/R&B. Check for him, too.

If you didn’t know already; make sure you’re up on Maleek Berry. He’s the future of the Afropop world. (We got more music coming next year, too!).

 IN THIS PHOTO: Maleek Berry

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

Tough question but, if I had to choose, I’d pick Nas – Stillmatic

This was what I was listening to as I was transitioning into Rap (from a Garage M.C.).

Michael Jackson – Thriller

Doesn’t really need an explanation, does it?! Haha.

Lastly; my latest mixtape, Kings Crescent on Queens Drive; as I feel it really defines me as an artist and a man. I really tried to put my personality into the art - so, the listener will know me by the end of the project.

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

I’ve just had a headline show - which is the last of the year. But, stay tuned to my website and social media channels for updates on where I’ll be next!

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

Stay consistent, content...content and more content. This digital age is so fast that you’re easily forgotten if you aren’t constantly in people’s faces.

So...stay on your job and great things will happen!

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

I’m gonna be busy working on the new project!

Haha. But, yeah; no real plans at the moment. As long as there’s good food somewhere, I’m turning up! I'm not really one for presents etc. (that’s for the kids) …but food? With mulled wine?

That’s my kinda Xmas. L.o.L.

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).

No Security by the great Skepta! Dope record; love the beat!

________

Follow IYKZ

Official:

https://www.iykzhq.com/

Twitter:

https://twitter.com/IYKZIYKZ

Facebook:

https://www.facebook.com/iykziykz/

Instagram:

https://www.instagram.com/IYKZIYKZ/

SoundCloud:

https://soundcloud.com/IYKZIYKZ

YouTube:

https://www.youtube.com/channel/UCh7b5ukkX66UejKcKw3rsdQ

INTERVIEW: Young Jesus

INTERVIEW:

 Young Jesus

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AN original and terrific band is harder to find…

that you might imagine! Fortunately, as I find out; the L.A. band, Young Jesus, are guys worth sticking with! They discuss their upcoming album, S/T, and how it differs from their past work; how the band got together; what the remainder of this year holds; whether there is a strong and changing music scene in L.A. – the songs/albums that mean the most to them.

I ask whether a trip to the U.K. is a possibility and details about their new single, Feeling. The video is a stop-motion wonder and shows the detail the band put into their music. Young Jesus tell me about the importance of preserving music’s traditional formats; being compared with Broken Social Scene -  if they have a busy Christmas lined up.

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

Hey! We're good.

It's been an exciting week - announcing our release with Saddle Creek and all. But, also, very normal. We're back from tour so we're also back to our jobs (I (John) work at a bookstore called Skylight Books; Kern and Marcel work at the coffee shop down the street, Eric works at a cafe in Glassell Park...

It was Kern's birthday this week and we're all gonna hang out tonight and maybe do some karaoke - where I plan to sing Walking in Memphis by Marc Cohn.

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

We started out in Chicago and now we're located in Los Angeles. We've been a band for about ten years. We do a lot of improvising and try to incorporate a lot of different influences into our tunes - from Jazz to Noise-Music to Indie-Rock.

Really…whatever moves us, which is a wide range of stuff. We try to push ourselves and trust each other as musicians and friends and try to examine extremely 'loud zones' and 'quiet spaces' as contrasts to one another. I, as a lyricist, tend to write a lot about emotion, anxiety and the sort of dissonant quality of life I feel every day…

That things don't quite fit together - but that there is (also) a beauty within that.

You have a new album, S/T, out in February. Can you talk about its title and the themes you address on it?

I like the way S/T looks.

It's both really banal to me and also carries with it a kind of crack that leaves some room - which is how I feel about just about everything. Not that things are really banal, but there are cracks in perception and solidity everywhere and they are worth investigating.

That's where life gets interesting and engaging.

PHOTO CREDIT: Killian Young

Otherwise, I end up just drifting along and not giving people the kind of attention and care they deserve. No one is ever what they present on first blush - which is a thing that is very hard to embrace while working retail all the time. The second you give yourself or someone else pause…you can allow yourself to be vulnerable and learn in that moment. That's the goal: to learn from the smaller and larger imperfections and mistakes of a life, to feel them and know them daily and not allow that darkness to take over - but rather to continue to embrace it with vulnerability and sincerity.

The implied title is "green river eddy under desert feeling storm" which was my attempt at a kind of poem. I was very taken with ancient Chinese poets like Wang Wei, Wang Anshi; Su Hui, Hsieh Ling-yün. They gave me a kind of ability to sit in contemplation and to allow simple moments to unfurl into a much larger feeling. Also, Clarice Lispector and Joy Williams: writers who get at the sort of impossibility of living and perceiving accurately and perfectly...

The frustration and (also) the funny stuff that comes from that.

PHOTO CREDIT: Emily Quirk

Feeling is its leading track – it is nine minutes long! Was it an easy choice choosing that song as a single?! Do you worry its length will mean few radio stations playing it?!

I think Feeling gets at the things we're looking to do as a band.

It doesn't give easy answers and hopefully just opens up a space for thought and interaction. If we made music based on what we thought radio stations would play, we would be very sad people. I know that is not true for a lot of people - and I have no problem with radio-friendly tunes. I love a lot of them.

But, for Eric, Kern; Marcel and I, to write according to those restrictions would be a consumer-based constraint that would be hard to live with…and I don't mean consumer like a listener, but rather a large and mysterious and corporate kind of cloud that is interested in feeding us certain things to operate within a certain system. 

I don't think listeners really want that; especially now. There's something rotten in our culture and I think making things that glide along within our culture without questioning and investigating that rottenness can be troublesome. I think there's a hunger out there for an escape that should be represented. Even if it's just a few people, that's exciting. Why do so many people need to like your band? Well, money, yes. But music is a love for us - and money has a very difficult relationship with love. I don't have answers here really, but it's things we're trying to think about..all the while, I still understand if people do this for money.

It's really hard to live - and I admire anyone who gets through it. The contexts and circumstances of life are too vast to say, "This is it. Do this".

The video is stop-motion and features poetry and artwork in a visual collage. How painstaking was the creation and what was it like working with John Rossiter’s (Vocals/Guitar) work on the video?

Well, it was very cool to work with myself: I work with me and not-me all the time. I will say I am very difficult sometimes - and also, sometimes, very demanding…and, also, sometimes completely uncreative and stupid. But; I got to sit down with my friend Jordan Epstein and draw for twenty hours. I try to see a thing like a video as an opportunity to go into artistic spaces I haven't explored yet - and to test the bounds of my mental endurance.

Jordan will tell you I don't handle that very well all the time. But, it was, overall super-fun. Jordan is an old friend, so doing something so meditative allowed us to talk for a long, long time; really dig into some things - which is what I hope all of this is.

A kind of extended community where we have some time to talk and think.

People will take great interest in the L.P. Do you get nervous about reviews – how do you hope the record will be received? What has it been like signing to Saddle Creek, too?

Saddle Creek is a very natural fit for us.

We all get along really well and I think we have a kind of natural understanding of how we all live and hang out (and work.) Any sort of worries I had about working with labels has been dispelled: they're very supportive and, most importantly, good people.

Reviews will be what they will be: some people may love it and some may hate it. Or it could be very bland. But; the work itself does not define who we are. We're interested in the process of living and how we treat people day-to-day. The record's not a holy object - it changes every time we play it live, anyway. It's just a moment in time. I'd be a robot if I didn't say I hope it will be received well but, no matter what happens, it won't change the friendship and love that the four of us share...

That relationship is the cool/important thing.

Have you noticed a difference, in terms of sound and confidence, between Grow/Decompose and S/T?

Grow/Decompose was recorded with a very different band. Kern and Marcel were not on that record - and Eric wasn't featured as prominently. I tried to impose a lot of my intention on Grow/Decompose - whereas S/T is way more collaborative and open. We're trying to give each other trust and room to breathe. If we have any sort of confidence, it comes from the fact that we know each other and we have created this mode of playing together.

We believe in the thing we are doing - and we believe in each other's ability to speak and respond in kind…

How did the band get together to start? Tell me about those early days…

Woof. I left a small college in Ohio to join a band with my friends. We practiced all the time with our three acoustic guitars. It was a pretty innocent thing: somewhere between Indie-Folk and Emo. We were just having a lot of fun; being with all the drop-outs and working our weird jobs in the suburbs.

But, we were drinking too much and it was an unsustainable thing. At some point, I felt the need to be dedicated solely to the music and have the rest of it fade away. I felt irresponsible trying to play tunes and be optimistic while I was drinking heavily and very depressed. It deserved more thought; more consideration...

Not just in terms of the music...but in how a life can grow in parallel with it.

You have been compared with the likes of Pinegrove and Broken Social Scene. It seems you have a very modern aesthetic. Who are the artists you all take inspiration from?

Hmm. Kern loves Sun Ra and Anthony Braxton - and Zach Hill and The Fall. Marcel is a classically trained guitarist and composer. His interests are incredibly varied and exciting. He also grew up playing in Punk/Ska bands in Los Angeles. Eric loves ambient music like Stars of the Lid and Sigur Rós and many (many) other things. Jazz too; Bill Evans specifically. I'm very into Burial right now.

I love the later Talk Talk stuff and Mark Hollis' solo record. I love Yo La Tengo. I love Broken Social Scene. I love the new Colleen record. Grouper; Julianna Barwick; Steve Hauschildt. Alice Coltrane; Duster; Thelonious Monk. In high-school, Kern and I were both very very into At the Drive-In. A lot of the band is fusing those early Emo/Rock influences with our current interests.

I know S/T will be released on vinyl. It seems you are attached to traditional forms and methods. Is it important preserving music’s past, do you think?

That's a big question...

Music brings me immense amounts of joy and a lot of that comes from old stuff. But; the people who do the preserving tend to have a certain lens and worldview - and, usually, they've won something or hurt enough people to gain access to the ability to preserve things. So, maybe preserving can be cool. But; what is preserved does not come from an even playing field.

The act of preservation can often be a way to build a consistent cultural narrative and, like I was saying earlier, our cultural narrative is relatively fuck*d.

L.A. is where you are based. What is the city like for a young band?

The scene is really great here. Lots of excellent artists like Media Jeweler, Wreck and Reference; Pastel Felt, Fragile Gang; Jurassic Shark, Kera and the Lesbians; Goon, Slow Rose; New Balance, Young Lovers and Traps PS.

It's a place we feel very comfortable in that is very open to experimentation. 

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

Hmm.. My mom bought me Abbey Road on C.D. when I was a kid. I listened to that on my Discman constantly - Golden Slumbers blew my mind for some reason. I like melodramatic stuff. When Paul says "SMIIIIIIIIIILES AWAAAAKE YOU WHEN YOU RISE" in that ridiculous growl I just lose my smoothie completely. I love it.

I sang Octopus's Garden in an a capella group in the fourth-grade.

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

Hopefully, in 2018!

We'd love to play in the U.K. Visit some bookstores. I'd love to go on the same walk through the Suffolk W.G. Sebald did in Rings of Saturn. 

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

Be yourself and be insistent on the thing you love. But, make sure you consider the context and circumstance you operate within.

You do not exist in a vacuum: art does not exist in a vacuum.

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

I'm gonna get a tree, probably, and make some paper ornaments. We'll probably all hang out. I'd like to have a Dogby then - but I won't. Maybe Eric and Jordan and I will make latkes for Hanukkah.

I have to ask, as you are called ‘Young Jesus’, if you, like Jesus, disappeared for three days – I know he was crucified – how would you spend that time off the grid?

We would spend it contemplating how to return to the world in the spookiest way possible - so that people would think we did it all for them and that they might have done a lot of bad things in their lives…but it was alright, because it's very hard to live a perfect life - and that they would be forgiven.

But; we'd also be thinking about how to let these people know we were never coming back after this brief stint hanging out as ghosts and that they should really figure out how to love each other - because there will be no judgement other than the one you ascribe to yourself.

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).

Slice by Pope

Longer Repose by Pretend

Ambulance Blues by Neil Young

By Your Side by Sade

________

Follow Young Jesus

 Official:

http://saddle-creek.com/

Twitter:

https://twitter.com/YoungJesusBand

Facebook:

https://www.facebook.com/YoungJesus/

Instagram:

https://www.instagram.com/saddlecreek/

SoundCloud:

https://soundcloud.com/saddlecreek

YouTube:

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

INTERVIEW: Luke Daniels

INTERVIEW:

Luke Daniels

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THERE is so much to talk about…

when it comes to the awesome songwriter that is Luke Daniels. His album, Singing Ways to Feel More Junior, is an intriguing concept - and one I was eager to discover more about. Daniels explains its prerogative and stories to me. I ask him why he chose to cover the Stevie Wonder classic, Don’t You Worry 'bout a Thing; whether there is going to be any fresh material next year; if the current reign of President Trump is a topic he has been compelled to address – and what tour dates he has approaching.

