FEATURE: Ones to Watch in 2018: Part I: London Pop and L.A. Indie (and Beyond)

FEATURE:

 

Ones to Watch in 2018:

 IN THIS PHOTO: The Fontaines 

Part I: London Pop and L.A. Indie (and Beyond)

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I will write another three instalments…

where all manner of artists will come under the radar. The first part focuses on Britain but does include some international talent – from the U.S. and Canada to Estonia and Australia. It does provide a window into what 2018’s music will look like; the artists who will make an impression and steps. I am looking forward to digging deeper into music and what will come along. It is an exciting time right now and there are so many great acts coming through...

Take a peek at the selected acts that, I feel, are going to make some moves towards the mainstream; continue to grow and establish themselves as stars-in-waiting…

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Rookes

Genres: Alternative; Indie-Pop

Location: Birmingham, U.K.

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

Twitter: https://twitter.com/iamrookes

Richard Hadfield

Genres: Pop; Soul

Location: London, U.K.

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

Official: https://www.richardhadfield.london/

Koko Clay

Genre: Future-Soul

Location: London, U.K.

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

Twitter: https://twitter.com/darealkokoclay

 

False Advertising

Genre: Alternative

Location: Manchester, U.K.

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

Official: http://falseadvertising.co/

IYKZ

Genres: Rap; Hip-Hop

Location: London, U.K.

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

Official: https://www.iykzhq.com/

Tina Karol

Genre: Pop

Location: Ukraine

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

Official: http://tinakarol.com/en/

Rosko

Genre: Alternative

Location: London, U.K.

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

Twitter: https://twitter.com/roskoband

Gianni Paci

Genres: Pop; Alternative

Location: New York, U.S.A.

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

Twitter: https://twitter.com/giannipacimusic

Tiny Giant

Genres: Dream-Pop; Future-Rock

Location: London, U.K.

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

Twitter: https://twitter.com/_Tiny_Giant

Megan Dixon Hood

Genre: Alterative-Folk

Location: Cheshire, U.K.

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

Twitter: https://twitter.com/MegDHmusic

Featurette

Genre: Electro-Pop

Location: Toronto, Canada

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

Twitter: https://twitter.com/FeaturetteMusic

 

Galaxians

Genre: Dance

Location: Leeds, U.K.

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

Twitter: https://twitter.com/GLXNS

Mondegreen

Genre: Acoustic-Folk

Location: Widnes, U.K.

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

Twitter: https://twitter.com/heymondegreen

L.A.D

Genres: Dance; Pop

Location: London, U.K.

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

Twitter: https://twitter.com/LADbandofficial

Alex Francis

PHOTO CREDIT: JPBoardman

Genre: Pop

Location: London, U.K.

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

Twitter: https://twitter.com/afrancismusic

Winter Mountain

Genres: Folk; Rock; Soul; Pop

Location: St. Ives, U.K.

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

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

Anteros

Genre: Pop

Location: London, U.K.

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

Twitter: https://twitter.com/anterosofficial

Tamara Bubble

Genre: Rap

Location: U.S.A.

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

Twitter: https://twitter.com/TamaraBubble

Estée Blue

Genres: Soul; Jazz; R&B

Location: London, U.K.

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

Twitter: https://twitter.com/esteeblu

Bare Traps

Genre: Indie-Pop

Location: London, U.K.

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

Twitter: https://twitter.com/BareTrapsBand

The Fontaines

Genre: Indie-Pop

Location: Los Angeles, U.S.A.

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

Twitter: https://twitter.com/TheFontaines

Elephants from Neptune

Genre: Rock

Location: Võsu, Estonia

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

Twitter: https://twitter.com/NeptuneElephant

Vallis Alps

Genre: Electronic

Location: Seattle, U.S.A.; Canberra, Australia

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

Twitter: https://twitter.com/vallisalps

 

FEATURE: Knowledge Is Power: A Guide for the New Journalist: Part I

FEATURE:

 

Knowledge Is Power:

PHOTO CREDIT: Getty Images

A Guide for the New Journalist: Part I

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ONE of the highlights of my year came last week…

PHOTO CREDIT: Getty Images

when I got to spend time chatting with BBC Radio 6 Music’s Matt Everitt. It was a meeting that came somewhat out-of-the-blue but I had recently published a piece about the station; the great work they do and how this year has been a successful and big one for them. Not only has Matt Everitt in the business for decades but he has established himself one of the best journalists in music. Everitt’s First Time series explored musicians and their earliest memories of music. I was at that meeting – not only to take the chance to speak with an experienced and fantastic journalist – but someone who was filled with great advice. During the chat, he provided insight into his world and his first interview; how one can make their way to organisations like the BBC – and how tough it can be getting there. That last point was not to put me off but provide a realistic assessment of the path to where he is. He has been working in music since he was young(er than he is now) and, over that time, made his way from trainee/aspiring journalist to a cornerstone of BBC Radio 6 Music. Now, he gets to interview musicians like Beck and Kate Bush – more on her later – but that was not how it all started for him (although he did say his first interview was with Noel Gallagher!).

PHOTO CREDIT: Getty Images

I came away from that meeting more informed and aware of what it takes to make steps in music; how much effort is involved – and how it is not all struggle and impossible. I am in a different position to many out there – so I will only be able to advise regarding journalists like me and where we need to step. I will bring in my Kate Bush example but the most important first step, if you want to work in music or journalism, is to keep an eye out for all the advertising boards and those companies you want to work for. In my case; I want to work at BBC Radio 6 Music – that is a small part of the organisation and there are few chances springing up. The best thing to do is to look at BBC Careers and keep an eye on their vacancies. You do get jobs in the relevant field but it might not be a case of waiting for that ‘dream’ role. For me, as a music journalist, there is the possibility of getting some work for a Social Media team or somewhere like Production. Unpaid work is not a luxury many of us can afford - but getting a role in a related field/job is a useful way of getting into the organisation and moving on. You can get experience working for somewhere like the BBC and always have your ear in regards other roles that occur – it is much easier getting a foot in the door when you are already outside the house.

The same logic applies to any other company you want to work for. If you want to work in print journalism then you can work for a smaller newspaper/magazine and build up a portfolio. You can dream big but it is going to take a long time to get to where you want; even if you have been writing/working in music for years and have a reputation. A good way of being noted by organisations like BBC; the biggest magazines and record labels is to build up a body of work that brings in a range of artists. I was asked (by Everitt) the artists I want to interview and feature. I mentioned Kate Bush – I shall end with her – but also listed IDLES among those I want to involve myself with. It is not always the case of sitting in hotels and recording studios. You can grab the band for a quick phone call and transcribe a conversation. Sometimes, you can grab them backstage and talk to them at a gig. If you say you are a journalist and work for a site/blog; that will give you a reason to go after the band. If you get the interview; you will have that in your pocket and can pitch it to a bigger magazine/newspaper. Getting your work published by some of the biggest outlets is a great way of making a name for yourself and getting under the spotlight of the big decision-makers. If you wanted to work for the BBC, and are a journalist, having those freelance interviews published is a good way of going about things.

PHOTO CREDIT: Unsplash

The important thing to do is be realistic and keep your horizons set. Even if you have a lot of articles and pieces on a blog/another site; that does not mean there will be a bespoke job waiting for you exactly where you want to be. Keeping consistent and prolific is its own reward. You have to get out of the mindset the only way to be successful and get where you want to be is the only measure of validity. I am older than I once was and hoped I’d be further up the ladder than I am now. Looking at what I have created; I am proud of the work I have produced and realise I do not need to be on the microphone or doing the same work as Matt Everitt right now. He is ten years older than me so I figure; if it takes me ten years to get to where he is, that is not a bad start! It may seem a little depressing realising a decade is a very long time to get where you want – that can be the reality of working in the industry! There are fewer roles then there once was and some departments are integrating older jobs into one. It is more cost-effective and a lot of today’s music/media is done online – that eradicates a lot of traditional roles and new, less well-paid roles are replacing them.

PHOTO CREDIT: Getty Images

Time is the most important thing and patience is a vital commodity. People out there, like me, assume our hard work and popularity should reward itself with a job right away; one that is perfect and will see your name out there in the world. A few years ago, legendary music journalist Lisa Robinson was interviewed by Teen Vogue. She provided advice with regards interviews and trusting your own talent. A couple of great pieces of wisdom came from the article:

Don't be afraid to take risks to achieve your dream career.