Daniels tells me about the music he is inspired by and what the future might hold; some classic albums that are dear to his heart; how this Christmas is looking for him – and what exactly an ‘Electrophon’ is!

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

I’m on the third day of a seventeen-date Christmas tour with the Cara Dillon band - something I also did last year. For me, it’s a chance to spend time with a group of friends that I’ve been working with for almost a decade now. So; something to look forward to.

The shows are selling well - and I’m feeling quite festive as a result

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

I am a songwriter and composer with a background in Folk and traditional music. I’ve enjoyed a long career as an instrumental player but embarked on a solo career in 2012 playing guitar, piano and melodeon.

Your album, Singing Ways to Feel More Junior, is out. It is already picking up positive reviews! Does it feel quite humbling hearing people react to it in a pleasing way?

It’s humbling to get any attention, given the breadth and quality of acoustic music currently out there. I’m lucky also to have had such a talented bunch of musicians who helped create the album’s unique sound.

What were the events and themes that inspired the record? Is there a narrative that runs through it?

Singing Ways to Feel More Junior is an album for grownups everywhere whose songs make use of children’s rhymes and female allegory to explore adult themes - which range from child consumerism, addiction; gender inequality to Donald Trump’s childhood.

Don’t You Worry ‘bout a Thing sees you tackle a Stevie Wonder classic! What is it about that song that resonates inside you?

I’ve always really liked the song - but the ‘light bulb moment’ came when I realised I could create a solo guitar part for it with a folky feel.

How important are artists like Stevie Wonder to you? Was it challenging converting a Soul song?

It’s quite high in pitch and I had work to add the extra notes to my vocal range. Combining this with the Nic Jones-inspired guitar part took time, also.

There are grown-up rhymes and female allegories on the record – the title kind of nods to that, I guess. How much of the album’s title refers to the world’s need to grow up – how much of it concerns a desire to revert to childhood and shelter from the universal storm?

Neither of these...

Children’s songs are like memes that have survived for centuries because they hold eternal truths that many people today - particularly those in a position of authority should understand. I like the idea that we can be ‘told off’ by the smaller people for whom we have a responsibility to protect and preserve our world.

The album looks at issues like consumerism, President Trump and gender equality. How important was it to address these concerns? Do you think the world has reached a stage where it needs a serious sobering-up?!

A second strand is that of motherhood, femininity and misogyny - and I’m interested in the idea that, if women and children had, perhaps, not been sorely underrepresented throughout history our male leaders would not have got us to where we find ourselves today.

Your music mixes tradition Folk - but is rooted in the modern time. Can you tell me the artists who have inspired you?

Some of my favourite artists include John Martyn, Nick Drake; Anais Mitchell, Joni Mitchell and Tony Rice.

Who are the new artists you recommend we check out?

Yes…me.

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

Anais Mitchell – Hadestown; Valentin Clastrier - Les Buches Des Silences and Brad Mehldau – Live at the Village Vanguard: The Art of the Trio Volume Two are all wonderful recordings that have inspired me over the years.

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

I have a bunch of dates coming up - all on lukedanielsmusic.com/gigs...

But, an upcoming highlight, I’d say, is Glasgow Royal Concert Hall with Brothers of the Free Reed on 31st Jan.

You have performed a U.K. tour. How much fun was that? Do you think the best crowds reside over here?

Yes, definitely. English audiences are the hugely supportive, yet reassuringly discerning.

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

Don’t be afraid to include meaningful content and complex ideas on your songs. Real fans will thank you for it.

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

I’m off from 20th Dec and will be mainly wearing slippers until the start of January...

Before wrapping up; can you talk to me about your ‘Electrophon’. What exactly is it and how integral is it to your live show?

It’s a self-built mechanical musical instrument that performs my own compositions ‘programmed’; 20” steel discs, via technology, that was used in the late-nineteenth century. Its comb and bed plate was made in 1880 - which now work via syncing with an Arduino computer and digital samples.

It sounds and looks like a 6ft-high music box.

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

The opening track from Anais Mitchell’s Hadestown. Thank you.

________

Follow Luke Daniels

Official:

http://www.lukedanielsmusic.com/

Twitter:

 https://twitter.com/lukedanielsfolk

Facebook:

https://www.facebook.com/lukedanielsmusic

SoundCloud:

https://soundcloud.com/office-31-4

YouTube:

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

INTERVIEW: Goodnight, Sunrise

INTERVIEW:

 Goodnight, Sunrise

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SOME of the best songs come out of…

despairing periods and hard times. That is the case with Goodnight, Sunrise and their new single, Remember Now. It revolves around an inter-band relationship/break-up; the resultant division has compelled a song that will strike a chord with many – the Canadian group tell me more about it. Vanessa, David and Paul are one of the most promising bands out of Toronto right now; pushing forward and keen to come to the U.K. and play here.

I ask them about the earliest days and the music that inspires them; whether they are planning ahead already; how the video for Remember Me came together; how this Christmas will play out – and advice for any new songwriters out there.

________

Hi, guys. How are you? How has your week been? For those new to your work; can you introduce yourself, please?

Hi, hi, hi! We are Vanessa, David and Paul – A.KA. Goodnight, Sunrise…A.K.A. a super-fun-Indie-Rock 'n’ Roll band from Toronto, Canada!

Remember Now is your new song. I believe its origins are rooted in heartache a tough time. Can you tell us more?

Ooooooh…you want the dirt?

Basically; think Don’t Speak by No Doubt - but not at all famous. But, for real; the short version: Dave and Vanessa started out as friends, became a couple about two years into the band and recently (this summer) broke up. The song Remember Now pays homage to the friendship while remembering the pain and sadness that comes with a breakup. What they’ve been able to do is put the band, the music and the love first; to move through it and create something new...

Something whole.

Was it quite therapeutic putting the song out? Did you learn something about yourselves hearing it back?

Putting the song out was incredibly cathartic.

It was a tangible way to make sense of an emotional time; sharing the experience with others made us feel as though what we went through was worth it in the end. Music helps us make sense of our crazy journey on this planet – and we hope that our music does that for our listeners as well.

How important was director Ryan Brough with regards capturing the song’s spirit in the video?

Ryan’s vision was immeasurable. It’s funny; although we only met Ryan when the shooting began, he quickly understood us – possibly more than we understood ourselves! He had a sixth sense when it came to capturing the tiny moments, looks and laughs that make up the rich fabric of our band family. Every time we watch the video, we catch a glimpse of some secret moment that we haven’t noticed before – some secret moment that Ryan found and threw in there.

He’s totally like an intuit…but for music videos!

Is there going to be new work arriving from you guys next year?

HECK YA!

Can you take me back to the start and how Goodnight, Sunrise came to be? How did you all discover one another?

Oh God…that’s a lonnnnng story….

But it starts with David and Vanessa joining ANOTHER totally different band called The Big Deal - that’s how they met. They quit that band, started a new one; found Paul on Craigslist (as one does), and the rest is history...

What music do you each grow up listening to? Do you all share tastes?

Hahahahahahahahhhaah. Sorry. But, no; we definitely all do not share tastes – that’s what makes our music different, unique and so collaborative...

David: Michael Jackson and U2.

Paul: Pearl Jam and Led Zeppelin.

Vanessa: Britney Spears and Tiesto.

It seems like Canada is a nation with a lot of talent coming through. Is there a supportive and exciting music scene where you are? Is it easy to get gigs and support?

Absolutely! Canada is amazing. There is SO much talent - and we’ve found a supportive community in every single town we’ve ever played in. Toronto is our home and we’re proud to say that we’ve been part of an ever-growing and ever-increasing community of musicians and promoters.

We’re really lucky to be able to call this place home sweet home!

IN THIS PHOTO: Tokyo Taboo

Who are the new artists you recommend we check out?

Okay. We actually saw THE most amazing band in Toronto last month…and they were from LONDON! U.K. readers: if you ever get the chance, make sure to check out Tokyo Taboo! It was one of the best shows we’ve seen in a while - and their new album is INCREDIBLE!

In terms of Canadian artists; our faves include Sumo Cyco, July Talk and Dear Rouge!

IN THIS PHOTO: Dear Rouge

Are there plans to come to the U.K.? Have you performed here before?

Our favourite tour ever was the one we did in 2016…to the U.K. We couldn’t believe the support and enthusiasm we were met with. It was absolutely incredible and we really can’t wait to come back. We’re planning several tours to the U.K. for 2018 - depending on which festivals we get into.

We hope to be there at least twice – we love you guys and really want to make the U.K. our second-home for our musical ambitions!

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

Failure is an obstacle, not an absolute. Act like that’s the only truth on this crazy planet. Oh, and also; don’t be mean…

To anyone…ever (smiles).

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).

One-hundred-percent play Make It Out Alive by Tokyo Taboo. It’s our new fave song. It’s SO rocking - and we love to support local (for you!) artists; especially those who feel as passionately as we do about supporting women in the music industry!

________

Follow Goodnight, Sunrise

 Official:

https://www.goodnightsunrise.com/

Instagram:

https://www.instagram.com/gnsrband/

Twitter:

https://twitter.com/gnsrband

Facebook:

https://www.facebook.com/gnsrband

YouTube:

https://www.youtube.com/channel/UCZx-QZpkkRUwpEOL8u4_veA

SoundCloud:

https://soundcloud.com/gnsrband

Spotify:

https://open.spotify.com/artist/4CzSDigTxbLBQU4DdvhkxY

INTERVIEW: Equals

INTERVIEW:

Equals

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THERE are some equations in music that are hard to figure…

and get your head around. When it comes to Equals; things are a lot more straightforward – I probably shouldn’t have started down this path! I speak to Ade of the London-based duo about their new single, Hush, and working with Awks (on that track). I ask whether there will be new material coming and what the remainder of 2017 has planned for them. Ade talks about performing as a backing singer for Amy Winehouse; I learn about the artists and sounds that inspire Equals – and some new music/artists fresh in their mind.

With an impressive body of work behind them; I was curious to discover what it was like having the everyone from BBC Radio 6 Music and The Line of Best Fit behind them; how integral London is to their heartbeat and ethos; whether there are tour dates coming soon – and why this week has been better than most!

________

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

The week’s been non-stop travel - as I'm on the road with the mighty Gorillaz.

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

We’re Ade Omotayo and James Low from R&B duo Equals.

         

Husk is all sorts of smooth and beautiful. It seems like a track that would have taken a bit of experimentation and construction. Was it easy putting together – or did it come in stages?

This one definitely came in stages…

James recorded the basic piano chords on a Zoom mic plugged into his iPhone - on an old piano at his mum’s house (during Christmas of 2015). It’s a bit out-of-tune and creaky but it sort of suits the vibe of the track - so we never re-recorded it. We worked up a demo with Awks that was more like Single Soul from our first E.P.; just some sub-bass and a simple beat - but the track needed more.

We gave it to a couple of other producers but that didn’t work out; so James started experimenting making it swing a little with regular electric bass and the beat. Then, we got Chris in on bass to cement the idea and, all of sudden, we had a new direction.

The last thing was the horns. We needed something to lift the chorus; Ade knew the killer horns guys and we were like: “Can you layer something up like the first forty seconds of Blue Train by John Coltrane?".

They sent part the part you hear on Husk and that was it.

Awks is the female voice on the song. She has amazing tones! How did you come to meet her? Do you think she will go far in music?

Doesn’t she just!

She played before us at a show we did down in Shoreditch. We were just like, ‘wow; we’ve gotta get her on a track!’. We ended up getting her on most of them, to be honest. She’s also a really amazing writer.

We’re really blessed to be working with her. She’ll go far – she better take us with her!

With production from – Submotion Orchestra producer – Ruckspin; bass grooves from Chris Hargreaves; horns from Killer Horns in there – it sounds like you had a great crew behind you! Was the recording a blast for you guys? What was your reaction hearing Husk back for the first time?

Ruckspin just did some additional production stuff: beefing up the snare, suggesting extra percussion. James and he went through the track together and sort of pimped it iteratively.

Similarly, with Chris, we’ve worked together in bands for years so it’s super-collaborative. The real new thing on this track was the brass. When that came back, we were like ‘aha! We can do this'. It feels like some really big albums - To Pimp a Butterfly, A Seat at the Table - have really foregrounded the horns; so it felt like we were in safe territory...even though it was new for us…

Is Husk the start of something else? Will Equals release new material in 2018?

Husk will be track-two of our debut album (to be released March 2018).

James and Ade. You have a tight bond. How did you guys meet and form the duo?

We had a mutual friend in the sax player Pete Frasier – though through quite different scenes. Ade knew him through the North London Jazz scene; whereas James knew him from touring together in Tech-Noise bands. When James moved to London, wanting to start a new project, he asked Pete if he knew any vocalists – Ade was the first person he recommended.

The first session we did together just clicked

Ade. You were Amy Winehouse’s backing singer through her career. How instrumental was that time – and what did you learn from her? Do you think there is anyone in music (now) quite like her?

Amy Winehouse is the reason I do what I do.

I dreamt of singing in front of large shoals of people - but thought it was reserved for the 'special' ones. There's a whole production line of Winehouse-type singers, but that's expected. I think, more than anything, my tastes evolved upon working with her - as she would listen to anything she considered dope.

She wanted to make a Wu-Tang album…and she wasn't joking!

Equals’ fanbase extends to BBC Radio 6 Music, The Line of Best Fit and Capital Xtra. How important is this support and growing affection?

It’s really important...

We want people to listen to our music, enjoy it; empathise with it, hear the messages; feel it, think about it. We can only do that with support and exposure. But, its more the human response we get through the exposure that’s important to us - rather than the hype for its own sake.

That’s more a means to an end…

Your sound is a special blend I cannot pinpoint! Which artists did you both grow up listening to? Do you both spend a lot of time crate-digging for modern gold and past glory?

Great question. James’ grew up in the Midlands and has early memories of his parents playing stuff like Pink Floyd. Then, he went to school during the Grunge years with Nivarna, Smashing Pumpkins…that kind of segues into Post-Rock: Slint, Do Make Say Think and  Low.

Ade remembers listening to Kylie Minogue's first album! The production is shocking at times - but the songs still hold up!

In my older years, I listened to whatever I could lay my hands on. I was especially into Hip-Hop, though: Jay-Z, Kanye West; A Tribe Called Quest, Kendrick Lamar and MF Doom. 

The music kind of represents a meeting of these two histories. But, obviously, is influenced by a lot of contemporary stuff, too: Solange, Frank Ocean; Nicolas Jaar, James Blake and Nils Frahm.

It seems East London is the perfect mix of cosmopolitanism and heritage. Is the city a muse that impacts all the music you record?! Do you get a lot of inspiration from the people around you?

Another great question...

It’s has a huge impact. Nearly every track on our new album features field recordings of London - particularly of, in and around Dalston (where we live) and Ade’s lived for most of his life. You can hear one at the end of Husk – a man shouting on Ridley Road market There’s one at the start of the track, too…but this was a bit different. James went around asking people how they felt about getting older - and this was one person’s answer. 

London is many things: a fantastic melting pot of different cultures, music; art and people - but it’s hard too; it takes its toll, wears you down and will spit you out unless you cling on. London sometimes feels a bit like the Internet: its fast, you’re bombarded with information and people you don’t know – but, at the same time, it’s vast; almost limitless and that potential is magnetic and addictive... 

That feeling definitely inspires some of the lyrics on the record.

IN THIS PHOTO: Benin City/PHOTO CREDIT: Cesare De Giglio

Who are the new artists you recommend we check out?

Shout-out to our friend and collaborator Joshua Idehen and his bands, Hugh and Benin City.

U.K. Hip-Hop never gets enough attention. Fellow Londoner Avelino has just dropped his debut album - it's well worth checking out.

We sometimes use a studio in Stoke Newington next to Tom Tripp – if you haven’t heard his stuff yet then you’re not as cool as he is (smiles).

IN THIS PHOTO: Tom Tripp

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

Let's Get It On by Marvin Gaye

If you're a singer; it's cool to examine how seriously you take your craft. He sounds magnificent on the entire damn album. It was my quit-or-be-better-album.

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

Write good lyrics: it’s really important to giving a song depth and giving people a reason to return to it. The speed of culture - and the amount of new stuff coming out all the time now - means you’ve got to give people something more to return to (and dig a little deeper).

There will always be something fresher, newer…but you need quality and longevity to stand out.

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

We’ll be playing an album launch party in London, in March. We’re going all in: full-band; brass, a choir...the works!

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

James hates Christmas and saves up all year to fly away and escape it, and as much of January, as possible. This year brought three nephews into Ade’s life - so its bound to be a big one. It’s always about family for him. Oh...and an alternative bird. He’s gunning for ostrich this year.

Last year he had turkey and goose - big family problems…

________

Follow Equals

 Official:

http://equalsband.com/

Instagram:

https://www.instagram.com/equalsband/

Twitter:

https://twitter.com/theequals

Facebook:

https://www.facebook.com/equalsband/

SoundCloud:

https://soundcloud.com/theequals

Spotify:

https://open.spotify.com/artist/7HGyw7kzatTmJvZCATGWf9

FEATURE: Youth Is Wasted on the Foolish: Why Age-Related Discrimination Is Damaging the Music Industry

FEATURE:

 

Youth Is Wasted on the Foolish:

 PHOTO CREDIT: Unsplash

Why Age-Related Discrimination Is Damaging the Music Industry

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THE legends of music always have the best stories…

PHOTO CREDIT: Getty Images

so it makes me wonder why the industry in which they work is so keen to relegate and marginalise them! I was watching P!nk being interviewed by Graham Norton a few days ago - where she explained how her music is no longer on the playlists of certain radio stations. She can get onto BBC Radio 2 but the younger, ‘hipper’, colleagues at BBC Radio 1 have consigned her to the dustbin of nostalgia and Get the Party Started. Even though P!nk’s most-famous hit was released fourteen years ago; the teenage progeny of time does not mean she is a different human – her music is more mature and grown-up now. The aforementioned track is a banger, for sure, and one that, if released today, could get on regular rotation on the finest stations around. I wonder why an artist who has gained respect and enjoyed a career spanning this number of years is struggling to get the same sort of attention as she enjoyed in the early-2000s. One can argue quality is an important factor: her newer material a bit more easy on the body (translation: for a middle-aged audience). The Equality Act is a law which protects people from discrimination. It means that discrimination or unfair treatment on the basis of certain personal characteristics, such as age, is now against the law in almost all cases.

IN THIS PHOTO: P!nk/PHOTO CREDIT: Andrew MacPherson

That is the law and applies to the workplace. I wonder why there are laxer laws and morals when it comes to music! If the radio stations/industry was transported into the real-world environment then you would find a lot of tribunals and complaints being lodged. Now, as music is immune from such laws, they can operate in a much less compassionate fair-minded manner. There are some who say, because most music is digital these days, any artist can release music – nobody would see their face or know their age. That is fine in principle but, when it comes to performing that song on T.V., that artist would be rumbled (unless they invested in cosmetics). A couple of years ago, when Madonna released her single, Living for Love, she was bumped from the BBC Radio 1 playlist. I caught a piece in the Independent that documented the case; the reaction Madonna provided – and why her comments opened eyes:

"I was like, 'Wait a second. Shouldn't it be to do with whether you wrote a good, catchy pop song?” she said.

"My manager said to me, 'If you're not in your twenties, it's hard. You might get your record played in your thirties. There's a handful of people who do - Pharrell [41] got lucky. But if you're in your fifties, you can forget it'.

Listen to Madonna’s music since her early-1980s beginnings and one will not see a degradation and downward trajectory. In fact, when Ray of Light arrived in 1998, Madonna was in her late-thirties. That would seem like the approaching flutter of death to a station like BBC Radio 1. Consider that album is regarded as a pivotal moment, not only in her career, but the move of Electronic music from the underground to the mainstream – surely, that proves why the issue of age is, well…not an issue. The fact Madonna was nearing forty at that time means she had the experience and determination to make an album that pushed on from her early work and subverted expectation. Since then; she has racked up some stunning albums and continues to crack out defiant and vivacious music. The same piece brought some business-minded, alarming comments to the world:

“George Ergatoudis, who chairs the weekly playlist meetings, was asked in February 2014 whether he would play Madonna's next single if she agreed to appear at Radio 1's Big Weekend.

"We've got to concentrate on [people aged] 15-30,” he said.

"We have to bring our average age down. That's something we're very conscious of.

"The vast majority of people who like Madonna, who like her music now, are over 30 and frankly, we've moved on from Madonna."

The policy has not stopped 72-year-old Paul McCartney being played, via his collaboration Rihanna and Kanye West on "Four Five Seconds", or many artists over the age of 30 like Foo Fighters frontman Dave Grohl”.

These comments show what an alarmingly rigid and foolish policy some of our radio stations adopt. I know BBC Radio 1 is a (stupid) exception but it is one of the most-heard stations in the country! It is where a lot of young listeners go to get their fix of the hottest new sounds and artists who are being tipped for great things. How are they going to know where music came from, and the icons who pushed it to this point, if they do not have exposure to the music? Digital platforms promote new music and it is less likely listener of a certain age (younger) are going to explore the annals and archives. Radio is the portal for the finest older and new music – having such a tight age-bracket seems ludicrous! Is it the case where you have to be under thirty to get onto the ‘cool’ station; between thirty and fifty to get onto the ‘popular’ station – if you are over fifty then you might as well build your own station! Look at articles related to ageism in music and you will find everyone from Mel C, Sheryl Crow and Yoko Ono talking about. In fact, Sheryl Crow released new music this year (the album, Be Myself) and discussed the issue of age with Hello Giggles:

"The younger rock and pop stuff is very sexual and in some ways, it’s being used to illustrate having power. For older women, it feels ageist when everything is geared toward 15- to 25-year-olds," she said. "But I’ll be honest, in some ways, it’s liberating. I wanna make sure that the young female artists like Lorde, who are creating beautiful artistry, know that there’s power in that. There’s power in what Adele does when she just stands there and sings. "There’s as much power in that if not more than there is in projecting sexual images which are fine and all, but not to be misconstrued as being about beauty or power. "Women are powerful for many reasons, not just their bodies."

IN THIS PHOTO: Sheryl Crow/PHOTO CREDIT: Mark Seliger

The title of Crow’s album seems bitterly ironic given the fact remaining who she is causing commercial erosion and comparative anonymity. Listen to one of her 1990s songs like Everyday Is a Winding Road and her new material and, in terms of subject, there are very few changes. The arrival of motherhood and new responsibilities have not dampened her prowess and mental acuity. Crow is the same sharp writer and compelling singer she was when her name was all over the press. There are, sure, more songs that look at maternal/domestic ideals but, when you consider many young artists are talking about shallow and deplorable subjects – why should the older, wiser artist suffer?! Tori Amos, when quizzed about the subject of ageism in her (2014) record Unrepentant Geraldines, was pragmatic and impressively calm:

“Well, I think there’s a real reason why. There are more men getting frontline record deals 50 and up than women. The culture sees women 50 and up as being vital for telling stories now. If we’re looking at men making records, they’re talking about all kinds of things that people of all ages can relate to, not just from the perspective of a 50-year-old guy singing a song. It could be that way for women. Does our culture see men as they get experience and getting older as storytellers more attractive and pleasing to hear?

 IN THIS PHOTO: Tori Amos/PHOTO CREDIT: Getty Image

I think what I’ve been trying to do for myself is begin to see that you have to be telling stories that are vital. You have to be very aware of what’s happening in the world and you cannot succumb to the projection of the masses. Other women who are my age said to me, ‘You have got to see yourself as all your creations, and it has to be the vision of yourself and then build a shape of that. Look at that like a piece of architecture, and from the time you turn 50, you’re going to extend this shape and this building that will go on for the next thirty, forty years of your life”.

I am not bringing all these interviews into the mix to save my hands – more to show that, over the years, many artists have come through and said the same thing: they reach a certain age and their careers are endangered and limited. That Amos interview was back in 2014; Madonna came forward in 2015; Yoko Ono – who embraced/embraces growing old and is in rude form – was around the same time. There are patterns emerging. For a start; there are very few men coming forward claiming age discrimination. We have those old and legendary male musicians but now, given the age restrictions, how many mature female artists will be in the mindset years from now?! Madonna has endured because her music hit its peak at a time when streaming and stringent marketing rules were not in place. There were the same barriers back in the 1990s - but I was listening to the radio back then and would hear a mix of young and older artists on the same stations. The last few years have exacerbated the problem of ageism.

IN THIS PHOTO: Jay-Z/PHOTO CREDIT: Nathaniel Goldberg 

There is that debate that concerns quality vs. age. Why, then, are many older acts like Jay-Z getting credible radio-play; why are bands like Foo Fighters still being played on BBC Radio 1 – whereas acts like P!nk and Madonna are being stricken from their playlists?! One can argue, regardless of age, the best sounds will find themselves played on ALL stations. This is stringently not true. I saw a piece, written a few years back, that claimed ageism was old-hat. The journalist felt many great male acts were hyped and lauded by the kids – it is clearly an issue of quality and promoting those who have the same skill and abilities (as in their) heyday. I could easily say the latest Foo Fighters record is weaker than the sort of material Madonna was pumping out in 2005. The Madonna record, Confessions on a Dance Floor, was unveiled and gained big critical respect. She was, I think, forty-six/seven when that album came out! Look at Dave Grohl’s band and their latest album, Concrete and Gold. That record scored weaker reviews, and yet Dave Grohl is forty-eight – older than Madonna was when she released a superior record. She struggled to get the hits on her record played on a certain station: Grohl does not have to fight the D.J.s to ensure the latest Foos tracks get adequate oxygen!