"I would tell any young person who's trying to get a job in an industry they love that they have to take a risk. Even if it means financial hardship, do whatever you have to do to make it work. In 1969, I was a substitute teacher in Harlem right after I graduated from school. I never took a journalism class, but I started doing [radio host and newspaper columnist] Richard Robinson's filing for $25 a week. Three months after I met him, he asked me to quit my teaching job and work for him full-time—for a third of what I was making as a sub. My mother told it me I was crazy, but I said, 'You know what? I love music, I'm going to take this risk, and we'll see what happens.' It opened a door to the world of rock 'n' roll and allowed everything else to happen."

PHOTO CREDIT: Flickr

Trust your gut to recognize exceptional talent.

"Trust your instinct! If you're really passionate about something, you'll produce the best columns, or stories, or reviews, or whatever you're writing. When I found Led Zeppelin, everybody I knew thought they were a cheesy heavy metal band. But I thought, wow, they've got all these different influences in their music that they've blended into what I thought was a very majestic sound. Here we are, 40 years later, and they're considered one of the greatest bands in the world. The first time I ever met Michael Jackson—he said he was 10, but he was really 12 because the Motown people thought it would sound cuter if he was younger—at his house in Encino, he was the most adorable, unbelievably brilliant, enthusiastic child”.

An interesting article, published on the BBC website, gave some tips for aspiring journalists – it can be applied to those coming through or people, like me, who are a few years down the line:

3) Get loads of work experience
This is one of the dirty little secrets of all journalism – it’s a very middle-class business, for the most part because it runs on ‘internships’, i.e. free (or cheap) labour. A friend of a friend is now a heavy hitter on a national paper but he started out at the nationals by working for another, without pay. That’s an extreme example, but he is extremely successful. 

PHOTO CREDIT: Unsplash

Alexi Duggins has his own TV column in Time Out and more recently became their go-to guy for grime. But before that he was an intern at the Itchy City guides, eventually rising to the post of Features Editor in a young company that put a premium on talent over experience. However he had also been Editor of the London Student in 2004-5. So basically, writing a few articles in your student rag isn’t going to cut it (and neither is just having a degree or even the increasingly common journalism postgrads). Learn by doing, for anyone who will let you – try websites / magazines / blogs… which brings us on to…

6) Don’t give up the day job
Most people in music journalism have a day job – often in music PR, but many just have a straight office gig (I’ve certainly done my time here). Staff jobs are increasingly hard to come by and freelancing for a living can be brutal – chasing money is not fun and doesn’t always lead to success, plus getting paid when so many people write for free is getting ever more difficult.

I’ve recently done bits of PR work and even branched out into doing some technology articles - so cultivate a list of interests, because the more things you can write about, the more employable you are. But for someone starting out, be prepared to write in your leisure time – if you love it enough, you’ll make the sacrifice.

PHOTO CREDIT: Shutterstock

Those are a couple of sources that provide guidance but, if you want to make a big impression, the first steps are doing your research. Get onto search engines and look at all the articles that give advice about how to interview musicians. These are important guides in order to get a  great piece and set yourself aside from the competition. Arming yourself with that knowledge means you will stand in the mind of artists; they will recommend you to others and, before you know it, people will come to you! If you are starting out – and want to be a blogger/journalist – doing that preparation and research means you can build contacts and get a jump on things. Get work experience with local papers/sites and, even if it is unpaid; it will provide useful experience and look good on the C.V. If you are, like me, quite a few years into music; you will want to aim high and grab for bigger things. I will write another piece that provides steps, sites and interviews with people who all in the industry and have worked their way to where they are now. The most important thing is to have ambition and never assume you cannot achieve what you want in the business. It is harder to get into big positions but there are side-steps and ways you can get one step further; being bold and proactive means you are always working up to where you want to be.

IN THIS PHOTO: Kate Bush/PHOTO CREDIT: Getty Images

I will end this by talking about something going on right now. I am aiming to get an interview with Kate Bush before February. Her debut album, The Kick Inside, came out in 1978 so, seeing as its fortieth anniversary is around the corner - that urge to get an interview is huge. I spoke with Matt Everitt and he asked me who the one musician is I dream of interviewing (excuse my grammar there!) and I said ‘Kate Bush’. I have emailed her people and will await their response. I am expecting a refusal and an obvious decline but you can never say what will happen. Even if/when I get that rejection; it has been good aiming high and setting my sights somewhere huge. Getting an interview like that would open doors so it is understandable I have been a bit excited and intense. I hope I can grab an interview with IDLES and secure some time with the guys. Whatever you position in music – and however far up you want to go – there are ways to achieve what you want. It may take a long time to get there but that does not mean you need to be defeatist and assume it will not happen at all. If you make focused and consistent steps; keep looking out for those great jobs and opportunities then you are arming yourself with all you need to achieve that…

PHOTO CREDIT: Getty Images

CAREER in music.

INTERVIEW: TALMA

INTERVIEW:

 TALMA

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THE five-piece Alternative-Rock band TALMA…

are gearing up for a big 2018! Their new song, Lifeline, is about getting to grips with a city like London and all the rush and isolation. I speak with the guys about their favourite music and how they all got together; whether there is going to be more material next year; the artists who influence them – and how they produce such an energetic and raw sound on stage.

I discover whether the band feels more comfortable on stage or in the studio; why artists like Morrissey are influential to them; a few albums that touch their hearts; some new artists we need to take a gander at – what they all have planned for this Christmas.

________

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

All good, thanks. Very busy with the release - but it’s been exciting stuff! (I am actually writing the answer to these questions from the rehearsal studio). It’s been a bit of a mad balancing act for all of us with jobs, girlfriends; essentials - like eating to fulfil - and that’s all before we have picked up an instrument!

But, in short = all good!

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

We are a five-piece Alternative-Rock band formed in Exeter - now hailing from London. On making the move up to the Big smoke in the summer of 2016, we have spent the time since writing and focusing on trying to hone our sound. Our influences cover a broad remit but most prominently our work is influenced by artists such as Radiohead, The Smiths and The National to name but a few...

Lifeline is your latest track. What is the song all about?

In essence; the track explores the loneliness and the sense of displacement that can come with moving to a metropolis like London. Lifeline explores the juxtaposition of being surrounded by millions of people - but still feeling a sense of loneliness and isolation. The overwhelming nature of a city like London has, for us, sometimes evoked a sense of helplessness and a need to call for help - the 'lifeline' is the thing that we are looking to clutch onto, as the weight of trying to establish yourself in such a big place, takes hold.

There is an aspect of the modern city and feeling isolated. Do you have a sense of loneliness being in a city like London?

Absolutely.

Don’t get me wrong; London is an incredible place and we count ourselves very lucky to live here, however, moving here has coincided with that awkward phase of our lives where neither of us has any idea what we are actually doing. The overwhelming visceral nature of this place sometimes beats you up a bit and, with unfamiliar surroundings, you often don’t know where to turn for help.

Moreover, I think it is quite an ‘individual’ time in our lives where people are thinking about what is best for them and how to go about achieving what they want to achieve. Sadly, though, this can often contribute to the loneliness - as you can be unsure who to turn to for help when it all gets a bit much.

PHOTO CREDIT: @Elliottrattphotography

Lifeline is a song that shows there is life in guitar music still. Do you think there is a danger Rock/Alternative artists are less relevant than past years?

Very kind of you to say! It’s a tough one. I personally think guitar-led music is making a bit of a comeback. Bands like The War on Drugs, The National; Royal Blood and many others are starting to level the playing field a little bit. Moreover, there is definitely life in the Alternative genre: acts like Angel Olsen, for example (in the States) and legends like Nick Cave have released fantastic work in the last twelve months. However, with tech getting ever better, a palette where synth and effects are becoming ever more sophisticated; it is easy to see how a guitar player just plugging into an amp is perhaps slightly losing its glamour. Artists are always looking for the next new thing and, with guitar dominating our popular music history; it is understandable that musicians are looking elsewhere to drive a tune.

However, I would say that ‘Alternative’ music, by its very definition, is music fans looking for a release from the mainstream and a rawer, more emotive, connection with the music that they listen to. The guitar has always been a great communicator of that desire and, as long as that feeling is in play, I think the guitar will always be relevant - due to its versatility and the emotions that you can get across.

The lyrics have a touch of Morrissey – and his worldview/wit. Is he someone who inspired the band? What other artists do you count as influences?

I think, loosely, The Smiths’ sound, in general, is something that we have drawn a lot of inspiration from in the past. Morrissey obviously plays a huge part in this but, in my eyes, Jonny Marr’s guitar is just as essential to that influence. In a Rock scene where baritone vocals have gone a little out of fashion, comparisons are naturally made – but, gladly our worldviews are very different! There is a similarity in that often Morrissey’s lyrics show his lack of assimilation with the world around him whilst, in Lifeline, the lyrics explore that premise and our lack of understanding of the world that we have moved into.

As a band (and as individuals) we are all influenced by a huge array of different artists from Nick Cave, Elvis Costello; Nile Rodgers and many more. All of these individual influences contribute to the sound in some way.

How did TALMA come together? What brought you guys into a band?

It all started at Exeter University. Jonny (drummer) and I were playing together in a Jazz band. We both had a mutual love of various artists and were really keen to set up a band of our own. We knew of Jack (Guitar), who played lead guitar for a Soul choir band, who brought along Pete (Bass) and then James (Guitar) later on. We were all involved in projects before the band started - but the main motivator for us was to write our own stuff and see what we could come up with.

Is there going to be new material coming next year? What are you working on?

Yes! We’ve got more yet to come, so we’ll be sure to keep you posted on that! Then, providing nobody expresses pure hatred of the new releases, we will be back in the studio doing the rounds again.

IN THIS PHOTO: Matt Maltese/PHOTO CREDIT: Holly Whitaker Photography

Who are the new artists you recommend we check out?

There is a lot of fantastic stuff out there at the moment. I am a huge fan of the singer-songwriter Matt Maltese - who is starting to make a bit of noise. Our guitar player, Jack, recommends Phoebe Bridgers (who is supporting Pinegrove in the near future). A couple of other bands that we have enjoyed recently - who have released new music - are Prom Queen, Foxygen and P.F. Philip & The Night Riders.

IN THIS PHOTO: Prom Queen

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

Jack: Kate Bush - Hounds of Love

It’s just great. No matter how you are feeling; it will accentuate the emotional state that you are in at that time. 

Jonny: Songs of Love and Hate by Leonard Cohen

He sets the benchmark for lyric-writing and, as its winter, it’s an album to listen to in a coat.

Henry: Diamond Dogs - David Bowie

I am a huge Bowie fan - and this album sums up so much of what I love about his stuff. The narrative storytelling throughout the album; blended in with some brilliant singles – it’s just a great listen.

James: Nebraska - Bruce Springsteen

An album I have been a huge fan of for a while; often an artist who is thought of for his big live shows and anthemic tunes. Nebraska is a testament to his range and the quality of his songwriting.

Pete: Meat Is Murder - The Smiths

It’s just a brilliant album. (Bass player man of few words).

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

We are back on stage for our last show of 2017 this Wednesday (6th December) at The New Cross Inn: one of our favourite venues in East London.

Then; we’ll be in writing-mode until making a return at The Camden Assembly on 24th February - which will be our first time playing there…so excited about that one!

It seems like your music comes to life on stage. Do you prefer the stage or studio? Where does the band feel most comfortable and alive?

Good question!

It probably varies from band member to band member; however, I would say an honest answer is that we get a lot out of both. As a group of musicians, we take an overriding joy from creating our own stuff and going on that ‘journey’ with it - from the initial jam right through to gigging it live - and then putting it under the microscope in the studio. I think we would struggle to do music without one or the other; we love playing live in front of an audience whilst we also love getting in the studio to create our own music.

A short answer to the question: we are alive and in love with both settings…

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

It sounds a bit superficial - but I think you just have to be ‘you’. The music industry is so overflowing with (just) ‘stuff’; whether it’s promoters, other artists; genres, all sorts - and it is very easy to get lost in the maze. It’s a case of sticking to your guns and reminding yourself of the reason why you are doing this in the first place. By all means, take as much advice from external influences as you can: hearing other opinions is healthy but be weary of the so-called ‘industry experts’ who may cloud your thoughts on what you are trying to achieve.

If you get the sound right, the rest will take care of itself. So, just be you and love what you are doing.

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

I think, predominantly, just having a bit of a rest! It’s been a heavy year for all of us; so I think a bit of a recharge and gearing up for another really busy one is a necessity.

Looking back at this year; has there been a moment that stands as a highlight for all of you?

I think, to come back to the studio/stage dynamic, there are two distinct memories for us...

Firstly, in terms of performing live; we took to the stage with Queen’s Spike Edney and his All-Star Band; we played some great venues and got some exposure to some amazing musicians.

However, I would say the real highlight was going into the studio with Jason Wilson (You Me at Six, Reuben) at Stake Out Studios. We have always been a bit D.I.Y. when it has come to recordings - which has been fine and really beneficial in some respects. But, to get a pro like Jason involved was brilliant. His insight and his ability to reign us in - when we were getting carried away - was so invaluable and he played a massive part in the end product.

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).

Henry:  I Need You – Prom Queen

James: I’ll Still Destroy You – The National

Jack: Kaput – Destroyer

Pete: Calypso – The Physics House Band

Jonny: Plans – Halcion

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Follow TALMA

 Official:

https://www.talmasounds.com/

Facebook:

https://www.facebook.com/TalmaSounds/

Twitter:

https://twitter.com/talmasounds

Instagram:

https://www.instagram.com/talmasounds/

SoundCloud:

https://soundcloud.com/talmasounds

Spotify:

https://open.spotify.com/artist/6o5QtV9YTWvBUyv6pF8ZAk

YouTube:

https://www.youtube.com/channel/UCYh5Xd9hYWBbIUrnWB15yQg

TRACK REVIEW: Elena Ramona - Eyes on You

TRACK REVIEW:

 

Elena Ramona

 Eyes on You

 

9.4/10

 Eyes on You is available via:

https://soundcloud.com/user-466086967/eyes-on-you

GENRE:

Pop

ORIGIN:

Surrey, U.K.

RELEASE DATE:

8th December, 2017

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AS the weather howls and the rain...

batters down - there is not a lot to be done outside today! It is just as while I have music to review so, in that spirit, I will come to talk about Elena Ramona. This is not the first time I have reviewed her music on this site – I have investigated her a few times, now. I will talk about consistency and those artists who manage to change their sound whilst retaining their identity; songs that are primed for big-screen exposure; changing the Pop market and adding a little something extra to the pot; what music is looking for in 2018; the next step for Elena Ramona in terms of music – talent who take care of each aspect of their work. I want to talk about consistency because, when it comes to Elena Ramona, I have seen a real development and rise (no pun intended) since her earliest days. A few years ago; I was amazed by her music and how developed it sounded; the fact it was a professional and complete package. Now, in 2017, the sounds she is producing have moved on and incorporated new aspects. From Rise’s purity and tenderness – with impassioned, soulful vocals – what is coming from the songwriter now sounds like a different beast. Elena Ramona keeps her voice and songwriting core but has brought new genres and angles into her work. Lying Blues Eyes – another older song – fizzes and vibrates off the speaker; The Neon Lights kept that energy up but did not repeat what had been done before. In fact, over the past few releases, I have noticed a move from Pop and Electro to Soul and Dance; to Indie undertones – a restless songwriter always eager to push her music forward. Not only have I seen the experimentation and evolution happen: the quality has increased and there is greater confidence coming from Elena Ramona. I will come to look at Eyes on You later but, when listening to the track; it is another step-up from someone who has her eyes trained on big success.

I am always looking out for artists who progress and do not simply bring out the same song. One of the criticisms levied at the mainstream is how unadventurous and static it is. The popular and influential artists feel like they do not have to produce anything deep and original. As such; one finds the Pop scene a little rigid and underdeveloped. I have watched Elena Ramona’s music build and take in new threads over the years and, not that there is subjective leaning, but here is someone who can produce a mainstream-ready type of music but is not willing to compromise and settle. It would be easy for someone like her settle on a particular direction and carry on down that road. She knows the underground market is busy and it is harder to be seen; there are so many out there competing for attention and visibility – you need to have a sound that sticks in the mind and goes beyond expectation. I find, when listening to Elena Ramona’s music, she is determined to preserve that which makes it special and unique: that personality and special songwriting talent will not be distilled and sold in order to fit into the Pop mainstream. I am being a bit harsh on some artists but, as I shall explain later, there are changes coming into play. It appears next year will be a different and exciting year for Pop music; there are acts coming through who have the promise to change things and recruit those who are a little reluctant to embrace the genre. One of the biggest disappointments I have found are artists who create a hit and, when they see it is loved and played, they do not do anything with their music. They will replicate the same song and, over time, people get very bored of that artist. Elena Ramona is certainly someone who keeps things fresh and shows she is one of the most mobile and chameleon-like songwriters out there.