IMAGE CREDIT: Getty Images

Legends like Sir Paul McCartney, Stevie Wonder and Robert Plant are capable of releasing sensational, inspiring music – even though they are getting on in years! I doubt Robert Plant’s excellent album, Carry Fire, was in the minds of certain radio stations (we know which ones) this year. You can argue about quality all you look but what they mean is ‘cool’. It is all very well being Eminem, Jay-Z and Dre. Dre - because those guys are seen as cooler and more hip. The icons of Hip-Hop are good: the ensuing recipients of hip ops are less fashionable! There is sexism in the equation but, above all, there is a stuck-up and condescending attitude that objectifies artists who are deemed ‘too old’ or ‘past it’. Many female artists are being pushed aside but the problem extends to both genders. It is good having stations like BBC Radio 6 Music and BBC Radio 2 play your music but there are dozens of other brands that instantly ostracise certain acts – castigated because of age; without anyone listening to see if their music carries any weight and relevance. I feel a new forty-year-old artist could pen the modern-day equivalent of Revolver but, if a station head sees their age next to the album, they have no chance of getting it through the door.

IN THIS PHOTO: Sir Paul McCartney/PHOTO CREDIT: Mary McCartney

You can’t honestly argue the stations who are ageist are placing quality and innovation over all-inclusiveness, surely?! Listen to a sample buffet of youth-orientated songs and it is enough to shrivel the testicles and turn one into a cloistered monk – so they can evade music for the rest of their life! I am a big fan of newer Pop acts like Lorde but one wonders, when she exceeds thirty, the same stations who are proclaiming her a genius now will turn their backs later down the line. She could release much finer material but, because she does not fit in with their demographic; that is it for you, I’m afraid! I listen to an album like Ray of Light and marvel at its invention and longevity. It is a record that exceeds the standards of anything being pumped out by today’s young.

IN THIS PHOTO: Lorde/PHOTO CREDIT: Mark Mahaney (for TIME)

We are living in a time when music’s quality and passion does not matter in the grand scheme. Yes, age is a number - but it is budgeted and judged as harshly as anything in the music industry. Should we reject and retire artists when they get past thirty?! Do we assume what is being played on stations like BBC Radio 1 is the finest and most relevant music around?! The answer to both is a fat and assured ‘no’! We are making breakthroughs (slight as they are) regards racism and sexism in the music industry. Ageism is still that ‘taboo’ and the smelly derelict that is left on the bench to fester – poked with a stick now and then to check if he/she is still alive. We cannot incubate an issue that is curtailing and quelling the careers of musicians who have given so much to the industry – they are being retired-off without any dignity or explanation. I shall leave you with words spoken by the eighty-four-year-old Yoko Ono – when she was asked about her age and whether she should ‘act it’.

“I am covering my ears not to listen to you guys! Don’t stone me! Let me be! Love me plenty for what I am!”

Those words are far wiser and smarter than anything the self-anointed, too-cool-for-school…

ART CREDIT: Yoko Ono/SOURCE: Acorn (Yoko Ono, 2013)

FOOLISH radio bosses (of youth-based stations) have ever said!

INTERVIEW: Tina Karol

INTERVIEW:

Tina Karol

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A lot of people outside of Ukraine…

might be unfamiliar with the wonders of Tina Karol. In fact; she has a large following around the world - but the U.K. is a territory where many unsigned and undiscovered fans exist. I have been interviewing the songwriter about the track, Blindfold, and whether 2018 will see any new material arriving. I ask Tina Karol about her career so far and what the scene is like where she is; what her latest album is all about – and what it was like working with Yoad Nevo.

I ask about her charity, Polyus Prityazhenia, and whether she will continue to commit to that work next year. I learn more about Tina Karol’s favourite music and what inspired her work; how she will spend this Christmas – and how her busy touring schedule is going at the moment.

________

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

Hi! I am very busy...

I'm currently on the Intonations tour - with a rammed, packed week full of performances (with only two days off a week). I love the stage very much and, for me, a day off is real torture. Haha! I’m having a great time; especially as I’m getting to know my new drummer, Devon Taylor.

He previously played with Rita Ora and Justin Bieber!

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

My name is Tina Karol. Singing is my life, as are my lyrics…but I’m easy-going (laughs).

Blindfold is the new single. What is the story behind the song?

Blindfold is a mix of Slavic melodies and Trip-Hop beats. Such combinations usually don’t meet and this, for me, makes the song very valuable.

It has quite a sweeping and epic sound. It seems like it could score a film or dramatic scene. Did you have this in mind when putting the song together?

Of course.

After all; the story of this song is like a real dramatic film. I have a lot of stories: all songs are infused with my personal experiences.

The video was created alongside Gloria FX Studio. It seems like it was an amazing, immersive experience! What are your feelings looking back at it?

This was a colossal experience because Gloria FX Studios used a whole set of special-effects with invisibility-motion and live-animation with the flowers - and the dress turned into Sakura branches.

I had black dots all over my body, with markers, as the flowers blossomed out of the dots in a video - this was in order for them to catch all the detailed facial expressions. I looked really funny and then, for a long time, I couldn’t wash those dots off...

It looked very funny. I loved it!

You have a new album out – and have already released six records. What can we expect from your new L.P. in terms of themes, sounds and songs?

All my songs have a huge focus on the lyrics; with a touch of love songs. The album is a blend of influences from traditional music from my home to Trip-Hop beats from my favourite current artists.

It’s a real mix…you’ll have to wait and see…

Yoad Nevo has been brought in to the fold. What was it like working with such a legend?

Exciting and fascinating at the same time.

The most effective thing Yoad taught me was to not worry too much; to enjoy it - especially if, on one day, we do not achieve something new. At first, I thought that every day there should be an obvious result because, sometimes, if you don’t achieve something new, that is result in itself.

In the past; you have finished seventh in the Eurovision Song Contest (representing Ukraine); been a judge on The Voice Kids (Ukraine) and The Voice (Ukraine). How important and instrumental have these experiences been? Do you feel like you have been able to change lives and help other artists by featuring on these shows?

Yes. I'm happy to share my experience with people who dream of showing themselves; find themselves and understand their charisma. I'm not greedy enough to disclose vocal secrets for the show participants: my mission is to inspire, please people and increase the talent that the Lord has given me.

What is the modern music scene like in Ukraine? Is there quite a thriving and varied market?

Recently, it has been a thriving and attractive market for World music majors. We have a very talented generation that is free from the Iron Curtain - which was imposed and grafted to our parents.

You have won awards and accolades but it seems like your charity, Polyus Prityazhenia, provides a greater reward! Tell me about it and the work you do?

The ‘Pole of Attraction’ foundation has existed since 2014. It’s been carrying out its activities through my personal financing. I always give a percentage of my earnings to the fund. It buys all necessary medical equipment and medicines for children’s oncology departments  - in hospitals all over Ukraine.

The aid has been provided to twenty-eight cities so far.

I am interesting learning about the music you were raised on. Which artists inspired you growing up?

Frankly speaking; I can’t name anyone in particular…

I’ve always listened to lots of absolutely different music. I’m a big fan of music as a whole - not this or that artist - and I try to learn from all styles - from Classic music to Rock.

Who are the new artists you recommend we check out

I would recommend you listen to Malbec. They are band from St. Petersburg.

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

My first would be a collection of Ravel's works. I love expressionism.

Also; I would choose the first album from David Bowie (David Bowie) - for the courage of its experimentation.

Also; the album Dead Can Dance (by Dead Can Dance) for its mysticism.

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

Do your job sincerely: the reward will find its hero!

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

Right now, I'm in the all-Ukrainian tour of Intonations: thirty-five cities in Ukraine; more than fifty-five solo concerts in total.

I also created an album of national Ukrainian Christmas songs called Carols. With this album; I will be performing, in January, in the U.S.A.

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

I want to spend Christmas with my family and my beloved son.

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).

Play the song of your soul! Improvise…

________

Follow Tina Karol

Official:

http://tinakarol.com/en/

Facebook:

https://www.facebook.com/tina.karol/

Twitter:

https://twitter.com/Tina_Karol

YouTube:

https://www.youtube.com/channel/UCwAr1IB7M4_aEpNNZo3zQtQ

Spotify:

https://open.spotify.com/artist/0W3C8tSz8ERP2t37m6Ru6r 

FEATURE: Mighty Rearrangers: How Fantastic Programming, Sequencing and Tracklisting Can Define an Album

FEATURE:

 

Mighty Rearrangers:

  PHOTO CREDITS (unless stated otherwise): Getty Images

How Fantastic Programming, Sequencing and Tracklisting Can Define an Album

___________

THE way an album is arranged and organised is not…

something many of us thinks about! Maybe it is a side-effect of the Internet generation; perhaps we do not listen to albums in their entirety. This piece was sparked by Fleetwood Mac’s Rumours. There are few near-perfect albums in this world: this would certainly be one of them. It is a rare record where you cannot fault the quality of the songs – there is not a weak track on the album. I am amazed the record was made, let alone sounds so good – the band were going through arguments, break-ups and serious drug abuse during the recording and release. Even though leader Lindsey Buckingham exerted most productive control; the music was from the entire band and it is the effort of each person in Fleetwood Mac that makes it so special. Whether it is Stevie Nicks’ Dreams – a song the band were not too keen on; she was given little time to record it, considering her ex-boyfriend Buckingham was guiding things – or the incredible Songbird (Christine McVie); the group togetherness of The Chain; Buckingham’s Go Your Own Way or the hopeful Don’t Stop (another McVie song) – so much wonder and treasure! I adore the album and never feel like it has Buckingham’s spit and fingers in every corner. It is a group recording and one that sounds astonishing considering the circumstances and times. What struck me – when listening to it – was how the album’s best moments are in the first half.

You have Dreams, Go Your Own Way and Don’t Stop near the top (Songbird in the opening half); The Chain is, debatably, the strongest cut on the second side. I was wondering whether the album would benefit from a slight rearrangement – the nerve of someone like me saying that! I feel The Chain is that huge song that you are exhausted after hearing it. It seems like a finale and the culmination of everything that has come before; the final chapter in the book and the bright and redemptive ending. How about having something as entrancing and spectral as Gold Dust Woman coming up behind Dreams (track three); shifting Never Going Back Again nearer the end?! There are two Buckingham songs in the opening trio of songs – Second Hand News and Never Going Back Again – with Dreams in the middle. I wonder whether Rumours starts too mellow and acoustic. Thinking with fresh eyes and I realise the tracklisting is spot-on! You could not have Gold Dust Woman that high because it is like the twilight and night coming in; Oh Daddy, just before it, is another sexy and alluring song; You Make Loving Fun another saucy and sexual song – it was written by Christine McVie and was about the lighting technician she was having an affair with (she was married to John McVie at the time).

The album is brilliant as it is and all the tracks are where they should be. Aside from Dreams; the first half of the record seems to be the daylight and the sort of awakening emotions and tensions that would have been present in the band; the latter half is the night and encroaching darkness – and all the tease, temptation and duplicity that comes with it. Ken Caillat and Richard Dashut produced with the band and, between them, the record was released to an unexpected audience in 1977. I have been thinking, if the tracks were in a different order, would our enjoyment be different?! We can argue whether the listing is perfect but I feel the emotional and sonic distribution is right. There is a stronger first half but the final songs are more brooding and deep – the bigger hits near the top and those detailed and nuanced songs at the end. If you were to randomly shuffle the songs then, even though they are the same songs, the listening experience would be vastly different, Imagine opening Rumours with You Make Loving Fun and then having The Chain; ending with the one-two of Dreams and Second Hand News?! You can quibble whether Rumours is the greatest album ever – there are some who claim it is – but one cannot deny how essential the flow and movement of the music is to the overall whole. A badly arranged record can be a disaster for a group...