ART CREDIT: Ben Couzens

I would urge people to check out her back-catalogue and past work – check out her Spotify page at the bottom of this review – and see how she has developed throughout the years. One would barely recognise the artist you heard on songs like Rise; come to Eyes on You and there is a totally different sound. Both songs are exceptional but the subject matter is completely different. The latest single from Elena Ramona has a big and impassioned sound but there is another reason why the track gets into the head. There is a campaign running to get the song to the producers of the Bond franchise. In the past, we have seen artists like Adele see their music score a Bond flick – that huge and dramatic voice scoring the opening credits. Elena Ramona could cope with the duties of putting Eyes on You to the screen but there is the aim to have the song used, by an artist like Adele, for the latest film in the series. One can share the song and put the tags  #sonypictures , #Adele; #sony and #pinewoodstudios. Make sure, when you do put those tags up; include the tag #EyesOnYouForBond. The more people who do that; the greater chance it has being selected as the next Bond theme. There have been past songs that have not really captured the imagination – efforts by Sam Smith not really hitting the marking; leaving some cold and confused. It is understandable many would doubt the worth of a Popstar producing the next James Bond theme but, when you hear Eyes on You, it already fits in with the history of the series. We are not sure what the next film will be called but that is the gift: having a song that has a title like this means it is adaptable and able to fit with any film. It has the strings and filmic sound; the vocals are big and romantic; there is a sexiness and sauciness that befits a character like James Bond. The campaign is ongoing and, let’s hope, by the time the year ends; signatures will be added and the song will be under the gaze of the film’s producers.

What amazes me about the song is that it definitely comes from Elena Ramona but it could be tackled by other singers. The song has a solid and impressive base but it would easily suit reinterpretation by another singer. If someone like Adele – if that is her vocalist of choice – took it on; more strings could be added or some brass. It could go in a more Jazz-cum-Soul direction or, in fact, there is the potential to turn it into a gnarly and big Rock number. Imagine past artist like Chris Cornell and Jack White. They provided their own take and, given the latter’s gift for reinvention; he is someone who could make the song his own. That goes for any artists: Eyes on You has those strong cheekbones and captivating eyes that can wear any clothes and change its style and still retain that sex appeal and beauty. What I mean is Elena Ramona’s song has a universal core we can all relate to; words that project out and are not specific, necessarily, to her own experiences. I am excited to see whether she can get Eyes on You to the next stage as it is a fantastic number that deserves to be up on the screen. I am sure the song will make its way onto the screen in some form or another. It can easily work in a T.V. drama but has the flexibility to work on adverts, too. I know Elena Ramona will want it on a big stage so all fingers are crossed her latest work makes it to that peak. It is only a matter of time before she gets that big opportunity. One of the most prolific and ambitious new songwriters around; that desire to get the music out to the people is a trait that should not be deterred. Regardless of how far the song goes in the film world; there is every sign next year will be a vital one for the songwriter. She has proven she can pen a song that works on a massive stage; that vibrates and slams – but has a sense of allure and tease.

I have, as I mentioned, followed Elena Ramona for a while and can chart how her music has shifted. What I hear now is someone who has gone from a local artist looking to get gigs where she lives; now, we hear a musician who is ready to go to the next step and wants to take her music to international audiences. I will explore that point in the conclusion but it seems Pop is ready for a revival next year. This year, we have seen great Hip-Hop and Soul being proffered. The Grammy Awards nominees – for the main prize – are the likes of Jay-Z, Kendrick Lamar and SZA. Here, the frontrunners, and winner, of the Mercury Music Prize was a Soul artist – Loyle Carner and Kate Tempest were among the artists nominated who are adding their weight to British Rap/Hip-Hop. Look at 2016’s best albums and it was a successful year for artists taking a slightly socio-political bent. This year, the greatest hope for a revival is Eminem. His album (Revival, naturally) is getting early feedback and there are some who say he has lost his edge – he is trying to rehash his Slim Shady persona but, this many years down the line, it sound pale and less authoritative. It seems 2018 is going to be a less assured and solid one for Hip-Hop and Rap. There is a need for female artists to get their say and equal weight. Because of that, the likes of BBC have ensured their long-list of names to watch next year has plenty of great female artists involved – most of them playing in the Pop market. Billie Eilish is one such artist included and there is a lot of talk and speculation surrounding the teenage American. Elena Ramona is someone I can see featuring on the same list years down the line. Look at some of the acts being tipped for success next year (like Superorganism) and she could easily nestle alongside them. Tastes are changing and next year is going to be one to watch if you are a Pop fan.

There will still be some great music from other genres but a market that has been threatening homogenisation and a hefty limp has been aided and undergoing a transformation. I hope there are fewer plastic commercial artists and – as the polls and lists suggest – a move towards artists who have more substance and personality. My favourite artist of this year (Lorde’s Melodrama) is a Pop album and not something I expected to bond with. That, actually, is a name Elena Ramona reminds me of – and someone she can take guidance from. As she breaks into the market and makes her move towards the mainstream; she knows there are two sides of the Pop business. There are the talent-show rejects/applicants having their songs written by someone else and producing cliché, shallow songs. We all know the sort of artists who are more than happy to produce this type of music. Unfortunately; these are the acts who make the most money and are among the most successful on streaming sites. There are the other type (like Lorde) - who take a bigger role in their music and provide the listener with something much more compelling, intelligent and rich. Elena Ramona falls into the latter camp but I know she would not refuse a chance to appear on a talent show – have her music featured on advertising, for example. It is possible to dabble in the commercial side of music but, when it matters, ensure your music holds on to its integrity and quality. Eyes on You is a song that could get onto the big screen but definitely shows maturity and natural ease. It is a track that shows where Pop music is heading in 2018. I will end the piece by speculating where I think Elena Ramona will head in terms of E.P.s and albums. Before I come on to look at Eyes on You; I want to investigate artists who take care of their work and do not let too many other bodies into the mix – those who have the talent and energy to produce music that is meaningful to them.

One of the best things about Elena Ramona’s work is the fact she sees it through from start to the finish. There are artists who farm their music out to others and get writers/producers to mould it in their vision. That is fine if you want something ready for the charts but there are artists who feel that is a cheap and easy way to earn success. Those who expend more effort and have the ability to write their own music are to be commended. Elena Ramona writes her own material but you know how much of her heart and soul goes into the production and videos. Previous songs like The Neon Lights have been filmed on a budget but the videos stick in the mind and impress you with their concept and look. I am not sure whether there is a video coming for Eyes on You but I can imagine there will be something that would fit into that Bond frame. I can picture a bar-set flirtation or something cinematic; the heroine chasing down her prey and overcoming other suitors – as the man fends off the advances of other women. The song has that power and potency so you can picture your own video; there are multiple possibilities and directions the young songwriter can take. I know Elena Ramona will do this because she likes to have a say in how her music sounds and looks. As I head into 2018 myself; I am looking for more artists who refute the need to have others control their music – those artists with greater insight and individual desire. If you look at the lyrics and music for Eyes on You; you can tell the words stem from the songwriter. There are shades of Lying Blue Eyes but, in a sense, the tables are flipped! Rather than accuse a cheating and dishonest man: this is the heroine going after her man and assuming the power and control. There is always the sense of the heroine being in charge but, here, anxiety and anger have been replaced by lust and desire.

She is developing into a bolder and investigative songwriter; exploring sexuality and love in new ways; mixing that with songs about hope, redemption and success – that tackle mental-health stigma and implore the listener to reach high. This all boded well for 2018 and, as I shall discuss, it is going to be a very important one for Elena Ramona. Over the past four-or-so years; Elena Ramona has covered so much ground but, at every phase, not sold her identity or felt the need to have committees write her songs. She works with other musicians and producers but, at the end of it, it’s her voice and mind that takes the music to the people. I have not really mentioned the voice that comes from the songs. That is something that always impresses and stuns. The dexterity, range and ability Elena Ramona displays is very rare to see. There are few singers who can easily move between genres and take their voices in any area they please. Whether she is singing a soulful and touching song or turning up the volume and sticking some heels on – you believe every word and hear an artist who sounds comfortable and complete. I feel that is why 2018’s Pop market will be solid and nuanced: artists who have a greater sense of the eclectic and are less prone to the fake textiles of the mainstream. If anything; I can see Elena Ramona going a step further and exploring new ground. She has a very powerful voice so it would not be inconceivable to find her penning something with a Blues-Rock swagger. I can see her writing a stripped and smoky Jazz-type song that has the flair and magic of those classic recordings – bringing to mind the likes of Ella Fitzgerald and Billie Holiday. There is so much in her arsenal and I am excited to see how she deploys it. I suppose, given all the build-up and promise, I should come to look at the latest song in question: the intoxicating and enflamed Eyes on You.

The opening notes of Eyes on You subvert expectation. You might expect – for a song that is being shared as a potential Bond anthem – for some big trumpets and shivering strings to get the track underway. Rather than rush out the traps with too much energy and sound; the song puts percussion-march beats together with light piano. It is the vocal that steals the most focus in the early phases. “You’ve got me going crazy” is delivered with all the sense of allure and desire one would expect from a heated line. It is always hard comparing Elena Ramona’s voice with anyone out there right now – one of her biggest strengths, in fact. The soul and smokiness one feels wash over them certainly gets the heart beating a little faster than doctors would approve! The production is thicker and more lustrous than any other song I have heard from her. In the past; the production values have been stronger and befitting of the song but here, with a possible anthem and film-scorer on the blocks, it would need to have that mix of polish and rawness. That is achieved but goes one step further and brings you directly into the song. One imagines they are standing in the corner of a London bar, late at night, as the people are starting to disperse. Taxis are being called and a few figures remain. Our heroine, dressed in black and with a flirtatious gaze, is approaching the suited hero. He is sipping on a drink (one would be tempted to say a Martini) and she makes her way through the crowd. Arriving at the bar; she takes a pew next to him and takes his drink in hand – takes a sip and then passes it back with a smile. Whatever the interpretation of the first verse; the song provokes imagination and all manner of scenes. The girl’s mind is being played with and it seems like this tease is something she wants.

The man is all she needs and this sense of cat-and-mouse is creating shivers and excitement. That palpable sense of seduction and sexuality comes out in the song. The strings, in the background, shimmer and echo; there are slight cracks of beats and electronics and that creates a heady brew that perfectly backs the song. In a way; the composition is the weather – the atmosphere that creates mood but never encroaches in the foreground. Elena Ramona keeps her voice soft but ensures there is a huge degree of seduction coming from her tongue. The tones are delicate and playful but there is that balance of understanding and recklessness. She knows what she wants but not willing to give herself completely without respect and a proper man – it seems like she has found someone who can fulfil her and is good enough to share her arms. The chorus layers the vocals and sees the heroine on a high; not wanting to come down and with her eyes set on the hero – this ecstasy is swimming through the blood and create fire and stirring in her heart. The vocal impact is big and the chorus has that necessary punch and hook – if anything, maybe lifting the strings up in the mix would add that additional tremulousness and sexuality. What we get is a chorus that has Pop credibility and clothing but is a charged and primed for the big screen. The strings do come back in for the second verse and yet another alluring and captivating vocal scores the scenes. The heroine is brand-new and rejuvenated by the touch of the man – that may be because of the mere suggestion of what is to come. The contrast between the bombastic and excited chorus is brilliant! You get verses that have shimmering strings and slight beats; there are vocal echoes and backing but that mood of kitten-tease and bar-dwelling Siren comes out. It is interesting conspiring and imagining where the song went after the final note. The heroine seems content but you wonder whether the man is pure and reliable – or whether he will play with her heart soon enough. The final moments see the vocal sharpen and mixing into a Dance/Trance-like brew. Eyes on You is a song that creates its own cinema and keeps the listener guessing. It is an exceptional song that warrants repeated listens. Whether you are hooked by the yearning strings or that ultra-seductive vocal; the big chorus or the scene that swim into the mind – a song that will bring you back and seduce with ease.

It has been a transformative and busy year for Elena Ramona. She has managed to record a series of songs and, as we can hear, covered so much ground and achieved a lot. Her music has been used on shows like This Morning and covered by radio stations. She has performed in London a lot and taken her music to new crowds. The quality has been exceptional and it has been exciting seeing a hungry and hard-working songwriter get credit and respect. I feel 2018 will be the most important year for Elena Ramona and her music. There will be many who will want to see a new E.P. or album. I feel she has an album in her and, given the fact she has released quite a few songs, there will be ammunition for an L.P. Maybe she will stick with an E.P. but, whatever she chooses; there will be plenty of eyes on her! I know her songs will find their way onto the screen and it would be amazing were Eyes on You to make it to the feet on the Bond producers! I feel there will be huge honours coming her way but the chance to perform her music much further afield. This year; the majority of her performances have been in the local area – London is as far north as she usually plays. I can imagine there are venues in other cities and locations that would love to support her. Money and budget is a concern but I know there are areas like Manchester and Glasgow where Elena Ramona can bring her music to – and it would go down a storm. I have been thinking about her music and, the fact she has been doing this a few years now, there are going to be international crowds who want to see her. I know she has performed in Greece (where her mother lives) but who can ignore the possibility nations like the U.S. are a possibility?! I am not saying she could afford to embark on a huge tour of America but, to get her music to some seriously big producers and names, maybe L.A. would be an area to head to in the summer?!

I am not sure whether that would be unfeasible but there are definitely parts of the U.K. she could explore. I will end this very soon but I mentioned Lorde earlier in this review. Whether Elena Ramona is aware of her music, I am not sure. Here is someone who has taken the expectation of what a young female Popstar is and flipped it on its head. One need only look at an interview with the New Zealand artist and you can hear someone full of life, humour and interest. Lorde collaborates with various others on Melodrama but she is the one in the driving seat. Her music looks at love and relationships but the production/composition sound is exciting and mature; the vocals are constantly stunning whilst the lyrics display intelligence and poetic flair. She is someone who is inspiring many artists out there and I can see Elena Ramona taking the same course. The music she has put out so far is different to what’s out there and I would like to think, in 2018, there is a move from her towards that sort of ambition. I know Elena Ramona has respect for talent shows and contestants that appear on them but her music is more deserving and stronger than that. I can understand the desire to feature on T.V. and have that record label back your music but there are problems with that approach. If she did win a talent show then her music would, despite her immense talent, have a shorter shelf-life and she would find herself forged and directed by management, producers and songwriters. Nobody who has ever won a singing talent show has managed to rival the ‘best of the rest’ – create an impressive career that has the potential to topple the best in music. Elena Ramona has her own mind and sound but has that ambition to get her songs featured in areas like T.V. and film; get her name heard by the masses. That will come and it is her talent, patience and accomplished songwriter that will make her dreams a reality. Whether we see Eyes on You sung by Adele (let’s hope so!) for the new Bond film; I know Elena Ramona will continue to grow and find new fans. She has tackled issues and overcome problems this year and has ended the year with a terrific song and success. This year has been an exciting and promising one for her but, if anything, 2018 is going to be…

INCREDIBLY important and exciting!

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Follow Elena Ramona

Facebook:

https://www.facebook.com/elenaramonamusic/

Twitter:

https://twitter.com/elenaramona90?lang=en

YouTube:

https://www.youtube.com/channel/UCmVSlZvqOYKf3qp0bA8b8Bw

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https://soundcloud.com/user-466086967

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https://open.spotify.com/artist/5bUE6ronjsaGdIoeVGfFoj

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PHOTOS BY:

@MichaelSweeney, MUA Victoria Kohl Webster and Andy Boschier 

FEATURE: End the Silence: The Song That Defines Your Childhood

FEATURE:

 

End the Silence:

 PHOTO CREDIT: Getty Images 

The Song That Defines Your Childhood

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THERE are few campaigns…

PHOTO CREDIT: Hope and Homes for Children

that allows one to donate to a great charity and share their early memories of music! Hope and Homes for Children want people to participate in their End the Silence campaign. Orphanages are there, you’d think, to protect children but it seems, around the world, they are a place of mistreatment and neglect. There are many growing up in environments that are hostile, cold and cruel. It is happening all over the world and it has been said as many as thirty-seven in every one-hundred children in orphanages are subject to sexual abuse.  A lot of the worst cases of abuse occur in developing nations but there is no excuse for the terrible conditions and violent scenes that are almost common practice in these orphanages. Children who grow up here are much more likely to commit suicide and take to prostitution – their lives are a lot more fragile and uncertain than you could possibly imagine. I would urge people to look at the charity’s website and discover the events and fundraisers they are doing to help stem the problem. You cannot shut down all orphanages – and put children into loving homes – but the aim is to rehome and protect as many children as possible. This all brings me to the point of this piece. The charity is asking, before you donate, to name the song you grew up to; the songs that have scored your childhood – the musical memories that stand out from the rest.