Many felt U2’s Pop (1997) did not get as many great reviews as it did because its biggest songs were nearer the top. Although the band do not play the album’s songs anymore – and were dissatisfied with the final product – there are some who feel the record is too weird, bold and wild. Some critics felt it represented nadir and a lacking inspiration – it would be three years before U2 released All That You Can’t Leve Behind. I feel Pop fails because it is too scattershot and fragmented. Songs are all over the place and it as though the producers tried to make something as trippy and disconnected as possible. Spending more time with the band, and working out a more sensible and logical tracklisting, would have created a more cohesive and less abrasive album. An interesting article from Billboard asked whether we dispose of albums after a few song – how important it is to get the hits near the top:

“…Such data suggests that the earlier a song appears on an album, the more likely a listener is to stream it. At the same time, a music consumer's attention span may be even shorter than any artist wants to believe. "Everyone's doing 20 different things at once: listening to music, watching TV, and probably while on their iPad," Rdio content marketing manager Kelli Fannon says. "When it comes to taking an hour to listen to an album in its entirety, I have all the best intentions in the world myself. But, ultimately, I can only get through the first three or four songs before the phone rings, or someone asks me a question, or I have a meeting I have to run to…”

When the article used Mumford & Sons’ Babel as an example; this point was made:

“The best lesson to take from studying albums' track sequences may be that even in an era of streaming, in which listener behavior seemingly reflects a tendency to sample only portions of releases, the album format appears to have a bright future. Per the Oct. 13 On-Demand Songs chart, the 11 cuts that debuted from Babel each totaled robust sums of between 555,000 and 330,000 on-demands streams, according to Nielsen BDS. Says Spotify chief content officer Ken Parks, "The fairly even distribution of listens across all the tracks on that record means that people are enjoying that music as a cohesive collection."

There are two points that we need to consider when thinking of modern albums and streaming: how people will digest an album when downloading and streaming it; how those who buy a physical product will view it. Musicians, when putting an album out today, often have to market it to two different audiences. Back when there were only vinyl and cassette options; the music had to fit on one a couple of sides. Artists knew how they wanted to end the first half before the listener flipped over the vinyl/tape. Not only was there no Internet but it was harder to skip forward a record or tape – the latter involved precise fast-forward and guessing when it came to locating specific songs!

IMAGE CREDIT: Freepik

There are those who buy vinyl and C.D.s but more and more of us are getting our music through services like Spotify and Apple Music. Before I carry on with my piece; I have been reading a 2008 piece from The Guardian that brought A&R man Hugo Turquet into the argument – and asked about getting the order right and whether good sequencing was important...

“According to Turquet, bands choose tracklistings themselves - aided by their manager - although they'll usually have heard a record company voice saying "we want the strong songs first". However, he warns against "front-loading" an album with big singles - if you play all your ace cards too early, the listener might not make it to the end - perhaps the reverse of the Fratellis.

Looking at a couple of classic albums, Turquet's formula seems about right. Nirvana's Nevermind opens with Smells Like Teen Spirit. Come As You Are and Lithium appear fairly early, and the strong kidnap-song Polly ends side one. The dark, lengthy Something In The Way similarly provides an epic album closer. Blur's Parklife also opens with smash hit Girls And Boys; the Phil Daniels-sung smash Parklife appears four tracks in, while the huge, melancholy ballad This Is A Low appears just before the end (the actual closer is the one minute long organ whirl Lot 105 - another occasional theme, the novelty-track ending).

 The opener isn't always a big hit single. The Smiths' classic The Queen Is Dead opens with the rampaging title track ... but imagine it kicking off with the playful Vicar In A Tutu? The whole album just wouldn't have had the same momentum. Peter Hook of Joy Division and New Order - responsible for sequencing a fair few classic albums in their time, aided by manager Rob Gretton - compares choosing an album's track listing to pacing a live set. "Build up ... slow down ... with a big finish."

So do record labels ever intervene? According to Turquet, really heavy record company involvement only occurs when an artist asks them to, or submits something that is clearly disastrous.

"I've had people come in and they've forgotten to put the singles on the album," he says. "They used to do that in the 60s when singles sales were much bigger. Oasis didn't put Whatever on their album, but nowadays you're so desperate to sell albums you want everything on there."

And ideally, in the most artistically and commercially beneficial order. But perhaps bands like the Fratellis shouldn't get too hung up on sequencing. Downloading means it may soon be a dying art - we can cherry pick the tracks we want and, with iPods, order them how we like. I couldn't get a comment from the Fratellis camp to justify their selection, so took the liberty of shuffling Here We Stand around, making it ten minutes shorter and kicking off with Babydoll. I'm not sure if it's a classic, but I much prefer it”.

There are some interesting points raised at it seems there are some universal truths. Those committing to listening to an entire album will want one of the strongest numbers at the top; the finest songs should not all be crammed near the start – there should be an equal distribution. You need to end with one of the stronger songs and ensure any similar-sounding numbers are not close together. In effect, you want to have an equally solid start and end but make sure you build up to a great finale. There are classic albums with a dodgy song on them – even The Beatles suffer that! – and it is important to make sure that song comes near the middle (so you are not disappointed early but build to an improvement). I have heard some incredible albums where there are some duff tracks nearer the top. Although The Libertines’ eponymous record was marred by fights and a band on the precipice of destruction; the music – like that on Rumours – is heightened because of the tensions and urgency in the studio. I am not sure how Don’t Be Shy made it onto that album to begin with - having it third in the running order takes a lot of wind out of the album. The fact The Man Who Would Be King arrives swiftly to restore order is no excuse. I wonder what the band was thinking and why they felt that song needed to be in there. I feel Don’t Be Shy should have been stuffed after tracks ten or eleven.

PHOTO CREDIT: iStock

One can debate whether terrific albums with a bad track should are ruined by that inclusion – or a simple rejig would have made that omissions forgivable – but I feel artists, if they have a bad track on their album, need to think about where it appears. The term ‘bad’ might be subjective but it is vital ensuring those big hits are not all together and near the start of an album. In an age where we are downloading/buying songs, as opposed to full albums, I wonder whether there are few records that hold attention from beginning to end. Bands/artists can put out an incredible set of songs but if the finest numbers are right at the end – and the attention has wandered before then – or the orgasm has come too soon; are people going to stick with streaming and handpick their favourite songs?! I feel this year’s best albums have been established as such because they have fantastic songs on them – but manage to arrange them perfectly so critics and fans are hooked right the way through. I come back to Rumours and realise what a different album it would have been was it not for a sage and sensible tracklisting. Having that genius on a record does not mean no matter what order the songs are in, it will be a success. Every classic album is capable of faltering for a number of reasons. I have heard some potential-great albums this year and they have been let down by their tracklisting and balance – packing all the best songs near the top and not considering listeners who want to listen to the album in one go! Even in a time when people are listening to albums in bits; unconventional ways and inorganically; it is paramount ever artist takes the trouble to get…

PHOTO CREDIT: iStock

THE sequencing just right.

FEATURE: Celebration and Resolutions: 2017’s Best and the Promise of 2018

FEATURE:

 

Celebration and Resolutions:

 IN THIS PHOTO: IDLES/PHOTO CREDIT: Naomi Wood   

2017’s Best and the Promise of 2018

___________

I have spoken about the shift from Pop's mainstream…

IN THIS PHOTO: Jorja Smith/PHOTO CREDIT: Ebru Yildiz

dominance and a recognition of genres like Hip-Hop and Rap. Here; the Mercury Music Prize continued its eclectic and, at times, eccentric nominations (having Ed Sheeran and J Hus on the same list) whereas, a few days back, The Grammys brought out its nominations. There is a definite push, at the biggest award shows, to include black artists and genres that have to fight hard to silence the biggest Pop stars around. There is a long way to go in music – for award shows and creating equality – but I am hopeful more positive steps will be made. I would like to see women provided more opportunities and have their voices heard – there are still issues when it comes the male-female ratio of award nominees and festival headliners – and black artists kept in the spotlight. Away from the politics and discussions we could have; the problems that need to be addressed and positives that require conservation – it is worth noting all the good things that have come from music. Lorde released Melodrama earlier in the year and amazed me with its depths, addictiveness and quality. I was not expecting to fall for a great Pop album but I did – and have not looked back. The New Zealand songwriter has had an amazing year and created a fantastic record.

IN THIS PHOTO: Lorde/PHOTO CREDIT: Getty Images

There has been a raft of brilliant Hip-Hop/Rap albums this year and it seems the tone and nature of popular music is starting to shift. There is a split whereby polls such as BBC’s – and their tips of 2018’s best – are focusing on Pop whereas award shows and the mainstream seems to be welcoming and promoting Hip-Hop. It is interesting seeing this happen but I am excited to see this continue. We cannot keep the mainstream as it is and have to accept things will change. I am glad seeing artists like Jay-Z and Kendrick Lamar receive Grammy nominations. Jay-Z created a career-best album in 4:44; Kendrick Lamar is on a real roll and brought out the tremendous DAMN. earlier this year – an album that could top many critics’ end-of-year lists. I am amazed how many great Hip-Hop/Rap albums are coming and some of the newer examples. Princess Nokia has impressed me this year and produced wonderful singles – ABCs of New York is a song that shows what she is made of. Cardi B and SZA are artists who are two terrific black female artists who are primed to do great things in 2018 – the latter received a raft of Grammy nominations and has been courting press recently. I think this year has seen a shift from the rather commercial and bland Pop tastes – we can all name a few acts that fall into the category – and an awakening to the real and substantial music that is out there.

IN THIS PHOTO: Kendrick Lamar/PHOTO CREDIT: Getty Images

Of course, there are plenty of fake and hollow Pop stars continuing to get credit: their dominance and rise is starting to dwindle. I feel the finest albums of the year have been those from artists who pride musicianship and nuance over quick money and streaming figures. We are in a modern time but the greatest achievements from 2017 are those that nod to the past and preserve music’s traditions. From Kendrick Lamar and SZA to Jay-Z and Thundercat; it has been a great year for decent music. I have not even mentioned Thundercat and his exceptional album, Drunk. It is an ambitious, long and adventurous record that has graced many critics’ favourite albums of 2017 so far – BBC Radio 6 Music crowned it as such – and it shows what an extraordinary force he is. I cannot wait to see what he comes up with in the future but his current album is a gorgeous and soulful selection of songs that get into the heart and remain with you. That record was in my top-twenty and I am going to follow Thundercat’s career closely. In my top-ten have been records from Queens of the Stone Age, Dizzee Rascal and Robert Plant; Benjamin Clementine and Baxter Dury. There are some familiar faces in there but, the more I think about the best of this year, the more I revise my thoughts and wonder whether the likes of Thundercat should have been higher in my thoughts.

IN THIS PHOTO: Thundercat/PHOTO CREDIT: Getty Images

One of the best things from this year has been discovering new acts and hopefuls – from the radio and the course of my travels. I have discovered some great independent artists but there are radio-played acts that have caught my ear. Phoebe Bridgers and Jordan Rakei are two artists I am excited about; bands like Django Django (not new but still brilliant) are in my thoughts – IDLES are the guys that stand aside. The Bristol Punk/Alternative band was robbed of a Mercury Music Prize when their sensational Brutalism was unleashed on the world. I have been dubious regarding bands and how meaningful they have been this year. There are too many generic and predictable options who fail to bring the punch and wonder. IDLES are renowned for their fantastic live performances but you get a sense of what they are about on the album. It has been championed by a lot of D.J.s but I feel it has been denied by high-profile sources. I know the guys will continue to pervade and strike but I worry a genuine and forward-thinking band have been overlooked. They are among a small selection of groups who are original and have the potential to remain. Maybe it will take a little longer for the critical world to wake up but IDLES are not going away anytime soon.

PHOTO CREDIT: Getty Images

This year has been fantastic when it comes to the underground and the best of the new breed. I do not have time to put them all here, but I know there are some terrific acts coming through who will make a big difference in music. The best albums of this year are, perhaps, not as strong as last year’s but some wonderful L.P.s have been released. I am optimistic there are going to be sensational albums out next year and some further shifts. I am worried the band market is struggling but pleased genres like Hip-Hop and Rap have been pushed further towards the forefront. The mainstream has a few questionable acts gaining traction but the new Pop artists coming through seem to have more structure and promise than artists from previous years. It is going to be interesting seeing how the industry changes. I will provide my list of artists to watch in 2018 in a couple of weeks but there are some upcoming artists who, I feel, will be doing good things in 2018…

IN THIS PHOTO: Camila Cabello/PHOTO CREDIT: Getty Images

I will talk about the likes of Camila Cabello and how Pop music will shape up in 2018 but, reflecting my own thoughts, a few acts that have been tipped by Pitchfork. Jorja Smith is a name I am very familiar with and have been following her music for a long time now. Songs such as Blues Lights (which samples Dizzee Rascal’s Sirens) meant she was included in BBC Music’s Sound of 2016 rundown – and has made steps since then. There is something sensational and wonderful in her voice and, when looking at the piece she conducted with Pitchfork earlier this year - there were some interesting points that came out:

“In the wake of the success of “On My Mind,” Smith says people keep asking her to make more upbeat tracks for the album, but she’s already made up her mind. “No, sorry,” she says unapologetically, answering a potential would-be opportunist. “Do you just want me to write an upbeat song because you want one?” Then again, it doesn’t mean we’ll never hear another uptempo track from Jorja Smith. “I’m not gonna just disappear after one album,” she says. “You’ve got a whole lot of time to hear more from me.”