PHOTO CREDIT: Getty Images

Many who grow up in orphanages would not have access to music but the objective is to get people thinking about their childhood and that piece of music that takes you back to a great time. Before I provide my thoughts; the Telegraph asked a series of musicians the one song they would select. They provided a rundown and assessment of Hope and Homes for Children’s aims and campaign:

“Hope and Homes for Children aims to create the world’s largest online musical memory collection, and raise £1.5 million by Christmas, allowing them to transform the lives of 120,000 children across Rwanda and Uganda who are confined to orphanages. Some of the biggest stars today are helping launch the campaign by revealing their own most precious musical memories.

So what song would you choose? End The Silence would like you to share your memories, along with a donation, for a very good cause. The UK government is committed to doubling every pound donated before Dec 27. For me, the question throws me back to being a small boy listening to my father singing Sunrise Sunset from Fiddler on the Roof. A song of experience, ageing and melancholy that, I think, gave me some strange intimation of the hugeness of the life ahead of me, while binding me in the enduring love of my family. If I close my eyes, I can still hear him singing it.”

IN THIS PHOTO: Paloma Faith/PHOTO CREDIT: Getty Images

Paloma Faith picked her song: Why (1988) by Tracy Chapman:

“The memories I get from this track are of road-trips with my mum and my stepdad. We would always have that album in the car and that track was particularly poignant for me because my mum – who’s a caring, compassionate, empathetic person – used to like songs with a political tinge; she was quite involved in politics. It asked lots of questions about why things are happening, actually still relevant today, as human beings tend to make the same mistakes over and over again. The song reminds me of being quite small, laying back on the back seat and really wanting to know all the words off by heart.”

Sir Elton John picked Doris Day’s The Deadwood Stage as his choice:

“I had to have a tooth out at my local dentist and in those days they either just pulled it out straight or you could have a bit of gas so the only way I was going to do it was if my mum bought that record for me after. So I had my tooth out, by gas, and we got on the bus to Norwood Hills and the hole was pouring blood and we went into the record store and we bought The Deadwood Stage. And I clutched it, I loved it so much, I couldn’t wait to get home and I played it and I played it and I played it and I played it.”

IN THIS PHOTO: Sir Elton John/PHOTO CREDIT: EPA

It is impossible to choose the one song that defines childhood – because there are so many that have played their part – but the 1990s was when I was going through school and discovering some of the finest music ever made. I have fond memories of early-1990s Dance and the chart music of the time; some fantastic Pop and brilliant artists from past years. I was exposed to my parents’ tastes but was spending my formative years in the best decade of music. The one song that springs to mind is, oddly, Breathe by The Prodigy. This song often found its way – in a non-yobbish way – being projected from the speakers of my mate’s house where I grew up. The year would have been 1997 – when the band’s album, The Fat of the Land, was released; I would go round his (Stefan’s) house after school/at the weekends where we would take advantage of the quiet afternoons and play football. When the weather was less clement; we would play with a tennis ball in his house – we would do that in the evenings when Match of the Day was on, too. It is strange how a certain song can draw all those events and experiences together: Breathe has that effect and brings my mind to a distinct time and place. I was a kid whose ears were always open to music; every genre and sound around was fair game to me.

PHOTO CREDIT: Getty Images

To me, the song is the soundtrack to those warm days where the windows were open and the sun was out. I would walk to Stefan’s house – mine was about a minute’s walk from his – and I would pass his dog (Bruno) and up the stairs. In his bedroom was an impressive stereo system with some seriously meaty speakers! Jamiroquai was also played a lot so I was getting Trance/Acid-House bliss-outs with diamond-toed jive and dance. The football-scoring disco was a really happy memory at a time when things were pretty good. The football set-up was a field that backed out from the house. Sometimes we would use the goalposts at our middle-school (just over the road) but there was the perfect spot just outside Stefan’s house. When the music was played from the window – not too loud as to irk neighbours – we would play and take turns shooting. Often; we would set two goalposts or a couple of jumpers laid down at one end of the field. Neighbour kids would join in and, sometimes, we would get a nice five-a-side going and, before you know it, that song took on new intensity and meaning! The energy and frantic scuff of the track was the perfect propulsive anthem for the most spirited and fevered football. We would waste hours kicking back and forth and playing until it got dark.

PHOTO CREDIT: Getty Images

Of course; there were other songs from that album (such as Firestarter) that got into the mind but Breathe seemed to take on the mantle of influencer and standout. It is a song I listen to and flood back to that time. The mind projects the conversations and games that were played; the idle larks and easy-going vibe. The guy I have mentioned, whose house/music supplied the soundtrack, lives near the house I have mentioned – although he is married with children right now. I have driven past the house a number of times and see children playing football on the same field – some twenty years after I was there! It is humbling seeing the same scenes playing out; the fact the houses have barely changed – and not succumbed to endless gentrification and redevelopment – means there is a preservation and purity that remains in the area. School was an interesting time and I have taken many happy memories from it. Music played a huge role and helped me cope with hard situations; scored those anxious moments and the celebratory times – such as opening my G.C.S.E. envelope and seeing what results I achieved! It was that mid-high-school period (1997) that saw me step out of the infantile boots of school and prepare my mind for a transition into adulthood. I was reluctant to relinquish the comfy grip of childhood and all the scary changes of the next stage of life. Breathe is that strange but beautiful reminder of how things were: the mere scent of the song provides escapism and a lot of pleasure.

PHOTO CREDIT: Getty Images

It is strange how music does that and why certain songs attach themselves to the brain in such a passionate and permanent way. As I said; there are other songs that accompany other times and, when I hear them now, bring back all the smells, sounds and sensations from the time. It is emotional thinking there are children who will never hear music: the only sounds they will hear are screaming and their own crying. I guess we take music for granted and do not really spend time thinking how valuable and precious it is. So long as you donate to Hope and Homes for Children; take a few moments to think about the one song that represents your childhood. It does not have to be a song that soundtracks a hard time or a passage of happiness. It can be a piece of music that brings back memories or made you connect with the world in a new way. An ear-blaring piece of Big-Beat music might not seem like the obvious connection to a carefree and fun time where energy was burned and happy thoughts wafted into the air. Regardless, mind; what I have found is writing about that song has drawn me back to a period in my life that was very formative and memorable. Have a think about the song - use the hashtag #EndTheSilence on Twitter if you post your choice online - you would select (donating as you go) and help…

PHOTO CREDIT: Shutterstock

END the silence.

FEATURE: You’d Better Think: Why 2018 Needs to See a Massive Change in Attitudes

FEATURE:

 

You’d Better Think:

IN THIS PHOTO: Alexandra Burke/PHOTO CREDIT: Getty Images

 Why 2018 Needs to See a Massive Change in Attitudes

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THIS piece relates to music…

PHOTO CREDIT: Billy & Hells (for TIME)

in the sense there are problems and imbedded ills that need remedying and eradicating. I will go on to look at why this year’s selection for TIME’s ‘Person’ of the Year was a popular choice – and why its runner-up shows that decision was almost undercut by a ridiculous decision. I am appalled there have been so many cases of sexual abuse and sexism this year – music has not escaped from the worst. Although there are not the same high-profile stars being outed and caught short – Dustin Hoffman continues to get allegations against his name; Kevin Spacey seems to be in the news a lot – there are some icky and horrible events that have left a sour taste. I feel social media is a useful tool for promoting music and events but can be equally useful when it comes to rallying support and confronting those who commit wrongs. Of course; there is the reverse issue: people having free speech and being able to say exactly what they want without criminalisation and punishment. I will look at a recent case of racism that blighted the music industry but another revolved around presenter Reggie Yates. I do not want to get so heavy-handed before Christmas but there are continuous issues that need to be addressed and extinguished. Yates made, what I believe to be, offhanded and ‘innocent’ remark that saw him step down as presenter of this Christmas’ Top of the Pops special. The details are as follows:

“The presenter and documentary maker said it was "great" to see how grime artists were no longer being managed by "some random fat Jewish guy from north-west London".

Yates was accused of anti-Semitism on social media and later made a statement addressing the comments.

"On a recent podcast, during a discussion about grime artists, I made some ill-considered remarks which have hurt many people. I can see clearly that the words I used reinforced offensive stereotypes, and there is no context that would justify such remarks.

"My comments are no reflection on how I truly feel, and I would like to apologise unreservedly to the Jewish community, people in the music industry and anyone else I have offended”.

There are some who can say, given the setting, Yates would want to project an image of cool and rebellion – it is only natural a Grime podcast would bring out a little mischief and loose tongues. The thing is; the Grime community do not behave in that manner and Yates was not put under any pressure to make that remark. It seems rather flippant and jokey but, given the fact it was broadcast to a large audience, there was no excuse to make such a foolish comment. He would, I hope, not consider making such a remark on BBC Breakfast, for instance. Clara Amfo has replaced Yates and it will be good to see her given the opportunity present a fantastic show.

IN THIS PHOTO: Reggie Yates/PHOTO CREDIT: Getty Images

Yates’ departure calls into questions whether there should be stricter penalties for artists/celebrities who create infractions and controversy. This is a topic I have brought up a lot recently: the fact we are seeing so many cases in the news means the subject is not going away! Yates did the right thing and stepped aside: I wonder whether, in the wake of the incident, there need to be stronger messages sent out. Although Yates’ remarks were not a shot against the Jewish community; it was a rather ill-advised thing to say. Amfo would not be caught making such a remark but I wonder, given his good name, Yates felt the remark would be taken seriously and it was not a big deal. It is, in the grand scheme of things, not the worst thing we have heard this year but it is sad to say a prolific and respectful figure like Reggie Yates fall victim to a problem that is becoming more common. One hardly goes to the Mail Online for its wisdom, intelligence and depth but, yesterday, an article surfaced that caught my eye. The piece looked at the possibility the voters of Strictly Come Dancing (the public) have a racial bias against black artists:

“Despite either consistently topping the leader board or scoring highly, Strictly Come Dancing contestant Alexandra Burke has found herself languishing in the bottom two for the last two weeks.

PHOTO CREDIT: Press Association

The former X Factor star has also faced a backlash from viewers, who have branded her 'fake' for becoming emotional after some of her performances.

Now an academic has told FEMAIL that the real reason Alexandra Burke has become so hated on the BBC dancing show is simply down to the colour of her skin.

Professor Shirley Tate, from Leeds Beckett University, said that race is a 'massive factor' in her unpopularity in the ballroom dancing contest - which she argues is still perceived as a 'white' performance art.

While Alexandra, 29, won The X Factor in 2008, the race expert said that this was a 'different arena' to Strictly - with the former champion fitting the 'stereotype' that as a black woman she should 'be a good singer’”.

It does seem strange that, for someone who is scoring huge respect, the public should vote against her. If one looks at proficiency and talent; Burke deserves to be in the top-three final positions – many feel she can go on and win it. There are some who claim her emotional displays are contrived and designed to accrue votes but Burke is a sensitive human who has encountered some tough times. Maybe the design of The X Factor – where the histrionics of sob stories are seen as natural and part of the entertainment – is not quite the same as Strictly Come Dancing.

PHOTO CREDIT: HANDOUT

Trolls took to social media to voice their opinions against Alexandra Burke and her low finishing. She has been in the bottom-two the past couple of weeks and, rather than praise her and provide support, many have been providing comments that have hate, racism and sexism in them. Whereas figures such as Reggie Yates have been caught up in controversial/racist storms: Alexandra Burke is someone who has had to defend racism and cope with a wave of abuse and trolling. One can claim there is a talent-only policy whereby the strongest dancers are rewarded; the weakest ones are put to the public vote. The judges are responsible for the drama and have not helped the cause a lot. I will end this piece by looking at sexism – as I started out – but do we need to address issues of race more fervently?! An institution like Strictly Come Dancing is at the forefront of the national attention and has had black celebrities on the show. Although Alexandra Burke has been put in the bottom-two two weeks on the trot; she has had to deal with the death of her mother and outside commitments. The subject of race and parity extends beyond music but this is an occurrence that is affecting a musician. Not only do we all need to think about the way we address race – and why shows like Strictly are seen as more favourable towards white dancers – but consider social media and how damaging negative comments can be.

IN THIS PHOTO: Caroline Polachek/PHOTO CREDIT: Tom Newton

You can say what you want about Burke and any reports of diva-like behaviour and over-emoting. That has nothing to do with her talent – I do not believe any of the allegations – and there is no rational reason why she was demoted to the dance-off places when she has put in such a solid and consistently impressive display through the course. Fellow dancers like Gemma Atkinson have not had to face the same scrutiny and judgement – despite the fact many see her as a weaker option. Greater jurisprudence and dignity needs to be shown by those who take to social media; questions need to be raised regarding race and how big a problem it is at the moment. I am continuing to see racist attitudes and behaviour extend into the fabric of music. There are fewer opportunities for black and minority artists; genres like Hip-Hop, which is only now starting to get proper award recognition, is a largely black genre – and has had to struggle for recognition and respect. Not only is racism and insensitivity a problem that needs greater tackling in 2018: sexism and gender division is another aspect that we need to put under the microscope. Musician Caroline Polachek, when put on an all-female billing (without consent) for Moogfest; took to Twitter and expressed her anger. She explained how she doesn’t need a pedestal and it seems like a rather patronising and insincere move – she wants to be in with the boys and get billing based on her talent and ability.

PHOTO CREDIT: Getty Images

It brings into questions about gender and how sexism is growing. It is common in acting – female stars paid less than men; fewer females nominated at award shows – but it is happening a lot in music. The lack of female names troubling the headline spots at the big festivals calls into question the sanctity and balance of music. Are we restricting female artists for good reasons?! It is obvious the best female artists are as strong as the men; they have commercial appeal and are capable of shouldering the responsibilities of a festival spot. We have seen artists like Lorde take to Glastonbury this year – she is someone who could headline in a couple of years. I have written extensively about sexism in music (so shall not go down the same path again) but there are –isms that we need to erode and highlight. There are artists/figures making racist remarks; stars being confronted by racist attitudes and excluded due to the colour of their skin. There are female artists who are receiving less because of their gender; festivals and events that are putting men at the top of the bill; discrimination and sexualisation – objectified and cheapened rather than allowed to have their say and been afforded equality. We have known about these problems for decades but I wonder whether, in a year where people like Donald Trump are making the world a much darker place, 2018 needs to be a year where more love, tolerance and equality comes through.

IN THIS PHOTO: Ashley Judd/PHOTO CREDIT: Billy & Hells (for TIME)

You cannot banish all the evil and crap you get on social media but tougher restrictions need to be put in so those who create hate and perpetuate negativity should be banned or punished in harsher tones. That goes for celebrities who, foolishly or otherwise, let their mouth overtake their brain. We are in a time where there is a chance a second Cold War could unfold; where the communist regime of North Korea is going toe-to-toe with the U.S. We could see ourselves being led into the abyss and, with no way to stop the mad and deranged posturing of leaders in both nations; it is a rather scary time. I wonder why we are in a time where shows, people and industries seem to think racism and sexism are okay; where people are shown little respect and have to struggle because of their gender and skin colour. We are allowing trolls to have too much of a say and allowing an industry as fine as music to be tarnished. I have read recent news stories that focused on sexism. One looked at a bar that said it does not have female-led bands because women are not good Rock singers – I cannot remember the name of the place. Women are being seen as weak and less; the black population judged and seen as inferior – how do we allow this to continue and spread?! It is not just music that is afflicted: so many other sides of the entertainment world are culpable and need monitoring.

IN THIS PHOTO: Adama Iwu/PHOTO CREDIT: Getty Images

I said I’d leave you with TIME and the reason they provided a brave group of women with their top honour. Included in that are figures like Selma Blair, Taylor Swift; Megyn Kelly, Adama Iwu; Amanda Schmitt, Rose McGowan; Alyssa Milano and Ashley Judd. These figures provided their story to TIME and opened up. They have each encountered discrimination, abuse and fear at the hands of their male counterparts. The Silence-Breakers included academics, bloggers and actors; there are men included in the group and it is a collective that has shamed those guilty and broken taboos. They have been held back through fear of reprisal and further abuse but have spoken out to ensure more women (and men) do not face what they have been through. It has been a long road but there are changes coming into the acting profession. The issue of sexism and abuse extends right throughout the world so the more we converse and expose those culpable, the faster the problem will be beaten. There has been enough idiocy and discrimination in music this year: looking at The Silence-Breakers should set an example of how we need to tackle subjects like sexism and racism. I know 2017 has been a hard year for us all but I hope, with their example ringing in the ears…

IN THIS PHOTO: Demi Lovato (who called out TIME for including Donald Trump sd their runner-up for Person of the Year; praised the decision to award the honour to The Silence-Breakers)/PHOTO CREDIT: Michael Kovac/Getty Images for Refinery29

2018 produces a much more balanced and loving world!