PHOTO CREDIT: Ebru Yildiz

There is a grounded and pragmatic personality inside Jorja Smith. She is a modern youth but not someone who is going to be guided by marketing forces and record label demands Her voice has a sultriness and seductive quality but there is toughness and direction. She has malleability and versatility that will see her continue to succeed and grow. When talking about labels; she was keen to express her independence:

“It’s not even about what I don’t like. I just like what I’m doing right now without getting a label involved. So why would I change it at the moment when we’re doing well? I don’t want to mess up that structure just yet”.

I am pumped seeing where she head and how far she can go! It is clear she has driving ambition and does not want to be exploited and guided by labels. That determination and clear-sight will see her forge a unique path and rise to the mainstream. When she is there; I know she will exert a lot of pressure and influence the market. Remaining pure, focused and true is what goes into the music; it is how she comes across – and the way she wants to stay.

IN THIS PHOTO: Sudan Archives/PHOTO CREDIT: Kristyna Archer

Another star featured in Pitchfork’s rundown was Sudan Archives. She is a striking and tough figure who, earlier in the year, gave us the exceptional Time. It is clear the American artist has a lot of potential and, when the website were featuring her; they were struck by the complexities and qualities she possesses:

“In person, Parks is sweeter than a line like that implies, but she’s no pushover. She’s model-thin with dancing eyes and natural curls, but her boho artistic sheen remains her most arresting quality. Sitting in a café in her current hometown of Los Angeles alongside a display case full of vegan, dried-fruit-studded pastries, she’s oblivious to any attention she attracts as she pours fresh-squeezed orange juice over ice”.

There are a few great newcomers that have the potential to ascend from their home nations and make it internationally. Sudan Archives captivates with her fashion and looks; her personality explodes and bursts with colours and exotic scents. She has such an alluring and wonderful aura; you gravitate towards her without a word being sung. I am interesting seeing where she goes and how her career shapes up in 2018. The material she has released so far has been instilled with her variegated D.N.A. and exceptional voice. It comes from someone who is modest and rather humble:

PHOTO CREDIT: Kristyna Archer

“In fact, at this point, with her music gaining more praise and fans with each passing week, Parks is a bit shellshocked. “I didn’t expect people to take it so positively. I felt like I was gonna be more misunderstood than anything, ’cause that’s how it’s always been,” she says. “I wasn’t the kid that was lonely, but sometimes I felt like a ghost.”

IN THIS PHOTO: YXNG Bane/PHOTO CREDIT: Getty Images

YXNG Bane is a rapper from the East End and has gained attention following his remix of Ed Sheeran’s Shape of You. He broke through with his single, Rihanna, and has been included in the BBC’s list of acts to watch next year. He is new to the industry but it seems like he has potential to go far and make some headway. He knows Rap music needs to compete with the best of the U.S. – our finest artists cannot compete with the range and quality of America. YXNG Bane is hoping to bring a sense of purpose to the scene, and with it, a confidence boost that has been missing. We have Grime/Rap stars like Skepta, Stormzy and Dizzee Rascal but there is a need breed emerging. I am keen to see what he can come up with and how far he can go in the industry. It is always hard being part of a list that promotes the best new artists of the year – having to prove that place and make some quick moves. The young rapper will not hurry into releases: he has been building a following and is one of those performers to keep an eye out for.

IN THIS PHOTO: Tayá  /PHOTO CREDIT: Getty Images

There are some great female Pop artists who could come into the same league as Lorde – rather than the more lifeless and commercial brand. Ashe is someone I have proffered a lot and has had her vocals approved by D.J./production duo Louis the Child. There are many ears turning her way and it seems like 2018 is an important one for her. Used to It, her catchy single from this year, matches controversial and provocative verses with thudding and singalong choruses. It is a classic Pop slice that has turned many heads. I have mentioned Camila Cabello (pictured above) as someone who could make moves and breaks next year. Tayá was discovered aged thirteen after attending a local choir; the Liverpool singer-songwriter has spent the past few years perfecting her music and is a bold artist who is ready to break into the mainstream. When Ur Sober, a collaboration with fellow Yxng Bane, shows what a turbulent emotional time she has had! She went on to support Zara Larsson and is someone who can fit into a packed Pop market – alongside the more credible options. Camila Cabello, with her hit song Havana, amazed critics and it has converted many to Pop. It has some exotic flair and Cuban heels; sassiness and sweat; a sway and punch that means its depths and contrasts make it more appealing and long-lasting than many songs out there!

IN THIS PHOTO: Camila Cabello/PHOTO CREDIT: Camia Cabello

Two other female artists who could make some big moves are Billie Eilish and IAMDDB. They are both on BBC’s Longlist of artists to watch in 2018 and with good reason: both have created sensational music and have a distinct personality. Manchester’s IAMDDB was taught Jazz by her father and had a six-month stay in Angola – she returned to the U.K. with a scattershot musicianship and exposure to African sounds. She has been compared to SZA and the best female artists out there. Maybe there is a bit of Jazz and Soul here and there but the most interesting aspect of her music is the installation and distribution of international flows and beats – there are bits of Africa and Europe working alongside one another. I know she will continue to get attention and her music will reach new heights. It is great to see a fantastic British artist take her own path and not follow the herd. I expect her to cement her reputation and continue to compel and entrance. A tough and confidently artist whose attitude and boldness do not get in the way of quality and likeability – she is an artist who captures the heart but takes no nonsense from anyone!

IN THIS PHOTO: IAMDDB/PHOTO CREDIT: Getty Images

Billie Eilish is a young star but someone who is already assured and making moves. Not only does she have the ears and eyes of critics; she is shaping up to be one of the most respectable and inspiring artists coming through. I have mentioned Phoebe Bridgers – who has a different slant and take – but they are both young artists who take control of their music and look set to put their stamp on 2018’s music. I wonder whether her young years (she is fifteen) means that pressure and expectation could weight quite heavily. I know she will overcome and is a stunning songwriter who is starting to get the respect and pulpit she warrants. I shall end things there but that is only a tip of what is to come. I will reveal my series of artists to watch in 2018 – worth watching that for more depth and a greater range. I feel 2018’s Pop will start to change and welcome in female artists with depth and genuinely ability; Soul, World and R&B artists bringing something fresh to music – alongside a raft of hungry Rap/Hip-Hop stars, from the U.K. and U.S., challenging for acclaim. There are voices that wonder where the next big Rock and Alternative sounds will come from. In all the lists of artists to watch and be aware of; I am not sure if there are that many great bands being heralded. I think you could write a piece called No False IDLES and assess the Bristol band on their own terms. They are among the groups that will be worth following next year. There will be others but it seems solo artists are going to be bigger names in 2018 – the best albums of this year (aside from IDLES and Queens of the Stone Age) have been solo-based. I am excited to see how 2018 unfolds but we are all catching our breath right now. It certainly has been…

IN THIS PHOTO: Billie Eilish/PHOTO CREDIT: Getty Images

A terrific year for music!

INTERVIEW: Winter Mountain

INTERVIEW:

Winter Mountain

___________

AS the weather gets colder and more wintery…

it seems only appropriate I arrive at the foot of Winter Mountain. I speak to the talented songwriter about his latest track, Platinum & Gold, and what it is like being lauded by the likes of BBC Radio 2. I Swear I Flew, his album, was released last year – this is where Platinum & Gold comes from. I ask whether there is going to be more material and what the album was inspired by; the artists, new and old, that inspire his sound – and what 2018 has in store.

I discover what one can expect from a Winter Mountain gig and how he got into music; what he is up to this Christmas; being inspired by the Irish countryside; singing alongside Seth Lakeman; advice he would give to new artists – and why Bruce Springsteen is such an important artist.

________

Hi, Winter Mountain. How are you? How has your week been?

It’s been wonderful, thank you. I’ve just completed a U.K. tour with the band. It’s been incredible fun.

Looking forward to chilling out now. 

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

My name is Joseph Francis - and my stage-name Winter Mountain. Winter Mountain began life as a duo after me and the Irish songwriter Marty Syth met on a train heading southbound from Chicago to Memphis. We wrote, recorded and toured for a few years. We got signed to Cara Dillon’s indie label and released an album.

Shortly afterwards; Marty split and I’ve carried on solo. 

 

Platinum & Gold is your new release. Can you tell me about the background to the track?

It’s about making a choice between love and fear. It’s about growth and determination - recognising your faults and harnessing the powers we possess within for making our world a better place.

It’s about not backing down...

It features backing vocals by Seth Lakeman. How did you come to meet him?! What do you think he brings to the song?

Seth is a great friend...

We first met through his brother Sam - who was managing Winter Mountain at the time. He’s been kind enough to invite me to open shows for him a lot in recent years; we’ve collaborated on a few different things now.

Your album, I Swear I Flew, gained rave reviews and kudos. Was it quite a surprise seeing such a huge and positive reaction?

The response has been great.

When you have your head and heart so deeply into your creativity and art; it’s impossible to know how anyone else may feel about it…so I’m very pleased. 

The record was written and recorded between Ireland; the wild and beautiful north coast of Cornwall and across a stark, awe-inspiring winter spent in the French Alps. How important was the scenery in regards your inspiration and writing?

Natural imagery plays a huge part in my lyrics.

It’s not so much a stylistic choice as an honest representation of the world around me. I grew up walking the beaches, the coast path; the woodlands of Cornwall. As an adult, I spent five years living in Ireland. There’s not a more magical place on Earth. Also, when you’re surrounded by that scenery - as beautiful and wild as those places possess - your imagination is free to soar. 

It seems like you take a lot of guidance from Ireland and its music. What is it about the music/country that compels you?

Ireland has a soul that is deep and dark and ancient. There is nowhere else on Earth where you can feel, at once, so close to both the divine and the primal.

It’s magical. The people are poets and warriors.

Are there going to be more singles from the album? Are you working on new material?

I’m working on new material at the moment. I can’t wait to get out there! I’ve spent a year touring I Swear I Flew – so; the time is right to start cultivating the new music.

Your music draws inspiration from the likes of Bruce Springsteen. Is he a hero of yours? What sort of music were you raised on?

Sure. I love The Boss. He’s a phenomenal songwriter and he has a wonderful, passionate and old-school work ethic when it comes to performing live - that I take a great deal of inspiration from. 

My parents raised me on contemporary Pop (it was the 1980s, so we’re talking: The Police, David Bowie; Dire Straits, Don Henley; Stevie Nicks, Peter Gabriel...) and, at the same time, the Folk revival/singer-songwriter movement of the late-sixties/seventies (Jackson Browne, Cat Stevens; James Taylor, Joni Mitchell; Bob Dylan, Neil Young; Simon & Garfunkel… and the greatest band of all time, The Beatles!). I’m also pretty crazy about The Waterboys and Led Zeppelin.

The list is endless...

IN THIS PHOTO: Lianne La Havas/PHOTO CREDIT: Alex Lentati

Who are the new artists you recommend we check out? 

There is some great stuff around these days: The War on Drugs, Lianne La Havas; The Killers, Christine and the Queens and HAIM.

Out of my circle; I would hugely recommend Albert Jones and William The Conqueror. 

IN THIS PHOTO: William The Conqueror

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

Blood on the Tracks by Bob Dylan; Abbey Road by The Beatles and Born to Run by Bruce Springsteen.

I could write page after page about why I love these records but the best thing to do is take them out and take a lesson. You’ll get it!

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

Do it because you love it. Be prepared to work very hard and to be skint for longer than you may think. Keep moving, keep reading; keep watching, keep travelling. You need to keep that creativity alive...

Also; if there is an artist or band on stage in the same room as you, then don’t talk throughout the set. 

You are touring at the moment. What have been your highlights so far? Have you got any more dates for next year?

The travelling and tour van banter with the band is always so much fun. Selling out gigs is a good feeling - and we’ve done that a couple of times on this tour. 

It seems your live shows are something else! Do you feel at your peak on the stage? 

Thank you! I love it. I’ve had lots of practice and the band and I work hard to make sure every show is special and full of heart and soul. 

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

I’m having my tonsils out today, so wish me luck! Might be on the jelly an ice cream over Christmas!

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).

Heroes by David Bowie, please! 