INTERVIEW: The Crowleys

INTERVIEW: 

 The Crowleys

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CANADIAN band The Crowleys tell me about their…

new single, Midnight Blue. The Hamilton clan discusses working with Evan Bond on Midnight Blue’s video; whether there is new material coming; how they all got together in the first place; if there is an active and productive music scene around Hamilton/Ontario – and whether they will favour the U.K. with their presence next year.

The guys talk about the artists who have impacted them most and new acts to look out for; some of the albums that have shaped who they are; what has been the highlight from a busy and ever-moving year – and whether the band will get a chance to rest this Christmas.

________

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

The past little bit we have taken a lot of time off playing shows to get these new recordings done - and work on writing new material. But, we were provided with the opportunity to play little shows that we couldn’t turn down this weekend and last. These shows, coupled with working hard to promote the new single, has resulted in quite the whirlwind of a week.

We love it though - and the shows went extremely well.

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

We are The Crowleys; four musicians from Hamilton, Canada that play Psychedelic music - and we work really hard at trying to make you dance.

Midnight Blue is the new release. What is the story behind the song?

Our drummer wrote the first iteration of the song a couple years ago…

The lyrics were about how your mind drifts when you can’t fall asleep and that endless cycle taking you into a deep pit - or a so-called ‘midnight blue’. Writing out the lyrics were, in a sense, a type of therapy for that happening and, to be able to put words to it creatively, was very helpful. The song was sent to our guitarist and he immediately knew what he had to put over it. We then started recording but quickly ran into one big issue with it. The song has seen a key shift down and a rewrite of the vocal melody - just because we could not get the singing down in a way that felt right. It was actually when the idea came about to scrap the song during the mixing process that gave some creative freedom to it - we had nothing left to lose.

Michael Keire, the mastermind behind Threshold Studios where we record, suggested a vocoder pedal on the vocals. It took the melody to a different level that finally worked for the rest of the song. What was once the weakest aspect of the song had become the best thing about it! We all love this song now but it is definitely a change from our usual stuff - which is why we saved it for our second single.

I am interested in the animated video! Whose concept was it? Do you think it fits with the tone and feel of the song?

Evan Bond directed and animated the music video. When we first met up with Evan, we pitched him a very basic idea of what we were thinking of for the video. After that, we gave him total freedom as to what he wanted to do with it. Evan did a fantastic job of portraying the emotion of the song, in just a short amount of time, with a minimalistic animation style.

Given the new single looks at insomnia and the mind wandering; did you get inspired following the release of the song? Did that state of mind compel new direction?

All of us in the band have had that moment of intense inspiration for writing music that pops up when we are just about to fall asleep, or during sleeplessness; like you can finally begin to think creatively after your brain has purged the information that you've been bombarded with throughout the day.

When you lie in bed unable to sleep, it is meditative in a way. So, it makes sense that you can get ideas flowing with little distraction from the outside world. This type of creative output is also very organic - because you aren't sitting down and forcing yourself to write lyrics or a melody; it just comes to you. 

What are you working on at the moment in terms of future material?

Since we’ve introduced a synth to our practice space, we’ve become pretty prolific with songs ideas. We have a lot of progressions and ideas in the works and we are really excited to take them into the studio and see what comes of them.

They are kind of more R&B-chill vibes than some of the heavier psych music we’ve written in the past…but we will see what happens.

How did The Crowleys get together - and what was it about each other that meant a band forming was inevitable?

We were teenagers when we first got together.

I think the feeling you get when you are in the middle of a jam and everyone is on the exact same page is addicting and, with the four of us, that happened very often. Without explicitly stating what we wanted, our songs seemed to come up with a sound pretty quick. Now, we just continue to craft that sound and expand. We have a lot of love for each other - and playing in any other band would be very strange.

Is there quite a big music scene where you are in Hamilton (Canada)? Do you have enough opportunities to perform there?

We’ve got a great little scene going on in Hamilton...

There are a lot of other hardworking and creative musicians that inspire us to be great. Like many urban centers, we’ve experienced gentrification and the closing of music venues that made the area desirable in the first place. We’re lucky enough that we’re established enough to play some of the bigger venues that still exist in the city.

Unfortunately, there aren’t a lot of venues that are small enough to take a risk on a smaller band first starting out - and we think that’s a problem.

IN THIS PHOTO: Father Christmas/PHOTO CREDIT: Brittany Lucas

Who are the new artists you recommend we check out?

A few acts from Toronto are great: Father Christmas, Jaunt and Charlotte Day Wilson. We play with Jaunt every time we get the chance and two of the musicians in Jaunt make up Charlotte Day Wilson’s band.

Staying local, we are really excited about The Ferns and just played a wicked show with Free Love. The Bandicoots are always a good time and are sure to pack a house.

If you haven’t heard Mild High Club and King Gizzard & The Lizard Wizard’s collaboration album - check that out. 

IN THIS PHOTO: Charlotte Day Wilson

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

It’s hard to say an album that has meant the most to us over our lifetime - but we will give you one from recent memory.

Stuart (Drums, Vocals): Congratulations by MGMT

This album changed the way I look at writing music - and how layering different parts can give a song longevity.

Cohen (Guitar, Lead Vocals): Embryonic by The Flaming Lips

The ‘Flips’ have continually taken experimental music into the pop realm. The production on this album has been very inspiring in our work. Just give it a listen.

Justyn (Guitar, Synth): Bearer of Bad News/The Party by Andy Shauf

I can’t pick between Andy Shauf’s most recent albums - because they are both so incredible. Andy is one of the greatest storytellers I have ever listened to (and he is a good ol’ Canadian boy).

Kaulin (Bass): In Rainbows by Radiohead

In Rainbows helped me through a tough time in my life. It’s probably Radiohead’s most beautiful album.

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

We’re playing January 5th at The Casbah in Hamilton and are currently in the process of booking shows to support the E.P. we are releasing in the spring.

Do you think you’ll come play the U.K. next year?

If the stars align, we would absolutely love to. Where’s good to play? We love Temples and, if you are reading this and are a fan of Temples…we think you’ll like our music, too!

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

Work and don’t worry about anything else. We jammed in a basement for four years before we played our first show - and we think that really helped us be a good live band.

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

We’ve been having an annual potluck for the holidays with some of our closest friends: it’s one of the highlights of the holidays for us. We will also likely bust out some demos for new music over the break (if we can find time in the studio).

Looking back at this year; has there been a moment that stands as a highlight for all of you

We only have to look back to last week when we played a record show; we know it’s not much but that’s always kind of been a bucket list thing for us. The owner is a great guy (and in an awesome band called Coszmos Quartette) and we were excited to play in his shop - and to hear his encouragement was great.

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).

Stuart: Echoes of Yesterday by Coszmos Quartette

Justyn: Break Down and Let it All Out by Nina Simone

Cohen: Suede by NxWorries (ft. Anderson. Paak & Knxwledge)

Kaulin: Friend Zone by Thundercat

________

Follow The Crowleys

Facebook:

https://www.facebook.com/thecrowleysband/

Twitter:

https://twitter.com/thecrowleysband

Instagram:

https://www.instagram.com/thecrowleysband/

SoundCloud:

https://soundcloud.com/thecrowleysband

Spotify:

https://open.spotify.com/artist/0QAUXHfwmQX7joTPDD4gqI

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

__________

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.

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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

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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:

https://www.facebook.com/merekimusic

Twitter:

https://twitter.com/Mereki

Instagram:

https://www.instagram.com/Mereki/

SoundCloud:

https://soundcloud.com/mereki

YouTube:

https://www.youtube.com/channel/UC25kKOHc4Fmpb8LTYDLwYUg

Spotify:

https://open.spotify.com/artist/3TZnnR7E0mUk9uJtBa3fIs

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.

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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

Instagram:

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

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.

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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

 Twitter:

https://twitter.com/johnlikej

   Facebook:

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

  Instagram:

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

 SoundCloud:

     https://soundcloud.com/user-576372009

YouTube:

https://www.youtube.com/channel/UC90iBtQqhlTgWpz0NkdkwUQ

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.

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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

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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

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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

________

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.

________

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 

________

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.

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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!

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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!

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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…

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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