________

Follow Winter Mountain

Official:

http://www.wintermountain.co.uk/

Facebook:

https://www.facebook.com/wintermountain

Instagram:

https://www.instagram.com/wintermountain/

Twitter:

https://twitter.com/Winter_Mountain

YouTube:

https://www.youtube.com/channel/UCcaX2gr04G_3ZSQ2bKOGnrg

Spotify:

https://open.spotify.com/artist/4HmRLw3FR5zoT78Qaj0pl0 

TRACK REVIEW: Tiny Giant - Thirsty

TRACK REVIEW:

 

Tiny Giant

Thirsty

9.6/10

GENRES:

Future-Rock; Dream-Pop

ORIGIN:

London, U.K.

VIDEO RELEASE DATE:

1st December, 2017 

Thirsty is available via:

https://www.youtube.com/watch?v=ejy-0Ni8Khc

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THE final days of the year…

are trickling down and, with that, I am looking ahead and collating the names to watch closely. I said this when reviewing Tallia Storm yesterday but, when listening to artists, it can be quite hard realising which will endure and those who are only here for a short time. Today, as I listen to Tiny Giant, I get the feeling they will be a duo that has the promise to do some great things in 2018. I shall come to them soon but, when thinking about all their positives and sides, I want to look at the migration to London; double A-sides – and why they remain so important to new acts – duos and why they are overtaking bands for dominance and attention; music videos and why it is good artists take them seriously; making exceptions for artists who have a real sense of verve and longevity; debut videos/releases and making those important steps. I keep saying I will go away from London and review artists who are placed in other parts of the world. Before the New Year; I have a few acts that are from other parts but, lately, it has been hard separating myself from the capital. I am not sure what it is but it is not a case of being specifically going after artists from here. It is inevitable a certain proportion of my reviews would look at artists who are from London. I feel, as time goes on, musicians are realising it is the only place they can go to get that focus and opportunity. Maybe other cities do not have the same breadth and population as London but so many feel, even if there is a great scene where they are, the media is going to be unaware and ignorant. There is some truth in this and I worry too many are being forced into the capital – that is causing a jam and anxiety levels are rising. A concern about stress levels is natural when I think of artists and London.

The city has the best venues around and incredible sounds but it is down to the media to keep their eyes primed and go to other parts of the country. If musicians feel they need to come down here in order to get their voices heard: we will see so many musicians struggle for a say and get suffocated in the mass and throng of the city. That all sounds rather fraught and dark but my admiration for London is endless. The fact I want to remain and work here for the years to come speaks volumes. I am one who does not like the crush and isolation you can experience but, for a creative, it is the only place to be. For a duo like Tiny Giant; they have come from other parts of the world but feel settled and excited to be in London. They have the capital and its vast array of venues on their door; the inspiration for songs and a network of fellow artists all around them. This will ensure next year will be a busy and exciting one for them. You can knock London but you cannot faulty why it is drawing people in – it is not only about surviving and finding fans. Musicians come here because they want to be inspired and connect with people like them. It is hard to avoid the fact one cannot walk down a street and get eye contact and conversation. That is the way of most large cities but what you do find is a huge network and industry for musicians. I know Tiny Giant will take advantage of that and are poised to do something exciting in 2018. They are in the best place because there are great small venues set up for them they can perform in; likeminded artists they can gig with and an endless stream of positives. I refute the claim London is hostile and unforgiving: the city buzzes and there is so much energy and inspiration for everyone. I can see the guys growing and moving around years down the line but, right now, they are situated in a city that is providing them with motivation and love.

I will come to look at a song that has been rattling around my mind for a bit but, before then, I wanted to look at the double A-side. I am fascinated by this revival, of sorts. There were years when artists abandoned double A-sides and B-sides. B-sides are rare – because acts release E.P.s and singles are not sold in a physical format now – but this (the double A-side) is a great way of putting two great songs together and not releasing an E.P. It is the midway point between a single and that E.P. – a chance for that artist to release something substantial but not commit to the work of an E.P. Tiny Giant’s twin-release sees Sad and Thirsty put together – that seems like a pining for love or release when you put the words together. I am reviewing Thirsty, as its video is out, but Sad is a stunning reverse that shows what a force they are. I feel a single can be a bit limited when it comes to showing how good an artist is; you only get a few minutes to listen and it can be a matter of months before they bring new songs out. A double A-side provides more music and an opportunity for that artist to explore new ground. As I said; they do not have to release an E.P. but it means they can take a couple of songs and, rather than drip-feed two singles, put them together as a single thing. I am seeing this more and more and pleased some ‘older’ aspects of music are coming back to the fore! I hope this continues because I worry there are few traditional sides of the industry that are being preserved. Maybe the double A-side is not the best example of past ways remaining – as the songs are still in a digital format – but it is a wonderful anecdote to combat the streaming, drip-fed; endlessly hyped songs you see in the mainstream. Tiny Giant’s efforts are in my head and I cannot wait to get down to reviewing Thirsty.

PHOTO CREDIT: @dogsinhell

It is wonderful finding artists who have great songs they want to put together. Tiny Giant have released two songs that have similar sounds but, if you think about it, they are their own beasts. It is hard to say which is best but I love seeing them together. I am not sure whether the duo has plans for an E.P. or album next year but they have shown, on their double A-side, they are in no short supply of creativity. I would expect Tiny Giant to put these two songs on an E.P. down the line but I am fascinated by the release we have now. The fact so many other acts are choosing to double A-sides out means few want to commit to something full-length and time-consuming: they do not want to keep releasing singles and wait until their next songs come out. Tiny Giant have a thirst and hunger to succeed and get their music to new people. If they had releases Sad one month; waited for a few more until releasing Thirsty – that would slow the momentum and dislocate them to an extent. What we have now from the London-based duo are two songs that get into the heart and under the skin but have their own characteristics. We have the video for Thirsty – and you can see what the guys did in the visual sense – and that gives the song new meaning and possibilities. Tiny Giant are doing wonderful things and I hope this continues as we head into 2018 - they have been around a few years but I feel their current material signifies their best days. They are excited about their material - and who can blame them?! I have heard few artists that come onto the scene with such an impression and sense of clarity. I have asked why the art of the double A-side is coming back. It seems there are artists who have a couple of great songs in their pockets and are not willing to break them up. It is another way some of the traditional and established aspects of music are being upheld and continued by the new generation. I would love to see this phenomenon continue unabated; see more artists go beyond a single and do the double A-side.

I have spoken a lot about duos and feel, as solo artists are being hyped, the role and part they play is vital. Duos are formations I am interested in and feel get little attention. Bands are becoming less relevant and struggling to get critical acclaim. There are some that are getting under the spotlight but solo artists are dominating and it is worrying to see. I remember a time, when I was younger, when bands were all you heard of. You did have solo acts but it was those groups we stuck with and played to death. Few can deny how many great solo acts there are but is it the case bands are redundant these days?! I would argue the best groups around are in the underground and are independent acts. They do not have a record deal and are doing things their own way – spending their own cash and promoting their music. That means it is harder for them to get the same attention as mainstream solo acts and get the same hype. Bands like IDLES are making impressive moves but they are in a minority. A lot of bands are still luring after festival slots and producing the same sounds we have heard time and time again – it gets very boring and predictable. Solo artists are in a different position and have more room for manoeuvre. I like bands and feel they have their place but I am concerned there are few that are saying anything genuine and inspiring. In the past; we have looked to bands to inspire the generations and produce music that lasts for years. Music has moved on and there is less dependence on longevity. I am seeing solo artists come through and their music is quick, accessible and easy. Duos have that chance to soak up the real estate left by the bands. Newcomers like REWS are showing what a well-oiled and tight duo can create. They produce the same sound and intensity as a band but are a lot more concentrated and varied. There is not that commercial drive and reliance on festival-ready sounds.

Sure; the girls play similar to music to Royal Blood but their music has more melody, nuance and width. I feel the same with Tiny Giant. There is a close friendship in their ranks and their music is part of a democracy. You never get the impression there is a lead and someone calling the shots. Maybe I have been a bit harsh and short-sighted with bands but I am worried there are few that come to mind: all the best and brightest have been around for a long time now. Solo artists are great but I am more compelled by duos and what they represent. Not only do they have a comparative lack of pressure – not the same expectations and critical focus as bands – but they have the chance to produce whatever they want. Too many bands are copying others are unable to provide music that differs from anything out there. Duos have always been around but there are far fewer of them than solo acts and bands. I feel, as we move into 2018, more festivals and big venues will look at duos and away from bands. If the end-of-year-lists and polls have shown anything; it is band-made albums are less popular than previous years. You can bet, when the lists for this year are released, most of the finest albums (of 2017) will be from solo acts. Whether you are a hot-and-heavy force like REWS; more subtle and colourful like Tiny Giant – there is something much more interesting and promising than the bands we are seeing coming through. I will put this point to bed but I am annoyed there are few bands doing extraordinary and new things – the likes of IDLES are a rarity in the modern scene. Duos are exciting and I am seeing so many sensational ones come through. Tiny Giant are among the best out there and will continue to make moves in 2018. It will be a big year for them as they decide whether they want to release an E.P./album and where they want to head.

I will talk about Thirsty and what the song represents but it is hard to listen to the song without watching the video. The guys have produced a video that makes the eyes widen and the body move; it is bright and fascinating; busy and bright – a fantastic film that gives the song new light and promise. The track itself is great but I feel a great music video can do so much more. So many artists are lazily putting out videos and not really putting the effort in. I appreciate how expensive a video can be but do artists really have to go out their way to produce formulaic and predictable videos?! There are a few, again, who provide imaginative videos but that is a rarity. A lot of artists are simply recording themselves play the song and not really putting much story and acting into it. I know not everyone has a love for the video but it is part of music and an important way of visualising your music. If you expend little effort on that point then many will become uninterested. I wonder whether, with music becoming more Spotify-based and digital, the visual aspect of music is dying out? I hope that is not true because, as Tiny Giant have shown, the visual side of music is fascinating. You will need to watch the video yourself but it is a wonderful little film that shows all the personality sides and tics of the duo. I hope they continue to expend that much effort for future videos – it will see them get ahead of the competition and above the fray. (Even fellow duos like REWS do not put the same sort of magic into their promotional films). I have always loved the interaction and association between film and music. Musicians should be interested in the video and, even with a small budget, push their minds and make something good. If you are bored by videos then you cannot expect people to stick with you. The music is the important part but videos are part of the equation and artists need to remember this. There are many who do expend effort and time but I feel many are too keen getting the music out and spending little time with the video.

Tiny Giant have created a wonderful video, for sure; they have penned a song that, I feel, creates its own genre. Their duo-name is a contradiction in terms and a wonderful visual: their music, it seems, pairs melodic Pop elements with Rock and Indie. They are all about contrasts and dichotomies. Future-Rock and Dream-Pop are the genres they fuse and, together, it creates a brew I have not heard a lot. I see artists crafting their own sounds and taking traditional sounds and mixing them all together. Tiny Giant have fused the dreaminess of Pop – when it at its most seductive and arresting – but provide ample fuzz, fizz and force. They put these contrasting aspects together and mix it in their boiling pot. I have not heard music sound quite like this. The guys are quite new off the block and it would be understandable were they to sit back and do something quite average and safe. They are not like that and, as we hear on Thirsty, they are exploring new ground right from the off. This is their first music video and the guys are excited being in music. That joy and energy has extended to their sounds and the way they contrast their songs. The lyrics have a sense of quirk and fun; the composition is busy and ever-changing; the result is a track that hits you when you listen to it but you keep coming back to it. Nuance is a hard thing to create in an industry that is as jammed and busy as it ever has been. I do not often come back to artists and find myself moving on and curious. Tiny Giant do not want the listener to find something else and, as such, have gone out their way to ensure their music and visuals are a step above anything else. This work-rate and passion will see them make important steps in 2018. Blogs and journalists are already responding and providing positive words.

Before I come to look at their latest track; I wanted to end with me making exceptions for artists. It sounds like I am the king who is providing a royal pardon for a traitor but what I mean is I am becoming stricter when it comes to accepting acts. I look for a lot of images and information from groups and, when it comes to Tiny Giant, they are pretty new. There is not a huge biography and Chloë Alper and Mat Collis are new to me. I have said how independent and single-minded the guys are by they are being looked after by Black Pig Records. I am not sure how much influence the label exerts but I still think of Tiny Giant as an independent and freewheelin’ duo who do their own thing and are beholden to nobody. Maybe this is the result of a casual and respectful professional relationship but it is good to see a hungry young duo given lease and freedom to make the music THEY want to. I will look for great new artists next year and try and broaden my pages. The reason I almost passed by Tiny Giant is because they are new and there is little information held about them. They have released a few songs and been around for a few years but they are still making moves and exploring music - not been around that long. The guys will progress and put more onto the page as they head into 2018 but I am curious where they came from and how they got together; what music they are compelled by and what plans they have. Their social media pages are updated but it would be nice to learn more about the two and what brought them together – and whether they are friends or more than that. The same goes for the photos: a side of music I always mention with regards reviews. I am finding few artists who can provide an adequate amount of photos. This means I am less interested in reviewing them and it causes problems – I wonder how long that act will survive.

Little Giant have a few great photos and I know they will put more out there. The ones I have used – and there are a few older ones among the new shots – show a visual eye and a desire to put out professional images. That speaks to their ambition and how fast they want to progress in the industry. I do wonder why so many artists do not put many images out and why they think that is acceptable. I will not return to this point but was determined to see Tiny Giant on these pages. I hope the guys get some more shots out there and let us into their world. Those artists that go the extra mile with their music deserve feature and focus. The London-based duo will continue to expand and express – I am pleased what they have created and how far they have come already. Let us move onto Thirsty but, before then, it is worth expressing how new the career of Tiny Giant is and how many big steps they have made - their latest material is stronger than their earlier material and bringing more to the plate. The guys have a small following online but it is a lot more impressive than many acts that have been around for years. Critics are responding to their music and keen to expend as many positive words as possible. I know Tiny Giant will continue to craft original and superb music (in 2018) and get more praise and love. They have put so much into their early music - from their first release and their first video now - and I hope they see that rewarded and praised going forward. You look at their social media, and listen to the music, and know they will be a big success very soon. They have the chemistry and affection for one another; the songs are vivacious and sensational; the performances tight and stunning – all the ingredients you would expect from a great act.

Huffington Post have already premiered the video and provides some very positive words about it – and the song it accompanies. The track opens with teasing and tight beats. It is a compelling and propulsive start that sees jagged and vibrating guitars saw through the sound. The heroine is on the microphone and pushed by a sound that mixes Garage and 1990s Rock with something modern and exciting. It is a fantastic blend that I have not heard before. She asks – the hero, perhaps – when he is coming over. It is Wednesday and, it seems, she wants to bite him. Maybe, you think this early on, it is not a person but a general hunger. The song is called Thirsty so it is not a surprise to hear that desire and desire. The song bursts into life and goes from composed and teasing to vivacious and explosive. The percussion rumbles and the strings embolden and bite. The song is gnarly and snarling; the riffs swaggering and meaty – the mood tenses and the song illuminates. You cannot help but move your body and become activated by the force and intensity. The heroine is thirsty and it seems her man – whether a sweetheart or casual acquaintance – is getting the motor running. The vocal is not your average Rock/Pop thing. There is Gallic passion and romance; a sigh and swoon that melts alongside the big and emphatic sounds. Alper is in the mood for something exciting and naughty. You think there is romance and physicality being assessed but the lyrics look at the heroine clearing her room and making an effort for the person. It is a unique and humorous look at love but you wonder whether something else is at play. I am hooked by the analogies and metaphors; the way the video has a cake on the table and the heroine dressed in tight black clothing – that mix of sexuality and appetite always at the forefront.

The performance and playing is tight and wonderful – so much sound coming from two people. I have said how duos are now overtaking bands when it comes to appeal and focus. If artists like Tiny Giant can produce a sound bigger than most bands out there then they are going to get tongues wagging. There are Pop undertones and depths but that energy and passion is what keeps you hooked. The more the song goes on, oddly, the more I think of food. Perhaps the video does not help in that respect: the heroine luring after the cake and sexually squeezing her icing bag. She is hoovering up her drugs – we’ll say no more – and wondering whether the guy is coming around. It is interesting having food and cakes at the front but I guess it is a symbol of temptation and something pleasurable. The quiet-loud dynamic of the song means the mind and body are pulled in different directions and never expecting what comes. After all the pummel and sway comes a calmed and Pop-flavoured middle that sees the heroine calmer; her compatriot playing keys and allowing the song chance to breathe. The guys combine in something tender and colourful; the storm passes and it signals a new passage for the song. That hunger is still there but there is a pause and chance for contemplation. The heroine does not need a reason when it comes to desires. Before you get invested in that swoon; the song comes back to life and the chorus swings into view. Despite the teeth and tongue purging and exploring; there is lightness and colour in the vocal. It has lightness and tenderness which means the song is never too forceful or intense. It is a wonderful track that you cannot help fall for – signs this duo are going to go a long way next year!

It is a busy and exciting time for the London duo. I know 2018 will be big and I would expect to see an E.P. or album arrive. Chloë Alper and Mat Collis are superb creative minds who will go a long way in an industry that is becoming harder to crack. I have talked about bands and duos and how the focus is shifting; why solo artists are popular and the way you can get ahead in the industry. You need to think outside the box and not pen music that will get you onto big stages. That sounds counterintuitive but so many acts are writing music for arenas. Bands are becoming flaccid and less relevant; solo acts are starting to make ground up and get bigger attention. All the end-of-year-lists are focusing on solo acts but I feel duos have a chance to feel the void being left by bands. It is a dynamic I am fascinated by and always willing to explore more. Tiny Giant are a sensational proposition and I cannot wait to see where they head in 2018. The stage is set and they have proved, with their double A-side, what they are made of. I wanted to focus on Thirsty – as its video is out now – and that single moment but, in truth, both songs are incredible. You cannot deny the guys have a great flair and hunger to succeed and I know this will be rewarded with every song they release. I shall leave things now – lest I bore people – but I hope I have got to the bottom of Tiny Giant. They are a great new act everyone should be aware of. Whether you respond to their original and exciting sounds or their incredible video; the tightness they have and bond with one another; what they want to accomplish in the coming months. I know the duo will do some wonderful things next year and, when you think about their name, the curious-named duo…

ARE giants who will continue to grow.

_______

Follow Tiny Giant

Official:

https://www.tinygiantmusic.com/

Facebook:

https://www.facebook.com/TinyGiantmusic/

Twitter:

https://twitter.com/_Tiny_Giant

SoundCloud:

https://soundcloud.com/tinygiantmusic

Instagram:

https://www.instagram.com/_tiny_giant/

YouTube:

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

Spotify:

https://open.spotify.com/artist/00IkHbP6Ix7eR9fqOCQpRS

FEATURE: BBC Music Sound of 2018: Should We Be Excited?

FEATURE:

 

BBC Music Sound of 2018:

IN THIS PHOTO: Billie Eilish/ALL PHOTOS: Getty Images 

Should We Be Excited?

___________

THE BBC has announced their annual list of…

artists that, they feel, will make a big impression in the coming year. I am not usually one who spectates and strokes the chin with intrigue but this year is slightly different. There are few of the bland and forgettable artists that occupy the longlist. In past years, I have been tired by artists like Rag'n'Bone Man and their like – the type you know will sink without a trace before you know it. I will conclude this piece with a playlist of all sixteen artists included on the longlist. I am not surprised by some of the conclusions but there are a couple that raises eyebrows. This year’s glitterati included artists from Rap, R&B; Indie, Dance and Pop. There are fewer Grime/Urban artists than last year: a move towards something more conventional and Pop-based. The BBC’s list of the ‘ones to watch’ in 2018 was compiled by 173 critics, broadcasters, D.J.s and music industry figures – the winner is set to be announced on 12th January on BBC Radio 1. British rappers Not3s and Xyng Bane are on the same list as Indie artists Sam Fender and Pale Waves; Scandinavian singers ALMA and Sigrid; U.S. Pop singer Billie Eilish; Jade Bird and Rex Orange County are intriguing names to watch closely...

IN THIS PHOTO: ALMA

Much has been made of the fact Eilish, at fifteen, is the youngest inclusion on the lauded list – the youngest artist to ever appear on the BBC survey. The superannuation we see announced this time of the year is designed to guide us to the sort of sounds/artists who will be making waves in the coming year. It is always hard, with only sixteen acts, striking a balance when it comes to gender and genres. This year sees a large representation of female artists and a nice spread among Pop, Rap and other areas of music – there are absences and omissions. Recent years have featured very few Rock bands and groups in general. There is the tendency to put the spotlight on solo artists - but I wonder whether there are enough great Rock/Alternative acts that genuinely deserve a place on a list like this – or whether there is a problem and surfeit that needs addressing. I was interested when the BBC Music Sound of… came out last year and the artists included. I was pleased RAY BLK was crowned the winner but she has been a little slow out of the blocks. Others on that list such as Jorja Smith (4th) have fared better and been more prolific. Rag'n'Bone Man was second and, to my mind, has failed to live up any expectations; he should not have been placed that high!

IN THIS PHOTO: Tom Walker

Others, further down the list, like Maggie Rogers and Declan McKenna have produced stronger works and deserved to be on the Shortlist. It is always hard predicting how people will react but the best things that came out of the list (last year) was the fact four of the five shortlisted acts were black women – the winner included. ALMA is a neon-haired artist who, on Phases (ft. French Montana), created a quality slice of Pop that can sit with the better efforts of this year. She has potential to sustain next year but I hope to see more variation from her. I feel the same when hearing someone like Tom Walker. He is too close in tone to Rag'n'Bone Man and I wonder whether his inclusion was a reaction to the placing he got last year – I can find little to distinguish between the two. Both artists are lower down my favoured list but, if they make smart decisions next year, they could create some headway. We have artists who unite Punk attitude with bright hair and panache (GIRLI among them) - so I am not confident ALMA will do too much in 2018...I might be wrong. The BBC has always been a little guilty of repeating itself when it comes to artists: this year sees a Rag'n'Bone Man clone and Superorganism – a band who have failed to really spark anything in me and, with Something for Your M.I.N.D., a song that did not really distinguish itself from everything out there.

IN THIS PHOTO: IAMDDB

Billie Eilish is coming into a packed and competitive Pop market but the fact she is turning heads at such a young age means she has that early advantage. Her music is dark and playful but there is maturity and command throughout. I am genuinely excited and think she has the potential to be a genuine contender when it comes to next year’s big artists. Let’s hope she gets in the top-three of the BBC Music Sound of 2018 list – maybe the number-one spot would not be out of the question?! She will have stiff competition from Sigrid who is among the most-loved and recommend artists I have heard – so many artists I interview name-check her as one to watch closely. Strangers is her recent single and a fresh and scintillating slice of Pop. She is not an ordinary artist and her music, once heard, really get under the skin. I know she will be a huge prospect in 2018 and someone guaranteed to make the Shortlist. Even if she does not win the BBC Music Sound of 2018; her career will fly and flourish. Other acts on the list like IAMDDB – despite the slightly odd name – has Jazz-Soul blends and a sultry voice. I feel she will get a record deal and play some of the best venues in London; record a successful album and gather a following internationally. Jade Bird puts her spin on Americana and is someone who can naturally succeed on both sides of the Atlantic. I am looking down the list of BBC-nominated artists and feel there are only a few (Superorganism and ALMA among them) artists who will not really make huge strides.

IN THIS PHOTO: Not3s

Not3s is someone I am already familiar with and the playful M.C. might struggle to finish in the medal positions – considering the heavy collection of Rap/Urban artists last year; the desire to embrace new artists this year. There are seven solo female artists in the list of sixteen; of the two groups, there is a fair proportion of women – it is another inclusive and balanced list that does not provide dominance to the boys! I have neglected Pale Waves so far but feel they will challenge Sigrid and Billie Eilish for the victory. The Manchester quartet is among a few bands who are genuinely exciting and promising. I have been a bit cold with regards bands and feel there aren’t many that stay in the mind and offer anything different to what’s out there. The remainder of artists mixes the House innovation of Yaeki – someone who has been tipped by artists I interview – and rising R&B star, Khalid. It is hard to say, until the artists start releasing new material, which will race ahead and those that might take a bit longer. Unlike recent years; I can see some clear stars already formed. You do not have to wait to know Billie Eilish and Sigrid will make impressions this year; Pale Waves have the chance to big festivals draws. Should we be excited by this BBC Longlist?

IN THIS PHOTO: Pale Waves

I feel there is a lot to recommend and we should be interested and invested this time. Maybe you have been a bit sceptical and wary of previous BBC lists and proclamations. It is their opinion so will have debate and detractors but, in the past, we have seen big stars like Adele (and) Florence + The Machine come from that fire – go on to succeed and build a huge career. It is a fantastic platform and boost that most artists envy. I have picked my favourite but I think, unlike last year, the winner of BBC Music Sound of 2018 will be a Pop artist, probably a woman, and either be American or Scandinavian. I think British talent will get a look in but the top positions will be filled with the best new female talent. The next few weeks will see the sixteen artists included on the Longlist make new moves and campaign. I cannot wait to see who is revealed the winner and, as 2018 starts, which of the artists stands aside from the pack. There is always controversy and unexpected conclusions but this year, I feel there is a lot more promise and variation on the BBC’s Sound of… rundown. Whatever your opinions on this year’s selected artists to watch; it is clear there will be a few name likely to…

IN THIS PHOTO: Sigrid

IMPACT popular music in a significant way.